MOVIE MUSIC UK

GREATEST SCORES OF THE TWENTIETH CENTURY

Original Review by Craig Lysy

The Broadway stage play “The Glass Menagerie” by Tennessee Williams opened at the Playhouse Theatre on 31 March 1945, and ran for 563 performances. It catapulted Williams to fame, and Hollywood took notice. Charles K. Feldman purchased the film rights and secured backing by Warner Brothers studios. Feldman and Jerry Wald would manage production with a $1.357 million budget, Irving Rapper would direct, and Williams and Peter Berneis would adapt his play and write the screenplay. For the cast, Jane Wyman would star as Laura Wingfield, joined by Kirk Douglas as Jim O’Connor, Arthur Kennedy as Tom Wingfield and Gertrude Lawrence as Amanda Wingfield.

The story explores flash back memories of Merchant Mariner Tom Wingfield, who recalls his youth growing up with his delusional mother Amanda and crippled younger sister Laura in a dilapidated apartment in St. Louis. Amanda spurs her son to invite one of his friends for dinner in hope of breaking the shell of the reclusive Laura who spends her days collecting glass animal figurines. Tom brings home Jim, the most popular guy at school, which causes her to retreat to her room as she feels she is unworthy. Amanda manages to coax her out and Jim breaks down her shell by expressing interest in her glass menagerie collection. All appears to be going well when Jim asks Laura to join him at the Paradise Ballroom, yet Amanda is devastated when she learns that he is engaged to Betty. Laura is understanding and invites Jim to return with his fiancée Betty. Amanda is however angry with Tom for giving Laura false hope. We close with Laura now free of her limp and hopeful that she will receive another gentleman caller. The film was a commercial success, earning $234,000. Critical reception was mixed, and the film received no Academy Award nominations.

Director Irving Rapper had enjoyed his previous collaborations with Max Steiner on “The Corn is Green” in 1945, “The Adventures of Mark Twain” in 1944, and “Now Voyager” in 1942, and once more selected him to score the film. Steiner was keen on taking the project saying that he was invigorated by this “very big picture and terrific amount of work”. Upon viewing the film, he correctly discerned that the story was told through Laura’s eyes. As such she would inform, and guide his approach. He chose to create the architecture of his score centered on Laura, using his music to speak from her perspective.

His soundscape is anchored by nine themes, three of which are associated with Laura. Her personal theme is ingenious in its construct, in that Steiner offers a plodding expression, which mimics musically her limping gait. It has a child-like essence and delicacy, which speaks to the sadness and isolation of her existence, her depression, and feelings of inadequacy. He offers a two-chord phrase, which ascends and descends in a never resolving cycle, highlighted by an ethereal violin. The Menagerie Theme speaks to Laura’s precious collection of glass figurines. Steiner chose to evoke the very essence of glass, composing a danza delicato in the bright C -major scale using a small ensemble consisting of small bells, two celestas, two harps, vibraphone and four muted violins. Lastly, the Unicorn Theme supports Laura’s favorite glass figurine, which Steiner supports with a child-like toy trumpet reale.

For Amanda there are also two themes. You can take Amanda out of the south, but you cannot take the south out of Amanda. Steiner evokes auras of her southern heritage, with a bluesy clarinet and saxophone, which speaks to her sad and unfulfilling life. Her second theme is more frenetic with a bustling expression as she is prone to excitement. The Gentleman Caller’s Theme offers a classic Steiner romance for strings borne with an ABA construct, with the A Phrase declarative romantically forthright, while the B Phrase is tender and aspirational. It is in many ways both Amanda and Laura’s idealization of the man who would one day come to bring love and romance into Laura’s life. The Love Theme speaks to feelings in Laura, which blossom from Jim’s attentiveness, romance and charisma. Steiner composed an original aspirational valzer romantico, that is light, airy and imbued with hope. Tom’s Theme offers repeating five-note phrasing that is directionless, never coalesces into a cogent melody, and never resolves, which offers insight into his unfulfilling and rudderless life. The Seafaring Theme is heard just once and offers a nautical sensibility borne by languorous strings, which sway like ocean waves.

The Paradise Dance Hall lies across the alley from the Wingfield apartment, and Laura often plays her estranged father’s records on her phonograph. As such, Steiner once again infused his soundscape with the requisite contemporary songs and music of the day, and for this film he used; “For You” by Joseph A. Burke, “The Kiss Waltz” by Joseph A. Burke, “Someone to Watch Over Me” by George Gershwin, “Smiles” by Lee S. Roberts, “Avalon” by Vincent Rose, (based on “E Lucevan le Stelle” from the opera “Tosca” by Giacomo Puccini), “When the Foeman Bears His Steel” from “The Pirates of Penzance” by Arthur Sullivan, “Let the Rest of the World Go By” by Ernest Ball, and “Gotta Be This or That” by Sunny Skylar.

(*) “Logo” opens with Alfred Newman’s iconic fanfare for 20th Century Fox. We flow into a quaternary cue, where Steiner masterfully introduces his themes and establishes the tone of the film. “Main Title”, supports the presentation of the opening credits, and opens with a string borne prelude with harp adornment from which at 0:19 we flow into a romantic rendering of the Gentleman Caller’s Theme as the film title displays. At 1:02 “The Early Morning Watch” we flow atop the lyrical violins and a harp glissando of the Seafaring Theme into the film proper as we see a merchant ship steaming on the open sea. At 1:18 a beleaguered musical narrative empowered by Tom’s Theme supports narration by him, as we see him complaining about the dreaded night-shift watch. We segue at 1:44 into “St. Louis” via a flashback as we return to his hometown of St. Louis where he reminisces about growing up in a poor tenement. Steiner supports with his mother southern born Amanda, matriarch of the family, theme borne by a bluesy saxophone and clarinet. At 2:05 we segue into “The Wingfield House” as Amanda comes out to the fire escape porch to retrieve the morning milk delivery, and Steiner reprises his Gentleman Caller’s Theme, which offers gentility, emoting as a strolling, almost languorous melody of shifting 5-note phrases. As she returns to the apartment, at 2:32, the camera shifts to Laura’s sparkling menagerie, a collection of glass animals, which are displayed on a table. The Glass Menagerie Theme offers a sparkling, gossamer like danza delicato, borne by a small ensemble consisting of small bells, two celestas, two harps, vibraphone and four muted violins. At 2:55 the music sours as Tom’s narration informs us of how his father left them, his portrait on the wall their only reminder. At 3:07 we flow into a spritely rendering of Amanda’s Theme as she sends Laura to wake up her brother Tom. At 3:41 Tom’s Theme joins with a saxophone voiced Amanda’s Theme as Laura pleads with him to get up and apologize to mother as she is not speaking to him after last night’s fight. In the kitchen a sour Amanda’s Theme supports her discharging Laura to the store to buy a quarter pound of butter on credit. At 4:04 tremolo strings and an oboe delicato sow a musical narrative filled with lingering tension and a descent motif thump at 4:36 as Laura falls on the fire escape. She, is helped up, and then sent off to the market. At 4:56 as Amanda serves Tom breakfast we close on his contrite theme, as he relents, and apologizes for quarreling last night.

“Money for Lunch and Carfare” reveals Laura returning with the butter, and then departing to take her typing test. Amanda slips her money for lunch and carfare and as Laura departs, Steiner introduces her child-like, plodding theme emoted by two-chord phrases, which ascend and descend in a never resolving cycle of sadness, highlighted by an ethereal violin. At 0:41 we segue into “Mother and Son” with tension rising on an aggrieved Tom’s Theme as he looks with agitation for a book he needs to return to the library. As he regains his composure at 1:11, so does his theme, which shifts to cello and carries his departure as Amanda exhorts him to find a good man to introduce to Laura. The music featuring a spritely Amanda’s Theme was dialed out of the film at 1:32. “Laura en Route to School” reveals Laura on her way to school carried by and ethereal rendering of her theme, which suggest detachment from the realities of the mundane world. At 0:28 she stops by an antique shop, sees a glass unicorn, for which she immediately falls in love and purchases. Steiner supports the moment of ecstasy by introducing the Unicorn Theme borne in joyous child-like fashion by a toy trumpet reale. At 0:48 we shift back to her lyrical string borne theme as we see her climbing a stairwell with stairs labelled “Post Business College”. At 1:04 the shift of the melodic line to solo violin delicato with harp adornment is exquisite. Yet at 1:15 we close with the music darkening and become grim as her instructor harshly admonishes her for be tardy and disrupting her class.

“Typing Test” reveals Laura taking the typing test. As the other women begin rapidly typing, we see anxiety overcome and disable Laura. Music from 0:00 – 0:53 was dialed out of the film, which is a shame as Steiner composed a dazzling crescendo energico. At 0:54 a despondent rendering of Laura’s Theme carries her departure from the test, which ends her enrollment. We close the scene with a reprise of the dazzling crescendo energico as we return to the women rapidly typing. At 1:11 we segue into “Shoe Factory” where we see Tom at work processing with tedious monotony, boxes of shoes to be shipped to various stores around the country. Steiner cleverly supports by channeling Ravel with a Bolero-like rendering of Tom’s Theme. At 1:57 we segue into “Dinner Table”, where Amanda relentlessly nags and critiques Tom’s eating habits. The music was dialed out of the film and features an aggrieved Tom’s Theme, which slowly descends into weariness as he withdraws from the table to escape her withering criticisms.

“Memories of Blue Mountain” offers a wondrous score highlight where Steiner offers interplay of a refulgent Amanda’s Theme joined by a parade of classic waltzes. The scene reveals Amanda wistful flashback to her youth, where she was courted by many rich and dashing men. We open with a shimmering rendering of Amanda’s Theme, which flows at 0:36 into Hugenots Waltz by Mayerbeer. A transition upon Amanda’s Theme, usher in at 1:01 the Southern Roses and Artist Life waltz by Strauss. At 1:57 we flow into the Vienna Waltz by Steiner. At 2:18 we close sadly however when she discloses that of the twenty-three men who proposed to her, she chose, much to her regret, Thomas Wingfield. “Broken Glass” reveals Tom anger erupting from Amanda’s incessant nagging. He tears his coat as he prepares to leave and angrily cast it aside. But it hits Laura’s menagerie and shatters one of her precious figurines. She is devastated, and a molto tragico rendering of his theme supports his remorse as he views the shattered fragments and then departs. At 0:42 Laura’s anguished theme supports her picking up the fragments, with the twinkling Glass Menagerie Theme joining at 0:56. Cue music from 1:13 – 1:55 was attached to a deleted scene. It opens with an anguished rendering of Tom’s Theme, which supports Laura’s disillusionment with her brother. At 1:35 the Spectral Motif of her estranged father looms over all as the camera must have focused on his portrait.

“Drunk Scene” reveals a drunken Tom stumbling up the fire escape where he is greeted by Laura. He offers a wild tale of his night on the town. Steiner supports with source music that wafts across the alley from the Paradise Dance Hall where Hal Martin and His Ramblers” perform. Source songs include; “For You, rendered as a danza gentile, and at 1:44 we flow into the “The Kiss Waltz” as he gifts her a ‘magic scarf’ he obtained at Malvolio’s Magic Show. “Drunk Scene Continued” reveals Laura taking Tom in and tucking him in. He is resentful of his life, their nagging mother, and envious of his father who escaped this sad life. Steiner supports with source music, which again wafts in from the Paradise Dance Hall, including; “When My Dreamboat Comes Home” and “Someone To Watch Over Me”.

The next day in an unscored scene, a hungover Tom apologizes to Amanda for saying hurtful things. She gifts him fresh strawberries, however her incessant nagging drives him off to work after one cup of coffee. As he departs down the stairs to the alley, Amanda beseeches him to please bring home a nice man for Laura. In “Laura’s Deception”, narration reveals that Laura deceives the family that she is still enrolled in Business School by leaving every day at the regular time. She passes the day visiting the library, parks and the zoo. Her sad theme carries her departure and at 0:19 a delightful danza felice sparkles as she views playful monkeys, deer, and the aviary at the zoo. The cue after 0:52 offers a sad Tom’s Theme, which seems attached to a deleted scene. “Smiles” offers the happy go lucky source song by Roberts played on a phonograph as Laura polishes her unicorn and other glass statuettes. Yet when she sees her mother approaching in the alley, she shifts back to her deception by practicing her typing.

“Deception!” reveals Amanda entering as Laura practices her typing. She stares and then pointedly declares; “Deception! Deception!” She informs Laura that she visited he Post Business College and learned that she had quit. She frets to their uncertain future, decrying the uselessness of her glass menagerie and phonograph records left by her father, which serve as a constant reminder that he abandoned them. Steiner supports the scene with a dissonant rendering of the Glass Menagerie Theme imbued first with auras of Amanda’s anger, then followed by despair. “You’re Not Crippled!” reveals Amanda instituting a “Plan B”; Laura will find security by becoming a house wife. When Laura asks how since she is crippled, Amanda explodes with outrage declaring that she forbids her to use that word. Music enters grimly to support Amanda’s anger but gains determination as she exhorts Laura to overcome this and cultivate her latent assets. At 0:51 a crescendo of exhortation surges upwards as Amanda commands Laura to walk. She complies and her plodding and tentative theme support her unsteady gait. As she walks around the room, Amanda keeps professing; “You’re not a cripple!” At 1:05 we shift to a montage of Amanda dutifully walking from one neighborhood to another try to sell magazine subscriptions empowered by her prideful theme.

“Wishes for Her Children” reveals Tom and Amanda discussing the family’s future, when he stops to gaze upon the moonrise. Steiner supports with shimmering ethereal wonderment, which is joined by an aspirational Amanda’s Theme as she tells Tom that her wish upon the moon is for the success and happiness for her two children. The music ceases when he stuns her with the revelation that he is bringing home a gentleman caller for Laura Friday after work. In “Reflecting on Laura” she is ecstatic with the news, but becomes defensive when Tom relates that Laura’s limp and shyness makes her peculiar. Steiner supports with her theme joined tenderly by a solo violin delicato. The musical narrative is one of sadness yet it slowly begins to brighten when Laura returns home. Amanda greets her, informs her that a gentleman caller will be coming Friday, and tells her to make a wish upon the moon, and as they both gaze aloft Steiner reveals a kernel of hope with the cue concluding with a tender, aspirational flourish.

“Making Preparations” reveals Laura adorned in a new dress. As Amanda completes the fitting, and strategic bra padding, Laura’s fragile theme supports, again adorned with a solo violin delicato. As Amanda departs to change into her gown, an unsure and tentative musical narrative tinged with sadness unfolds as Laura looks at herself in a mirror. At 1:51 a crescendo of anticipation ascends as Amanda prepares to debut her gown, and as she opens the curtain her happy theme joins as we behold a blue gown that long ago passed out of fashion. In “Laura’s Apprehension” Laura becomes apprehensive when she learns that the gentleman caller is Jim O’Connor, who she and Tom both knew in high school. When she advises Amanda that she will not be joining for dinner, she is dismissive and will not have it. Steiner supports the tense scene with the Glass Menagerie Theme, which slowly loses it sparkling refulgence, reflecting Laura’s trepidation. “Yangtze River Pirates” reveals Tom waiting for Jim in a bar across from his apartment. He chats with a lady patron and relates a preposterous whopper of a tale of how he was captured by Yangtze River pirates in China and escaped. Source music supports the tall tale with the Hawaiian tune “In Waikiki”. Jim arrives, allowing the woman to escape and the two imbibe a round of whiskey supported by the tune “Little Heaven of the Seven Seas”, and then depart across the alley to Tom’s apartment.

“Avalon” reveals Laura racked with anxiety as the doorbell rings. To calm her nerves, she plays the gregarious song melody “Avalon” on her phonograph as Amanda barks for her to answer the door. Jim oozes with charisma and warmly greets Laura, who excuses herself. “Dinner Table” opens with musical comedy as Tom struggles to pull back the dining room drapes. Laura resists joining, but relents to Amanda’s insistence at 0:12 supported by a celeste embellished Gentleman Caller’s Theme. As she enters with trepidation at 0:39 her theme also struggles until she almost faints. Tom takes her to the couch to rest supported by a reprise of the Gentleman Caller’s Theme led by solo violin delicato. At 1:18 Amanda’s spritely theme supports them reseated for dinner, followed by a danza maestoso as she coaxes Tom to say grace. After dinner as they prepare to toast the music fades on a diminuendo, which usher in a loss of power. Amanda becomes angry when Tom confesses that he forgot to pay the electricity bill. Candelabras are lite and at 2:08 Steiner bathes us with ethereal auras as Jim joins Laura. He is warm, disarming and coaches her to join him sitting on the floor. Laura slowly begins to come out of her shell supported tenderly by her tentative theme.

In “The Yearbook” Jim finally connects Laura with his nick name for her in high school “Blue Roses”. As they reminisce, her plodding theme entwines with the Gentleman Caller Theme, which shifts among the woodwinds as we see the two enjoying each other’s company. The Gentleman Caller Theme then shifts to strings and becomes prominent at 1:10 as she brings him her high school yearbook. Inside is the program from the Pirates of Penzance musical in which he performed. With shared delight he begins singing “When the Foeman Bears His Steel” from the musical. The singing should begin at 1:39 of the cue, but Jim’s singing is omitted from the album. She discloses that she loved his performance, saw all three performances, and regretted that she was unable to get him to sign her program back then. When she says he was very popular in high school, and that every girl liked him, he asks, if that included you? She answers, yes and the cue resumes at 1:40 with the ethereal auras of the Gentleman Caller’s Theme. At 2:31 we see a kernel of hope take wing as she enjoys Jim’s company very much.

“Psychology” reveals Jim using psychology to draw Laura out of her shell, caused by an inferiority complex resultant of her reaction to her clumping gait. He exhorts her to focus on traits for which she is superior to others, and not fixate on the single one that is inferior. Steiner achieves a masterful cinematic confluence by weaving a tender musical narrative empowered by Laura’s Theme, which slowly gains confidence as we see her emerge from her shell. “The Glass Menagerie” reveals Jim asking if there is something that she is more interested in, than anything else. A prelude of musical wonderment usher is the shimmering crystalline Glass Menagerie Theme as Laura shows him her collection. At 0:52 the Gentleman Caller’s Theme joins on violins as he accepts the unicorn and brings it close to the candle flame. At 1:22 the Unicorn Theme joins as he marvels at the beauty of the figurine. In “Let the Rest of the World Go By” Jim opens the door and we see the Paradise Dance Hall with the Ramblers providing the song’s melody. Jim asks her to dance and while she initially resists, his charm causes her to relent and they dance to a waltz-like rendering of the song. The moment is lost however as we flow into “Broken Unicorn” as Jim bangs the table and the unicorn figurine falls to the floor with its horn breaking off. Laura is visibly disappointed, but manages to take solace, saying that now he will blend in better with the other animals. We with open celeste simulating the break and flow into the proud Unicorn Theme, with interplay of the Glass Menagerie Theme.

Afterwards in “Heading for the Paradise”, Jim asks her to go dancing with him at the Paradise. She is fearful, but once again succumbs to his confidence and charisma. As they depart with Amanda’s blessing the vibrant swing tune supports their cross-alley trek. Amanda is ecstatic, thankful and kisses Tom, believing that Laura is on the path to marriage. Inside, Jim continues to foster her confidence with compliments and they slow dance to the song melody of “If You Could Care”, which is rendered as a valzer gentile. “Transition” offers the last few bars of the song Twenty-four hours of Sunshine, which is also rendered gently in waltz form. We see that Laura is very happy and agrees to Jim’s suggestion that they sit the next one out. “Jim and Laura’s Waltz” offers a romantic score highlight, which features an original waltz by Steiner that serves as Jim and Laura’s Love Theme. There are no chairs available, so they sit on stairs that lead up to the dance floor. He compliments her, again advises that being different is not a liability to be ashamed of. He then surprises her by saying she is pretty, and crowning the compliment with a kiss. Their love theme is rendered as a valzer romantico, with the melodic lead instrument shifting through the orchestra.

“Jim’s Confession” offers a poignant score highlight, where Steiner again demonstrates mastery of his craft. As Jim walks Laura home across the alley, Steiner supports with a shimmering ethereal sense of wonderment that reflects Laura’s happiness. At 0:35 the music assumes a contour of sadness borne by the Gentleman Caller’s Theme as he makes a devastating revelation – that he is engaged and will soon be married. At 1:08 the music shifts to Laura’s perspective with her plaintive theme’s weight growing as she struggles to maintain composure and hide her disappointment. The shift at 1:50 to an aching solo violin triste voices her heartbreak. “Amanda’s Disappointment” reveals Jim turning down Amanda’s invitation for a second date, shattering her hope for Laura when he discloses the he is to be married to Betty the second Sunday in June. The music offers a grim musical narrative of disappointment and shattered dreams, borne by a beleaguered Gentleman Caller’s Theme. Amanda struggles to maintain her composure and bids Jim good night. At 1:12 we segue into “Farewell to Jim” atop a solo violin delicato, which leads a tender rendering of their waltz-like Love Theme as she gifts him her beloved unicorn as a token of her friendship, which her graciously accepts. At 2:17 The Gentleman Caller’s Theme resumes as she invites him and Betty to call on her one day. He accepts gladly, and begins his departure up the alley, joined at 2:31 by a fleeting quote of farewell by the Unicorn Theme. As he disappears from view we close with a wistful last reprise of the Gentleman Caller’s Theme.

“The End of Tom’s Rope” reveals an angry Amanda summoning Tom from the kitchen. She voices her anger at him for bringing home a man who is already engaged. He declares he did not know; she counters that she does not believe him, only to have Laura come to his rescue saying that she believes him. Steiner supports with Tom’s Theme slowly swelling with anger. A forlorn Gentleman Caller’s Theme full of disappointment joins at 0:42. At 0:56 a distraught Amanda sits down as a distorted and dissonant Glass Menagerie Theme joins, yet at 1:19 Amanda snaps at Tom with anger and a harsh very personal rebuke, which causes him to declare he is leaving and not coming back. Repeating, dire quotes of his theme carry his departure, as Amanda’s Theme lowers her head and sobs. Laura runs to the fire escape and calls out to Tom, and as he returns, his theme warms and softens. He apologizes for leaving her behind, but she says none is needed. She coaxes him to seek his dreams, to write, and he departs after tenderly kissing her on the forehead. At 3:09 we segue ethereally into “Finale” where we see seaside docks draped in fog. A ghostly rendering of his theme joins as Tom provides narration, which supports a montage of him performing various jobs. He is haunted by memories of his beloved sister and her Glass Menagerie Theme joins at 3:32. At 3:48 we shift back to the apartment, where Laura and Amanda await the arrival of Richard, a gentleman caller. Her tentative theme, now full of longing, supports as they eagerly await his arrival. At 4:12 Richard enters the alley; he waves and a romantic rendering of the Gentleman Caller’s Theme carries him to her. We close at 4:36 with Tom standing watch on a steamer. The Glass Menagerie Theme supports his fond memories of his beloved Laura, and we close the film with a dramatic flourish borne by his theme.

The “Teaser Trailer” offer’s Steiner’s original conception, which offers a parade of his primary Themes; including The Gentleman Caller’s Theme, The Love Theme, the Southern Theme, the Glass Menagerie Theme. “Preview Trailer” offers the studio’s theatrical trailer with film scenes that was actually used in the theater to promote the film. It offers a wondrous suite of Steiner’s primary themes; The Gentleman Caller’s Theme, Laura’s Theme, the Southern Theme, the Love Theme, and concluding grandly with hope on the Gentleman Caller’s Theme.

I would like to thank James d’Arc and Ray Faiola for releasing Max Steiner’s masterful score to “The Glass Menagerie”. The audio restoration efforts do not achieve 21st century audio qualitative standards, however a fine monaural presentation is provided, which provides a good listening experience. Steiner was renown in Hollywood for masterfully scoring ‘women’s films’, and once again he brilliantly succeeds. Laura is the heart and soul of the film’s narrative and in a masterstroke, he captured her very essence with a trio of interconnected themes. Her personal theme mimicked her clumping gait, her loneliness and feelings of inferiority, while her Glass Menagerie Theme spoke to her treasured glass figurine collection, which was as delicate and fragile as she. And lastly, her Unicorn Theme, her favorite figurine, portended her discovery of confidence, self-worth, and voiced her aspirations for love. For Amanda, our displaced southern belle, Steiner evoked auras of her southern heritage, with a bluesy clarinet and saxophone, which perfectly aligned with her southern speech and mannerism. Steiner recognized that Tom was a sad and tragic character who was unable to find his path in life and realize his ambition. His theme musically is rudderless, directionless, wandering aimlessly without a goal or purpose, born by repetitive phrases of unfulfillment. The Gentleman Caller’s Theme offers classic Steiner romanticism and some of the score’s finest moments are when it is musically prominent. The waltz-like Love Theme for Laura and Jim in the end turns out to be a narrative for liberation, rather than romantic consummation in that despite losing Jim, Laura gained confidence that would allow her to realize that she is worthy and deserving of love. Steiner’s again demonstrated mastery of his craft with his grasp and insight into these character’s persona. Indeed, musically each of the four characters are brought to life, achieving sterling confluences with their acting performances. I highly recommend this album for your collection as it contains an often-overlooked gem from Max Steiner’s canon.

For those of you unfamiliar with the score, I have provided a YouTube link to the original theatrical trailer: https://www.youtube.com/watch?v=K0YN2aJ7NjI

Buy the Glass Menagerie soundtrack from the Movie Music UK Store

Track Listing:

• Main Title/The Early Morning Watch/St. Louis/The Wingfield House (5:09)
• Money for Lunch and Carfare/Mother and Son (1:50)
• Laura en Route to School (1:42)
• Typing Test/Shoe Factory/Dinner Table (3:05)
• Memories of Blue Mountain (2:36)
• Broken Glass (1:55)
• Drunk Scene (3:35)
• Drunk Scene Continued (2:07)
• Laura’s Deception (2:07)
• Smiles (1:16)
• Deception! (1:08)
• You’re Not Crippled! (2:34)
• Wishes for Her Children (0:51)
• Reflecting on Laura (1:39)
• Making Preparations (2:25)
• Laura’s Apprehension (1:27)
• Yangtze River Pirates (1:59)
• Avalon (1:15)
• Dinner Table (3:47)
• The Yearbook (2:59)
• Psychology (3:07)
• The Glass Menagerie (1:54)
• Let the Rest of the World Go By (1:33)
• Broken Unicorn (0:50)
• Heading for the Paradise (1:32)
• If You Could Care (1:25)
• Transition (0:13)
• Jim and Laura’s Waltz (3:40)
• Jim’s Confession (3:08)
• Amanda’s Disappointment/Farewell to Jim (3:23)
• The End of Tom’s Rope/Finale (5:03)
• Teaser Trailer (2:02)
• Preview Trailer (2:45)

Brigham Young Film Music Archives MS-107 (1950/2001)

Running Time: 76 minutes 01 seconds

Music composed and conducted by Max Steiner. Orchestrations by Murray Cutter. Recorded and mixed by XXXX. Score produced by Max Steiner. Album produced by James d’Arc and Ray Faiola.