MOVIE MUSIC UK

Article by Craig Lysy

Born: 18 April 1907, Budapest, Hungary.
Died: 27 July 1995

Miklós Rózsa was born to upper class parents who resided in Budapest during the waning years of the Austro-Hungarian Empire. His mother, Regina Berkovits, was an accomplished pianist who had studied with pupils of Franz Liszt, while his father, Gyula, was a prominent industrialist. Both had a love for classical music, traditional folk songs and instilled in Miklós a love of music. His maternal uncle Lajos Berkovits, an accomplished violinist with the Budapest Opera, presented him with his first instrument, a violin at the age of five. Rózsa began formal study under Lajos Berkovits (a pupil of Hubay), which also included training with both the viola and piano. By age eight he was already composing original works and performing in public, which included a movement from a Mozart violin concerto where he dressed as Mozart, and also as conductor of a children’s orchestra where he turned in a splendid performance of Haydn’s Toy Symphony.

Miklós greatly enjoyed his family’s journies to their country estate, which lay north of Budapest in a village called Nagylócz. The town was inhabited by the Palóc Hungarians, an indigenous Magyar people who had a unique dialect, as well as local traditions and dress. He would often join as a violinist in a retinue of gypsies for a night of fun and merriment. It was within this pastoral setting that he began a life time hobby of collecting traditional folk songs. Indeed he incorporated this source music into a number of his classic works including Opus 4 Variations on a Hungarian Peasant Song and Opus 5 North Hungarian Peasant Songs and Dances and the ballet Hungaria. This native folk music became an integral part of his own musical language and he relates that he often found his own melodies arising from out this rich ethnic milieu. It suffices to say that this unique culture had an indelible effect upon Miklós and in fact over time came to be encoded into his compositional DNA.

In high school the popular Rózsa was elected president of the Franz Liszt Society and organized matinees consisting of works by Bartók and Kodály, who he admired and believed were founders of an authentic Hungarian nationalist style. Regretfully he was called to task by the headmaster who judged the Hungarian nationalistic program as unsuitable to be performed. Yet he recovered when his composition Twilight won the Society’s prize for a new composition. Upon graduation Rózsa at the behest of his father, enrolled in 1925 at the University of Leipzig to study chemistry. But this career path proved unfulfilling and since he was determined to follow his first love, music, he transferred the following year to the Leipzig Conservatory. Now happy with his curriculum, he studied composition under tutelage of Hermann Grabner. Success quickly followed when his Piano Quintet op.2 earned the praise of Karl Straube, the renowned Cantor of the Thomaskirche. This led to studying choral music under Straube, but also him signing a contract with Breitkopf & Härtel. His String Trio op.1 and Piano Quintet op.2 marked his first published works.

In 1929 Rózsa earned a doctorate degree in music, graduating cum laude and for a time he remained in Leipzig as Grabner’s assistant. However in 1932 he moved to France following a much-praised concert of his chamber music at the École Normale de Musique in Paris. Wasting no time in the ‘City of Lights’ he published his first orchestral work, the Hungarian Serenade op.10. He finally arrived on the world stage when his new orchestral work, Theme, Variations, and Finale op. 13, earned universal acclaim. His life forever changed when across Europe and America, renowned conductors such as Böhm, Swarowsky, Solti, Ormandy and Bernstein brought his creation to audiences. The Three Hungarian Sketches op. 14 that followed was also widely acclaimed following their first performance at the Baden-Baden International Music Festival in 1938. Rózsa’s career was now in ascent and by late 1934 he was the toast of Europe.

A hinge of fate occurred in 1934 when his friend Swiss-French composer Arthur Honegger introduced Rózsa to film score music, which he used to supplement his income. His score for Les Miserables (1934) captured Rózsa’s imagination and elicited his interest in this new medium. When his ballet Hungaria (1935) received public acclaim in London his path was set. He left Paris and took up residence in London in 1940 and secured his first film score assignment, Knight Without Armour (1937), which was produced by compatriot Alexander Korda. Pleased with his effort, Korda gave to another scoring assignment with Thunder In The City (1937). When he succeeded here also Korda’s offered him a contract with his London Films Company. His first company assignment was the epic film The Four Feathers (1939), which won him universal praise. His next film, The Thief of Bagdad (1940) forever changed his life path. World War II was escalating, and Korda soon lost financing for his film. Korda was determined to see his film through to completion and so relocated his company to Hollywood where he found financing and a blossoming film industry. Rózsa followed and acclimated well to his new home, composing with a passion.

Rózsa Hollywood career began in earnest with The Thief of Bagdad (1940), for which infused with exotic orchestrations and penned a love theme for the ages. The score won him international acclaim and his first Academy Award nomination. Three more Academy Award nominations followed in quick succession for Lydia (1940), Sundown (1941) and The Jungle Book (1942). For the later he demonstrated mastery of his craft by infusing his score with exotic nativist colors, which created a perfect synergy between oriental and occidental sensibilities. Rózsa received praise from many quarters and it was now apparent that he had become one of the top tier composers of Hollywood. 1943 was a pivotal year for Rózsa. First, he recorded the Jungle Book Suite, which was narrated by Sabu. This was a seminal event in that it was the first commercial recording of a U.S. film score ever to be issued. Second he began a very fruitful and satisfying collaboration with Hollywood director Billy Wilder. Third, he was honored with the Award of Merit of the National Association of American Composers and Conductors. And lastly, and most importantly, he became enamored with Margaret Finlason, whom het met at the Hollywood home of June Duprez, the actress who played the Princess in The Thief of Bagdad. They were soon after married and blessed with the births of two children; Juliet (1945) and Nicholas (1946).

His first effort with Wilder was Five Graves To Cairo (1943), which he followed with a banner year where he received two more Academy Award nominations for The Woman Of The Town (1944) an his controversial effort with Double Indemnity (1944). The musical director of Paramount criticized Rózsa’s approach for the score and insisted he rewrite it. Rózsa relates “I introduced certain asperities of rhythm and harmony which wouldn’t have caused anyone familiar with the serious musical scene to bat an eyelid, but which did cause consternation in certain musical quarters in Hollywood. Did I really have to have a G sharp in the second fiddles clashing with a G natural in the violas an octave below? Couldn’t I change it, just for his sake? In his opinion the place for such eccentricities was Carnegie Hall, not a movie studio. I refused to change a note, and thanked him for the compliment; he assured me it wasn’t meant as such and prophesied that the score would be thrown out lock, stock, and barrel after the sneak preview. In fact everybody liked what I’d done and the score remained intact, but the story gives one some idea of how difficult it was to maintain any decent level of musical integrity in the Hollywood of those days.”

The awarding of an Academy Award nomination was sweet vindication of Rózsa’s vision, but it served to alienate many of the musical power brokers of the day who did not like independent minded composers who did not tow the studio line. Following his great success in 1944, Rózsa in 1945 had a year for which composers dream. He was honored with an astounding three Academy Award nominations for The Lost Weekend, A Song To Remember, and lastly, Hitchcock’s Spellbound for which he won his first Academy Award. David O. Selznick, the producer and Alfred Hitchcock, the director had asked him for “a big love theme coupled with the strange sound for the paranormal.” As such, Rózsa penned one of the most sumptuous love themes in film score history and introduced the unique sound of the musical instrument the Theremin to emote the paranormal. Spellbound remains to this day one of his most enduring and popular scores. Most interesting is the side story that Hitchcock detested the score, which he believed ”got in the way of his direction.” When Rózsa won the Academy Award a contrite Hitchcock sent him a letter that was effusive with his praise for the score! It suffices to say that enmity evidently remained between the two men, as Rózsa was never again invited by Hitchcock to score one of his films.

In 1945 Rózsa’s recognition elicited an offer from the University of Southern California to join their faculty as a professor of film scoring, an offer he gladly accepted and enjoyed. Note worthy is that he was instrumental in the education and development of one of the finest film score composers of all time, namely Jerry Goldsmith. Rózsa career was now ascendant and he continued to build upon his success with The Killers (1946), a classic film noir for which he provided a dark, harsh and gritty soundscape that perfectly supported the film’s sinister characters and brutality. He received and Academy Award nomination for this effort as well as one for A Double Life (1948), which succeeded in earning him his second Oscar win. Now the toast of the town, he was offered a generous contract MGM Pictures in 1948, which proved to be a very fruitful collaboration, one that lasted 14 years until 1962. The MGM contract and success of the last three years gave Rózsa the means to purchase a mansion in the Hollywood hills and reunite his family by bringing his mother and his sister to Hollywood (his father had died during the war). He closed the decade with some of his finest efforts, which included The Naked City (1948) and Madame Bovary (1949).

Rózsa’s contract with MGM stipulated that he had first choice of any film of his choosing, an unprecedented arrangement. He opened the decade of the 1950s in great style with the modernist and urban drama The Asphalt Jungle (1950) and the momentous epic Quo Vadis (1951). During the filming of Quo Vadis, Rózsa developed an enduring love of Italy. Indeed it inspired him to write one of his finest classical works, his Violin Concerto (1953). Over time it became his practice to spend every summer in Santa Margherita Ligure, near the city of Portofino on Italy’s Riviera coast, and every winter in Hollywood. Rózsa was now at the height of his powers and year after year continued to unleash one fine score after another including the rousing Medieval epic Ivanhoe (1952) which earned him his 13th Academy Award nomination and the powerfully dramatic Julius Caesar (1953), which earned him his 14th Academy Award nomination. Additional notable scores included All the Brothers Were Valiant (1953), Knights of the Round Table (1953), Young Bess (1953), Beau Brummell (1954), Valley of the Kings (1954), The King’s Thief (1955), Lust for Life (1956), Tribute to a Bad Man (1956), The Seventh Sin (1957) and A Time to Love and a Time to Die (1958).

Rózsa closed the 1950s with a banner year that included The World the Flesh and the Devil (1959) and what many believe, including your author, to be his Magnum Opus; Ben-Hur (1959). When Ben-Hur came up he seized the opportunity immediately. Having fully research Romanic culture for the epic Quo Vadis, Rózsa was well prepared to take on the massive canvass Ben-Hur afforded him. He spent a year and a half attached to this project and found much inspiration staying at his villa in Santa Margherita Ligure. This setting aided him in composing not only the numerous marches and regal fanfare that fills the film, but also the multiplicity of themes required by this epic tale. Rózsa relates that his greatest challenge in scoring this religious film was creating music for the Christ. He ultimately chose to emote the theme using pipe organ and two sets of violins playing in harmonics to create an ethereal feeling to the music. These approaches proved very successful and indeed assisted him win his 3rd and final Academy Award.

Rózsa began the decade of the 1960s with the momentum of Ben-Hur giving him a full set of sails. He again tapped into his deep spiritual reservoir for the biblical epic King of Kings (1961), proving once again that he was without peer in the biblical genre. He then crowned the year by providing his stunning final masterwork, El Cid (1961). To assist him acclimate to this historical biopic he and his family were afforded a beautiful Spanish estate where he was assisted by an expert scholar on the El Cid, Nobel Prize-winning historian Dr. Ramon Menendez Pidal. His collaboration and research helped Rózsa discover Spanish folk songs and dance music circa the 12th century. He stated in his autobiography; “I spent a month in intense study of the music of the period. I also studied the Spanish folk songs, which Perdrell had gone about collecting in the early years of this century. With these two widely differing sources to draw upon, I was ready to compose the music. As always, I attempted to absorb these raw materials and translate them into my own musical language.”

The score to El Cid was in many ways a stunning triumph that also paradoxically marked the watershed in his amazing career. His grand and sweeping lyrical score featured one of the finest marches ever written, outstanding battle music, a lush love theme that earns him immortality and a finale where thanks to his music El Cid achieves a stirring on screen apotheosis. The score earned him two additional Academy Award nominations for Best Score and Best Song, but sadly he would never again manage to reach the pinnacle of success achieved by Ben-Hur and El Cid.

In 1962 his 14-year collaboration with MGM ended when his contract was terminated. This for many was a harbinger that marked the end of the Golden Age Era with its Studio System patronage. The tumult of the 1960s with the resultant dynamic flux of popular culture resulted in the number of his assignments diminishing significantly. As the decade progressed, the quality of his scores continued to shine in such efforts as the biblical epic Sodom and Gomorrah (1962) and drama The V.I.P.s (1963). He closed the decade with solid scores such as the controversial Vietnam tale The Green Berets (1968) and the Science Fiction thriller The Power (1968), but it was clear that he was no longer in demand or in year-end contention for Academy Award consideration.

To fill the void Rózsa returned to the concert halls from whence he came. He brought his usual passion and was indeed able to recapture some of his former glory with such pieces as “Notturno Ungherese” (1964), “Simfonia Concertante for Violin, Cello and Orchestra” (1966), and “The Piano Concerto, Op.30” (1967). The 1970s saw an output of only seven scores, but we observe quality writing across many genres including the biopic The Private Life of Sherlock Holmes (1970), the wondrous and ethnically rich fantasy tale The Golden Voyage of Sinbad (1974), the film noir tale of Last Embrace (1979) and the Science Fiction thriller Time After Time (1979). But it was his effort in Providence (1977), his best score of thie decade, that the public once again bore witness to his genius. Rózsa’s succeeded through his music in bringing continuity, and a much-needed unifying thread to what was a visually disjointed film. His nostalgic score thirsts and yearns, bringing forth somber yet powerful emotions, which perfectly support the main character Clive’s twisted narrative. He received the French film academy’s César award in recognition of this fine achievement.

The 1980s stands as a sixth decade for which Rózsa composed for the screen, a truly remarkable achievement. He began the decade with the spy thriller Eye Of The Needle (1981), which was followed by Steve Martin’s Dead Men Don’t Wear Plaid, a comic homage to Hollywood’s golden age of Film Noir. Regretfully the Maestro suffered a stroke later that year while vacationing in his beloved Italy that ended his film score career, although he did continue to compose a number of concert pieces including the Sonata Ondes Martenot Opus 45. In 1995 at the age of 82 he passed away at his California estate bringing to an end the career of one of the Titans of film score art.

RÓZSA’S COMPOSITIONAL STYLE

I believe Rózsa successfully adapted and translated his superb classical sensibilities to provide a unique and singular voice within Film Score art. Although he left Hungary, the Hungary in him never left. The native folk music of his homeland became an integral part of his own musical language and he relates that he often found his own melodies arising from out this rich ethnic milieu. It suffices to say that this unique culture had an indelible effect upon him, and in fact over time came to be encoded into his compositional DNA. His formal training at the Leipzig Conservatory instilled an ordered discipline to his compositional approach, which was perfectly joined by his innate understanding and mastery of instruments, orchestration and counterpoint. And finally, his choral training and residency under Karl Straube, the renowned Cantor of the Thomaskirche resulted in his mastery of the use of the human voice, which often elevated his scores to sublime heights.

Like kindred Golden Age composers Max Steiner and Erich Wolfgang Korngold, Rózsa believed in the forthright, unabashed lyrical expression of the Romantic Era of classical music. He joined this lush and expressive melodramatic form with a meticulous capacity to research and explore the various historical and ethnic sources required of the diverse films he scored. The marriage of his innate talent, musical training and incorporation of source materials served to create a truly bold and vibrant sound, which resonated across the full spectrum of film genres. Time and time again Rózsa demonstrated mastery of his craft, whether the film offered exotic settings, dwelled in the fantasy realm, took place in the gritty and dark urban world of Film Noir, or supported the spectacle of grand biblical epics. So, if you enjoy melodrama and passion, coupled with a bold and vibrant musical expression, you will find a comfortable chair with Rózsa.

RÓZSA’S LEGACY

Rózsa was a man of his times, a product of the old world, a gentleman in the truest sense of the word and a masterful artist whose contributions to film score art cannot be understated. His innate talent and training resulted in the rare accomplishment of renowned success in both the concert hall and theater. Like John Barry, he repeatedly demonstrated that rare and supreme gift of capturing a film’s emotional core with a defining melody. These rare and timeless melodies, often accompanied by propulsive rhythms, inspired chorus and gifted contrapuntal writing secure his musical legacy and gain him immortality. I highly recommend that you explore the canon of this Titan of film.

AWARDS

Academy Award Wins:

• 1946 – Best Original Score – Spellbound
• 1948 – Best Original Score – A Double Life
• 1960 – Best Original Score – Ben-Hur

Academy Award Nominations:

• 1941 – Best Original Score – The Thief of Baghdad
• 1942 – Best Original Score – Lydia
• 1942 – Best Original Score – Sundown
• 1943 – Best Original Score – The Jungle Book
• 1945 – Best Original Score – Double Indemnity
• 1945 – Best Original Score – The Woman of the Town
• 1946 – Best Original Score – Lost Weekend
• 1946 – Best Original Score – A Song to Remember
• 1947 – Best Original Score – The Killers
• 1952 – Best Original Score – Quo Vadis?
• 1953 – Best Original Score – Ivanhoe
• 1954 – Best Original Score – Julius Caesar
• 1962 – Best Original Score – El Cid
• 1962 – Best Original Song – “The Falcon and the Dove” from El Cid

FILMOGRAPHY

1930s:
The Squeaker (1937), Knight Without Armour (1937), The Green Cockatoo (1937), Thunder in the City (1937), The Divorce of Lady X (1938), The Spy in Black (1939), The Four Feathers (1939), On the Night of the Fire (1939), Ten Days in Paris (1939).

1940s:
The Thief of Baghdad (1940), Sundown (1941), That Hamilton Woman (1941), Lydia (1941), New Wine (1941), Jungle Book (1942) To Be or Not to Be (1942), Jacare (1942), Sahara (1943), Five Graves to Cairo (1943), So Proudly We Hail! (1943), Ministry of Fear (1944), Dark Waters (1944), Double Indemnity (1944), The Hour Before the Dawn (1944), The Man in Half Moon Street (1944), The Woman of the Town (1944), Blood on the Sun (1945), Lady on a Train (1945), Lost Weekend (1945), A Song to Remember (1945), Spellbound (1945), The Killers (1946), The Strange Love of Martha Ivers (1946), Because of Him (1946), Brute Force (1947), Desert Fury (1947), A Double Life (1947), The Macomber Affair (1947), The Other Love (1947), The Red House (1947), Song of Sheherazade (1947), Time Out of Mind (1947), A Woman’s Vengeance (1947), The Naked City (1948), Secret Beyond the Door (1948), Command Decision (1948), Kiss the Blood Off My Hands (1948), The Bribe (1949), Adam’s Rib (1949), Criss Cross (1949), East Side, West Side (1949), Edward, My Son (1949), Madame Bovary (1949), The Red Danube (1949).

1950s:
The Asphalt Jungle (1950), Crisis (1950), The Miniver Story (1950), The Light Touch (1951), Quo Vadis (1951), Plymouth Adventure (1952), Ivanhoe (1952), The Story of Three Loves (1953), Julius Caesar (1953), All the Brothers Were Valiant (1953), Knights of the Round Table (1953), Young Bess (1953), Beau Brummell (1954), Crest of the Wave (1954), Green Fire (1954), Men of the Fighting Lady (1954), Valley of the Kings (1954), The King’s Thief (1955), Moonfleet (1955), Bhowani Junction (1956), Diane (1956), Lust for Life (1956), Tribute to a Bad Man (1956), The Seventh Sin (1957), Something of Value (1957), Tip on a Dead Jockey (1957), A Time to Love and a Time to Die (1958), The World the Flesh and the Devil (1959), Ben-Hur (1959).

1960s, 70s and 80s:
King of Kings (1961), El Cid (1961), Sodom and Gomorrah (1962), The V.I.P.s (1963), The Green Berets (1968), The Power (1968), The Private Life of Sherlock Holmes (1970), The Golden Voyage of Sinbad (1974), The Private Files of J. Edgar Hoover (1977), Providence (1977), Fedora (1978), Last Embrace (1979), Time After Time (1979), Eye of the Needle (1981), Dead Men Don’t Wear Plaid (1982).

RECOMMENDATIONS:

MIKLÓS RÓZSA: A CENTENARY CELEBRATION (2007)

If you are looking for a compilation album to introduce you to the Maestro, this 3CD set comes highly recommended. It includes 22 magnificent selections from films that span his amazing career from the 1930’s to the 1980s, including extended suites from such outstanding scores Ben-Hur, El Cid, King of Kings, Spellbound, The Thief of Bagdad, Quo Vadis?, The Last Embrace, That Hamilton Woman, Jungle Book, Tribute to a Bad Man, Eye of the Needle, The World the Flesh and the Devil, Fedora, The Story of Three Loves, The Lost Weekend, Plymouth Adventure, The Private Life of Sherlock Holmes, The Strange Love of Martha Ivers and Dead Men Don’t Wear Plaid. The compilation was produced by Robert Townson for the Varese Sarabande label.

BEN-HUR (1959)

This two CD booklet set on the Turner label contains all the cues including outtakes used in the film. The restored stereo sound is good and the booklet extensive, detailed and quite informative. If you are a serious collector, you cannot go wrong adding this to your collection. It is my view that this is one of the most thematically rich and melodically lush film scores ever penned by the hand of man. The full spectrum of human emotions are captured, perfectly emoted and expertly attenuated to the film’s narrative and imagery. Replete with a timeless love theme, rousing marches and inspired chorus, this score succeeds on all counts. I consider this score Rózsa’s Magnum Opus, one that I believe gains him immortality, and so I assign it my highest rating, a masterpiece.

EL CID (1961)

This score rightfully contends with Ben-Hur as Rózsa’s Magnum Opus. This 3CD box set offers the complete score. The quality of the recordings and the liner notes make it the definitive collector’s choice. The score to El Cid was in many ways a stunning triumph that also paradoxically marked the watershed in his amazing career. His grand and sweeping lyrical score featured the El Cid March, one of the finest marches ever written, outstanding battle music, a lush love theme that earns him immortality and a inspiring finale where thanks to his music El Cid achieves a stirring on screen apotheosis. Nic Raine conducts the City Of Prague Orchestra and Chorus for the Tadlow label.

SPELLBOUND (1945)

This CD provides the world premiere of the complete 1945 Academy Award-winning score. Folks, this innovative score was groundbreaking and serves as a milestone in the history of film scores. Rózsa’s inaugural use of the Theremin to emote a ‘not of this world’ sound to the score was perfectly conceived and executed. The score provides four outstanding themes with the lush love theme standing the test of time as being one of the most beautiful ever written. Rózsa’s dramatic writing and interplay among the themes served to produce several very complex and outstanding cues and offers us compelling testimony to his exceptional talent in interpreting the film’s emotional narrative. This historic score is an essential item for any collector, I highly recommend it and assign it my highest rating – a masterpiece. Allan Wilson conducts the Slovak Symphony Orchestra for the Intrada label.

QUO VADIS? (1951)

Rózsa sought to augment the orchestra with instruments from antiquity, which included lyres, cytharas, buccina, salphinx, ethnic drums, sistrums and an exotic array of percussion. Folks, this score is one of the finest examples of the ancient epics genre to be found. Rózsa created a multiplicity of great themes and motifs, which interplay with remarkable beauty and complexity. He infused the film with several exotic dances, emoted the martial splendor of Rome and its emperor with outstanding fanfare and marches, and lastly captured the spiritual power of the story with his stirring use of liturgical songs. This first ever digital stereo release of his masterpiece concert suite is a gift for which words fail me. I believe this score to be one of the finest Golden Age scores ever to be written and highly recommend you add it to your collection. Nic Raine and the City of Prague Orchestra and Chorus for the Tadlow label.

PROVIDENCE (1977)

Rózsa succeeded through his music in bringing continuity, and a much-needed unifying thread to what was a visually disjointed film. His nostalgic score thirsts and yearns, bringing forth somber yet powerful emotions, which perfectly support the main character Clive’s twisted narrative. Folks, “Providence” is a rebirth score for Rózsa, which reveals and once again reaffirms his innate and singular gift for melody and impassioned lyricism. His score provides two beautiful themes that are rendered in a multiplicity of forms, which often entwine in stirring interplay. His writing for solo instruments is exceptional and masterfully captures their unique and singular beauty. One always feels Rózsa’s music and I highly recommend this historic score for inclusion in your collection.

BIBLIOGRAPHY

1. Burlingame, Jon. Sound and Vision: 60 Years of Motion Picture Soundtracks. New York: Billboard books, 2000.
2. Miklós Rózsa Biography, Miklós Rózsa Official Website
3. Miklós Rózsa – Wikipedia
4. Miklós Rózsa the Internet Movie Database
5. Miklós Rózsa at the Internet Broadway Database
6. Miklós Rózsa at AmericanComposers.com
7. Miklós Rózsa: The Midas Touch
By Konstantinos Sotiropoulos
8. Time After Time: The Life of Miklos Rozsa by Steve Vertlieb (http://thethunderchild.com/Movies/VertliebViews/RoszaStory.html)
9. Booklet notes from the RCA Victor release of “Spellbound: The Classic Film Scores of Miklos Rozsa”.
10.Booklet notes from the Stanyan Records release of “Spellbound”.