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THE SEARCHERS – Max Steiner

100 GREATEST SCORES OF ALL TIME

Original Review by Craig Lysy

Renowned director John Ford had long been recognized as a master of the Western genre with successes, which included Stagecoach (1939), My Darling Clementine (1946), Fort Apache (1948) and Wagon Master (1950). He came upon a novel The Searchers (1954) by Alan Le May that he believed offered a powerful narrative, which needed to be brought to the big screen. Warner Brothers Studio approved the project, purchased the film rights and tasked Ford with bringing his vision to fruition. Frank Nugent was hired to write the screenplay and Ford assembled a stellar cast, which included; John Wayne as Ethan Edwards, Jeffrey Hunter as Martin Pawley, Vera Miles as Laurie Jorgensen, Ward Bond as Reverend Captain Samuel Clayton, Natalie Woods as Debbie Edwards and Henry Brandon as Scar. The story was set in Texas and inspired by a real life event, the 1836 kidnapping of Cynthia Ann Parker by Comanche Indians. She would spend twenty-four years of her life among them, bearing and raising three sons with her Comanche husband.

In the film version, set in 1868, her uncle Ethan has been searching for her ever since, obsessed with avenging his brother’s death and recovering his niece. Film allusions that he had an affair with his sister-in-law and fathered Debbie further muddies the water, injecting additional powerful emotional drivers. What is compelling about the film’s narrative is that Ethan seems driven more by revenge against the Comanche for the slaughter of his brother and Martha than by rescuing Debbie. Regarding Ethan, critic Greil Marcus wrote; “Ethan is clearly Ahab. He is the good American hero driving himself past all known limits and into madness, his commitment to honor and decency burned down to a core of vengeance.” There is also a larger story here, racism that justifies genocide, the manifest destiny of white civilization’s triumph over a savage, inferior, brown skinned Indian race. Yet Ford in his story telling sows ambiguity, and undermines this narrative as our hero is every bit as savage as the Indians he hunts; he shoots the eyes out of one dead Indian, and scalps another, he disrupts a funeral service for white victims as it is delaying his lust for vengeance, and most grievous, he tries to shoot his niece for having sex with Indians.

In the final analysis Ford blurred the traditional American archetypes, exposing in a very graphic way, their flaws and imperfections. The film was a commercial success, but remarkably secured little critical acclaim, earning no Academy Award recognition. Over the years the assessment has changed dramatically, being named by the American Film Institute in 2008 as one of the most influential films in the genre, as well as the greatest American western of all time. It stands today as number 12 on the American Film Institutes list of the 100 greatest American movies of all time.

Max Steiner had a long and productive relationship with Warner Brothers, and given his record of success in the western genre, Cimarron (1939), Dodge City (1939), They Died With Their Boots On (1941), and Distant Drums (1951), he was the studio’s natural choice. Steiner understood that American folklore was essential to the film’s narrative. As such he began the film with a main title song, and interpolated his soundscape with a number of traditional ballads including “Shall We Gather By The River”, as well as the Confederate anthems “Dixie”, “The Yellow Rose Of Texas” and “The Bonnie Blue Flag.” Steiner also created traditional bugle sounding cavalry calls and the classic Garryowen 7th Cavalry march to support the US army. He also infused his soundscape with the guitar to provide a folksy ambiance to the story. But creative differences soon arose between him and the micro-managing Ford. After viewing the film’s final cut, Steiner was deeply disappointed by Ford’s editing and deletion of several of his nondiegetic cues.

For the film Steiner created a multiplicity of themes, His primary theme is first heard in the Main Titles, the song “The Searchers” written by Stan Jones and sung by the Sons of the Pioneers. Its wordless melody serves as Ethan’s Theme in the film. Within its lyrics and melody are found loneliness, sadness, an estrangement of a man from home and family. Ethan is a sad figure, a man of lost causes; the confederacy and his affair with Martha, his brother’s wife. For Edwards Family Theme Steiner interpolated the Civil War ballad “Lorena” composed by Henry DeLafayette Webster, with lyrics by Joseph Webster. The ballad is mournful, a lamentation of a soldier longing for his now-dead wife. The theme is multifactorial in that it also serves as a leitmotif for Martha, an allusion to her forbidden affair with Ethan. Martin’s Theme is youthful and gregarious, carried by confident strings, although Steiner softens and romanticizes it with violin statements for scenes with Laurie and Look. The rhythmic Travel Theme offers a repeating four-note string ostinato, with supportive woodwinds, which carries the men with its confidant and determined cadence. Juxtaposed to these western identities are three themes for the Indians; the Comanche Theme offers bold fanfare and descending tom-tom rhythms powered by tympani. The theme has non-western harmonics and rhythms, which Steiner used to juxtapose to his western themes for the white people in the film. The Indian Idyll Theme offers a gentile, woodwind laden pastorale. Its application involves Indian women in the film, a striking juxtaposition to the aggressive and masculine Comanche Theme. Lastly, there is Chief Scar’s Theme, a menacing six-note descending construct, which perfectly captures his strength and savagery.

We open grandly in “Main Title” where Steiner eschews the use of his Warner Brothers logo music, instead opening with thunderous fanfare and tom-tom declarations of the Comanche Theme, one of his most powerful film openings. As the opening credits roll we segue at 0:22 into the song “The Searchers” sung by the group Sons of the Pioneers, supported by a guitar, and strings. The folk song introduces the film’s narrative nicely. We close with a screen fade to black, which displays Texas 1868. We segue seamlessly into “The Prodigal Returns”, a splendid cue where we bear witness to Steiner’s compositional gift as he introduces and weaves together a number of his primary themes. We open with the Edward’s Family Theme as Martha Edwards opens the ranch house door to reveal a classic western chaparral vista. In the distance a lone rider, Ethan Edwards approaches supported by the iconic Confederate anthem “The Bonnie Blue Flag”, but the anthem is plaintive, shorn of it bravado as the Confederacy, and Ethan by extension, were defeated. Ethan’s Theme joins to support his arrival as we conclude as we began with the Lorena melody.

“Martin Pawley” reveals Ethan’s adopted son Martin arriving on horseback during supper atop a spirited and confidant rendering of his theme. At 0:34 we segue into the Lorena melody as he joins his family for supper. Ethan is cold and remarks that Martin could be mistaken for a half-breed. Plaintive woodwinds speak to the awkward reunion. After super in “A Medal For Debbie”, Ethan’s nephew Ben is presented with a gift, his saber, which elicits he to ask him why it has taken him so long to return from the war. Before Ethan can answer, Aaron sends Ben off to bed. Martin decides to also turn in for the night and says good night to everyone. The tension remains with Ethan and a reticent somewhat pensive rendering of Martin’s Theme carries the scene. At 0:44 we segue atop the Lorena melody as we see Ethan present Debbie with a gift, his medal of Valor medal. In “Newly Minted Gold” Aaron, states that he is welcome to stay as long as he wants, which prompts Ethan to say he will pay his way as he offers two bags of gold coins. The Edward’s Family Theme opens the scene and is joined by a twinkling harp mysterioso carrying Ethan’s Theme, as he presents Aaron with pristine, unused gold coins. At 1:04 we are jolted by bold horn declarations, which support the approach of riders early morning the next day. The thematic interplay of this cue is spot on.

In “Fond Farewell” a Texas marshal, the boisterous Reverend Captain Clayton has arrived. He imperiously deputizes the men to assist him bring some cattle thieves to justice. Ethan gently kisses Martha on the forehead and the men depart. You can tell in her eyes that she has feelings for Ethan, feelings that do not go unnoticed by the Reverend Clayton. Steiner supports the kiss with Ethan’s Theme and the departure with a tender rendering of the Edward’s Family Theme by harpsichord and gentile strings. “Moving Out” provides some enjoyable thematic interplay. The scene reveals the men riding off in search of the bandits. Interplay of the Travel, Edwards Family and Ethan’s Themes makes for a very satisfying cue, which perfectly supports the film’s imagery. At 0:43 finger cymbals, woodwinds and drums emoting the Comanche Theme inform us of the presence of Indians. In “Anxious Pioneers” strings furioso and the Travel Theme carry the men’s progress until they make the grim discovery of the Jorgenson cattle slaughtered. Ethan deduces that this has been a ruse to lure the Jorgenson’s from their now defenseless homestead, which elicits a palpable terror in the men. The party rides off quickly in desperation, with the exception of Ethan and Mose, who remain to feed and rest their horses. As Ethan rubs his horse mortal fear rises up in him and the Lorena melody inform us of his thoughts of Martha. We scene change to the Edwards homestead at nightfall where Aaron discerns troubling signs of an approaching Indian raid. Steiner sows fear with brief quotes of the Comanche Theme set atop grim low register strings opposed by a violin sustain and plaintive woodwinds.

In “The Shadow Of Chief Scar” Martin and Martha are terrified and sent Debbie to hide by the grave of he grandmother. Their efforts are for naught as an ominous shadow envelops Debbie who looks up to see Chief Scar. Dark low register strings ascend as a tremolo and culminate with his bullhorn blast, which sounds the attack. “Desperate Return” reveals Ethan and Mose riding desperately to the Edwards ranch. They pass Martin, whose horse gave out, not stopping to assist hem. Muted trumpets and tense drums carry their progress, ending abruptly as Ethan pulls up short of the ranch, which is ablaze. “Edwards House Ablaze” offers an emotional powerhouse with perhaps Steiner’s most impassioned writing. The ranch is ablaze and Ethan runs in to find survivors, only to discover the remains of Martha’s horrific violation. Steiner offers crashing orchestral chords of torment and aching strings agonia, which wrench our hearts. The music descends in writhing pain as the Edwards Family Theme plays as a lament and a plaintive solo violin informs us of Ethan’s pain and regret. We end on a truly tragic rendering of the Lorena melody, which passes unto the silence of death.

In “Rescue Posse Moves Out” we see Ethan shockingly violate the decorum of the burials by bellowing out “There’s no more time for praying – put an Amen to it!” The widow Jorgenson pleads with him to not be consumed by vengeance, but her words fall on deaf ears as Ethan will not be delayed or deterred. We open with the solemn strains of the hymn “Shall we gather at the River”, which is severed by Ethan’s declaration. Plaintive strings carry the widow’s plea, and as Ethan departs with a party of Rangers an aggressive rendering of his theme carries their progress. The marriage of film narrative and score here is excellent. They come across a buried Comanche, and to the Reverend’s horror, Ethan shoots outs the corpse’s eyes so he can never find the path to the spirit world. “Ethan’s Scouting Report” reveals Ethan, who had ridden ahead of the party to scout, returning with news of an Indian encampment by the river. A crescendo by ascending strings bellicoso support the scene.

“Indian Escort And Attack” offers a score’s highlight, with its longest and first action cue. Ethan discovers that they are being flanked on both sides by Indian war parties. The drum rhythms of the Comanche Theme sound and intensify as they ride. The Travel Theme carries their progress with a rising tension in the horns with interplay of a stalking and menacing Comanche Theme. At 1:15 Steiner begins a crescendo on the Comanche Theme, which erupts at 2:42 as the men bolt for the river rather than be encircled, with the Comanche in hot pursuit. Steiner whips his orchestra into frenzy as they cross the river, dismount and take up defensive positions. An overconfident Chief Scar orders a frontal assault atop the Comanche Theme, which results in heavy casualties and forces a retreat. When the Reverend orders the men to cease fire so the Indians can collect their dead, Ethan becomes enraged and threatens to continue alone.

In “If They’re Still Alive” Ethan, Martin and Brad set off on their own in pursuit of the girls. Dissension mounts with Brad challenging Ethan’s negativity regarding the fate of the girls. Ethan’s Theme and a plodding rendering of the Travel Theme carries their progress as they struggle under the searing desert sun. In “Mysterious Trail” hoof prints of a single rider causes Ethan to set-off on his own. He returns later exhausted, thirsty and with nothing to show for his efforts. The men comment that he is missing his coat, which Ethan asserts he must have lost. A plaintive rendering of the Lorena melody supported my nativist drums and dire horns carry the scene, culminating in fanfare as Ethan returns. “False Sighting” reveals a hopeful Brad who claims he saw Lucy alive in the Comanche camp. Ethan crushes his spirits by stating that it was not Lucy, as he had found her corpse and buried her in his coat. A hopeful and surging line of ascending strings and horns carry Brad’s hope, only to be severed by Ethan’s devastating news.

“Bad News For Jorgenson” Brad is consumed by rage and foolishly rides off to avenge her death. Dark low register strings support violins agonia as we see Brad’s anguish. From this bursts rage as he bolts with his horse alone and unstoppable on a doomed quest for revenge. Strings furioso and horn declarations propel him, yet are soon silenced by a grim statement of the Comanche Theme, which informs us of his death. In a scene change we see the coming of winter snows, which forces Ethan to call off the search until spring as they return to the Jorgenson ranch. Ethan’s Theme on strummed guitar and horns carry their progress. In “Laurie Welcomes Martin”, Laurie the remaining Jorgenson daughter prims herself and rushes to greet Martin, with whom she is smitten. Strings romantico carry her to him, and he is clearly taken by her sight as his masculine theme is softened for a romantic rendering on solo violin. Steiner’s music carries this joyous reunion perfectly. “Stubborn Marty” reveals Ethan riding to Futterman’s Trading Post after hearing news regarding Debbie. A string crescendo carries Ethan’s departure. Martin is insistent on joining him, much to the dismay of Laurie. At 0:12 refulgent strings inform us of her romantic longing, entwining with the romantic variant of his theme in classic Steineresque fashion. We conclude with uncertainty born by strings and harp as Martin departs.

“Decoy For Futterman” offers a marvelous tension cue. Ethan and Martin are camped for the night, but all is not as it seems. Futterman, the trader who sold Ethan information on Debbie is intent on bushwhacking him to get the rest of his money. Ethan sensed his duplicity and sets a trap, with Martin unknowingly being a decoy. Dark strings, harp glissandi and formless piano sow unease as the men approach. We build slowly to a crescendo at 1:27 when horn declarations carry Ethan’s fury as he guns down the men from his hidden position. Dark strings carry their passing and we end on comic woodwinds as an angry Martin objects to how Ethan used him. “Indian Idyll” is a score highlight, which offers an extended rendering of the Indian Idyll Theme, a woodwind-laden pastorale. Laurie has received a letter from Ethan and reads it to her family. Scar’s Theme opens the cue as the letter relates their pursuit of him. We see Ethan and Martin are trading goods at the Indian agency where Indians come to trade. They hope to glean information on Debbie’s whereabouts. The Comanche Theme supports the setting, yielding to the Indian Idyll Theme at 0:38. As Martin sells the Indians hats, a comic variant of his theme entwines with the Indian Idyll Theme to support the moment. When Ethan obtains information on Chief Scar he pulls Martin away to follow the lead. At 1:39 we scene change atop the Travel Theme as we see Ethan and Martin riding on the trail in search of Scar. An Indian woman (Look) follows them on horseback, as Martin has evidently not only purchased a blanket, but a wife! The Indian Idyll Theme carries her progress, shifting to and fro with the men’s Travel theme.

“Mrs. Pawley” offers wonderful thematic interplay. Look tries to serve Martin food, but he is uncomfortable and declines. When he beds down for the night she lays next to him, which elicits him to cruelly kick her away, causing her to roll down a hill. The gentility of the Indian Idyll Theme on violins and finger cymbals supports her efforts to serve and care for her man. Martin’s Theme joins on violins in a beautiful tête-à-tête, which is severed when he boots her down the hill. In “Keep Their Bellies Empty” Look becomes terrified when Martin speaks Scar’s name. Dark strings intone Scar’s Theme and we see it terrifies her. The next day Look has left and the snows have come. Ethan shoots a buffalo for meat, but then proceeds to slaughter the herd stating “Keep their bellies empty.” Steiner supports the scene with inspired interplay of the Travel Theme, the Indian Idyll Theme on oboe, and the Comanche Theme, unleashing thunderous tympani for the buffalo stampede. We close on a distant bugle call, which informs us of the US cavalry. We flow seamlessly into “Cavalry Atrocity” as we see a column of US cavalry riding forth. Ethan and Martin follow the bugle sounds and discover a massacre of the Indian village. We open to a proud marcia militare, which supports the cavalry. At 0:58 we scene change to the massacre where Look’s body is found. The Indian Idyll Theme joins on solo oboe at 1:19 as a lament as they survey the carnage. A plaintive Martin’s Theme enters at 1:43 as he gazes at her dead body. At 2:04 the inspiring Garryowen March of the 7th Calvary carries their progress as they boldly ride into the trading post.

In “Charlie Serenades Laurie” Laurie continues reading Martin’s letter in which he discloses that he will be away for a second Christmas. She is dismayed and Charlie seizes the moment to move in by serenading her. While playing a guitar he sings the folk tune “Skip To My Lou”, which is then taken up wonderfully by full orchestra as we see in a scene change, the silhouettes of Ethan and Martin against the sunrise. “Chief Scar’s Camp” reveals a Mexican intermediary escorting Ethan and Martin to a meeting with Scar at his camp. There is tension in the air and Steiner informs us that this is Scar’s domain by supporting the scene with a menacing rendering of Scar’s Theme and the Comanche Theme, which join in a threatening synergy. “Teepee Talk” offers a revelatory moment as a defiant Scar boasts of his scalp trophies, his revenge for the death of his two sons by white men. Ethan is startled when he discovers that it is Debbie who brings the spear to Scar. Scar’s Theme carries the scene, as it is his domain. At 0:48 a drum roll and orchestral strike launch an angry Ethan’s Theme, that joins when he views the white scalps on the lance, which to their amazement is presented by Debbie. Steiner’s music really supports this tense meeting of adversaries well.

“Debbie Appears” offers a powerful scene and score highlight where Steiner just delivers the goods. Debbie appears above the men’s camp and a rising ethereal tremolo of strings usher in a stirring confluence of the Ethan Family Theme and Lorena melody – an allusion that Debbie is Ethan’s daughter. She asks that they leave, declaring, “These are my people”. This enrages Ethan as the ultimate betrayal and he draws his gun to kill her. Martin however, blocks his shot and at 1:14 the Comanche Theme sounds as an arrow strikes Ethan in the shoulder, the onset of Scar’s attack. Steiner whips the theme into a marcia bellicose as the men flee into a defensible crevice. The Comanche motifs dominate the fight as Ethan and Martin mange to hold them off, even managing to shoot Scar’s horse from under him. After the retreat at 3:15 Martin obtains water to tend to Ethan’s wound, which Steiner supports with a twinkling harp. We conclude upon a plaintive rendering of Ethan’s Theme as he offers Martin his last will and testament.

In “Unwed Bride” Ethan and Martin return home and manage to interrupt Laurie and Charlie’s wedding ceremony. Steiner reprises the hymn “Shall we gather at the River”, which is omitted from the album to support the scene. As Martin and Laurie lock eyes we see that she still loves him, and the romantic variant of Martin’s Theme supports their reunion and hug. Charlie is angry at the disruption, and the sight of Laurie in Martin’s arms, so he and Martin fist fight. Soon a cavalry Lieutenant arrives and brings orders from Colonel Greenhill for Captain Clayton to deputize a party to join in the attack on Scar’s camp. “Overlooking The Indian Camp” was dialed out of the film by Ford. Ethan stands atop a hilltop overlooking Scar’s camp, where he assesses Scar’s number of warriors. He rejoins his men and plans his attack. Steiner vision was to support the tension with a textural cue, which included a fleeting statement of Scar’s Theme. In “Hog Back Approach” Martin is still wary of Ethan and so demands to be lowered into the camp to rescue Debbie before the attack. Martin penetrates the camp undetected; yet Scar senses something in the wind. Fortune smiles with the arrival of US cavalry at the Rangers camp. Ethan’s Theme supports the scene with a descent of strings as Martin is lowered into the camp. Once inside the Comanche Theme dominates until horns declare the arrival of the cavalry.

“Marty Rescues Debbie” reveals Martin finding Debbie with a plodding variant of his theme supporting his efforts. When she recognizes him as her brother the Lorena melody carries her joy. Before they can escape, Scar enters the tepee, severing the melody grimly. He is gunned down quickly by Martin, which Steiner supports with an orchestral spike. In “Attack On The Indians” Steiner offers a score highlight with some outstanding action writing. Martin’s gunshot leads the Reverend to launch the attack and they storm into the Comanche camp, killing everyone in their way. The Bugle call of the US cavalry charge propels the men into battle. Steiner uses an assault of horns, percussion, and repeating ascending strings furioso crescendos to support the battle. Attempts of the Comanche Theme to assert itself are snuffed out. When Ethan finds Scar, he takes his knife, and in a horrific act of revenge, scalps Scar. Ethan then spots Debbie and pursues her on horseback. Flight music carries her and Ethan’s Theme supports his pursuit with dramatic power. Debbie eventually stumbles allowing Ethan to finally overtake her. Instead of killing her, he lifts her up tenderly in his arms and states, “Let’s go home Debbie.” Steiner supports the moment with the Lorena melody, once again providing a subtle allusion to her parentage. It is interesting to note that the original script, which was changed by Ford had Ethan stating, “You sure favor your mother”, a more overt acknowledgment of he being her father.

In “Home Again / End Title” Ethan and Martin return to the Jorgenson’s who cannot believe their eyes at the sight of Debbie. Guitar and horns usher in a warm and hopeful rendering of Ethan’s Theme, which swells into a beautiful string laden rendering of the Lorena melody. As they go in to celebrate, Ethan remains outside, a man still estranged, condemned as the lyrics of the title song state, to roam. “The Searchers” sung in heartfelt fashion by the Sons of the Pioneers concludes the film. A coda of the Comanche Theme was excised from the final cut, as Ford desired that the film end on “The Searchers” closing statement – a final tweak of Steiner’s nose me thinks. “The Searchers” offers a bonus cue where the Sons of the Pioneer accompanied by a solo guitar sing all four verses of the song.

Please allow me to thank James D’Arc and Ray Faiola for this long sought restoration of Max Steiner’s masterwork. The score was preserved on acetate discs in the Steiner Collection at Brigham Young University and the digital remastering by Ray Faiola and Chelsea Rialto Studios is excellent. The cues were recorded inexplicably on 78-rpm discs and some cues had noticeable groove wear. The creative team made the decision to not over-process the restoration in an effort to preserve Steiner’s original sound. While this at times resulted in some audio imperfection, it did not for me detract from the listening experience. This was one of Steiner’s finest efforts for what are perhaps the greatest Western of them all. He created seven fine themes and for authenticity, infused his soundscape with a number of classic American ballads and marches. His song “The Searchers” perfectly captured the essence of the anti-hero Ethan Edwards, whose sad story carried the film. In scene after scene Steiner’s music fleshed out the character emotions, the Texican and Comanche identities, and the beautiful Monument Valley vistas with its uniquely color stratified buttes. For me, “The Searches” offers testimony to a perfect confluence of film imagery, narrative and music. This score is a masterwork of the late Golden Age, one of the finest in Steiner’s canon, and I highly recommend its purchase for your collection.

For those of you unfamiliar with the score, I have embedded a Youtube link to a wonderful 7 minute suite, which features Steiner’s primary themes: https://www.youtube.com/watch?v=Gu8moDEJd-Y

Buy the Searchers soundtrack from the Movie Music UK Store

Track Listing:

  • Main Title (vocals by Sons of the Pioneers) (1:36)
  • The Prodigal Returns (1:52)
  • Martin Pawley (1:19)
  • A Medal For Debbie (1:49)
  • Newly Minted Gold (1:16)
  • Fond Farewell (0:46)
  • Moving Out (1:25)
  • Anxious Pioneers (2:13)
  • In the Shadow of Chief Scar (0:21)
  • Desperate Return (0:35)
  • Edwards House Ablaze (2:00)
  • Rescue Posse Moves Out (1:42)
  • Ethan’s Scouting Report (0:22)
  • Indian Escort and Attack (7:03)
  • If They’re Still Alive (1:07)
  • Mysterious Trail (1:00)
  • False Sighting (0:20)
  • Bad News for Jorgenson (3:33)
  • Laurie Welcomes Martin (0:52)
  • Stubborn Marty (0:52)
  • Decoy for Futterman (2:08)
  • Indian Idyll (3:19)
  • Mrs. Pawley (1:24)
  • Keep Their Bellies Empty (2:59)
  • Cavalry Atrocity (3:18)
  • Charlie Serenades Laurie (vocal by Ken Curtis) (1:35)
  • Chief Scar’s Camp (2:01)
  • Tepee Talk (1:47)
  • Debbie Appears (4:24)
  • Unwed Bride (0:46)
  • Overlooking the Indian Camp (1:04)
  • Hog Back Approach (1:23)
  • Marty Rescues Debbie (1:22)
  • Attack on the Indians (2:35)
  • Home Again/End Title (vocals by Sons of the Pioneers) (2:20)
  • The Searchers (vocals by Sons of the Pioneers) (4:02)

Running Time: 68 minutes 30 seconds

Brigham Young University Film Music Archives FMA-MS121 (1956/2015)

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

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  1. Karoly Mazak
    June 23, 2017 at 6:50 am

    Hi Craig,

    Will it indeed be only 100 greatest scores in this series?
    You have already selected 40 until 1956.
    In your preliminary post you said 38% of your choices came from the “Golden Age” from the 1930s through the 1950s. Are you still sticking to that plan, or did you include some additional scores as time went by?

    Of course I do not mind if you select more than 100. I hihgly appreciate your insightful reviews. I am just curious how all these scores fit into the top100.

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