Home > Greatest Scores of the Twentieth Century, Reviews > RED RIVER – Dimitri Tiomkin

RED RIVER – Dimitri Tiomkin


Original Review by Craig Lysy

Producer-Director Howard Hawks had long desired to make a Western and finally found his vehicle after reading “The Chisolm Trail” (1946) by Borden Chase in the Saturday Evening post. He secured Monterey Productions to fund the project, providing a generous budget of $2.7 million. This was a passion project, and so Hawks decided to both produce and direct the film. He tasked Chase to adapt his novel and Charles Schnee assisted in writing the screenplay. A stellar cast was hired, which included John Wayne as Thomas Dunson, Montgomery Clift making his acting debut as Matt Garth, Walter Brennan as Nadine Groot, Joane Dru as Tess Millay, and John Ireland as Cherry Valance.

The story is set in Texas circa 1851. Thomas Dunson decides to leave St. Louis with his girl Fen and friend Nadine, joining a wagon train bound to California. Yet he finds along the way that prairies of Texas are perfect for raising cattle. He decides to leave and pursue his dream to create a cattle ranch in Texas, promising Fen to send for her when the ranch is setup. He travels south to the Rio Grande with his trusted trail hand Nadine Groot. Black smoke in the distance informs them that the wagon train has been slaughtered by Indians and Dunson is angry that he did not take Fen with him. After fighting off an Indian attack a young boy named Matt wanders into their camp, the only survivor from his wagon train. Dunson adopts the boy, they cross the Red River into Texas, and he successfully set-up his cattle ranch under the River “D” brand. He promises Matt that one day he will add his “M” to the brand, when he had earned it. Fourteen years later Matt is a young man returning home with the end of the Civil War. Dunson has fallen on hard times as the defeated Confederacy has descended into poverty following its defeat in the Civil War.

Since he is unable to sell his cattle for price, Dunson resolves to undertake a massive cattle drive north to Sedalia Missouri to sell his stock for a fair market price. Along the way his tyrannical leadership and refusal to divert to a much closer Abilene Kansas to sell leads to a mutiny by Matt, who assumes control of the drive. Dunson swears that the next time they meet he will kill him. Along the way complications arise when father and son fall in love with the same woman, Tess. Eventually they reach Abilene after surviving Indian attacks and a stampede. Father and son meet and have a show down fight, which is broken up by Tess, who convinces them to reconcile. Dunson tells Matt to marry Tess and promises to add an “M” to the River “D” brand, as he had earned it. The film was a commercial success, earning $4.5 million for a $1.8 million dollar profit. It also secured two Academy Award nominations for Best Writing and Best Film Editing. The film’s legacy is ensured after the American Film Institute named it the 5th greatest Western of all time in the AFI’s Top 100 list in 2008.

Early considerations for composer centered on Aaron Copland for his renown Americana sound, however Hawks had previously worked with Dimitri Tiomkin on Only Angels Have Wings in 1939, liked his scoring sensibilities, and so hired him for the project. Hawk’s vision for the film was a tour de force centered on Thomas Dunson, a willful man determined to realize his dream and make a mark on the world. Tiomkin understood Hawk’s vision and understood that he would have to infuse his soundscape with traditional and recognizable American folk songs to ground the story and provided familiarity to which the audience could relate and identify with. He augmented his orchestra with a choir, along with a banjo and accordion.

Tiomkin chose to provide leitmotifs that he would weave into the tapestry of his score. First and foremost is his Red River Fanfare, which offers two, eight-note declarations by French horn, which close with a portamento. The fanfare speaks to the adventure of Dunson seeking his dreams. The Main Theme is derived from the song “Settle Down” composed by Tiomkin with lyrics by Frederick Herbert:

“Your doggies have traveled all day.
Our doggies keep strayin’ away.
Settle down little doggies.
Tis is home befor tonight
Settle down, little doggies
You’ll be travelin’ soon in time.
Look away little doggies.
Steal away through the pines.
Look away little doggies.
So, for now you better settle down”.

The tune is folksy, down to earth, and abounds with warmth and hospitality. When rendered for larger visions, it offers majesty and grandeur. Fens’ Theme serves as both her identity and a Love Theme for her and Thomas. Its string borne melody flows with warmth, grace and gentility. It offers the score’s most feminine and romantic construct, which I believe is also one of the finest love themes in his canon. Although she dies early in the film, her theme lives on in Dunson’s mind, losing none of its potency. For the Cattle Drive Theme Tiomkin interpolates the melody of the folk song “They’re Off to Missouri, which supports the drive of the herd along the trail. It is syncopated, empowered by trombones and kindred horns with portamento accents. It propels the cattle drive ever forward with confidence and at times swagger. The Indian Theme emotes with nativist drums offering four-note tom-tom rhythms and use of the pentatonic scale, which imparts oriental auras, which clearly delineate their heritage and juxtapose white culture.

“Main Title” supports the roll of the opening credits against a grey background, which simulates wood. Tiomkin sets the tone of the film with two eight-note declarations by French horn, which close with a portamento. Men chorus join and sing the folksong “Settle Down”, lyric by Frederick Herbert. The song is simple, warm and heartfelt, perfectly establishing a folksy sensibility for the film. “Dunson Heads South” offers a beautiful cue, which showcases Fen’s Theme. We open with onscreen script informing us of the tale of the great cattle drive by Thomas Dunson and Matt Garth along the famous Chisolm Trail – the story of the Red River D. Soft, warm French horns supported by muted strings support the narrative roll. At 0:18 we flow into the film proper as we see Dunson inform the Colonel that he is leaving the wagon train to setup a ranch in Texas. Warm strings join with brief statements of “Oh Susanna” by Stephen Foster to set a folksy ambiance. At 0:58 Tiomkin weaves in native Indian auras as the Colonel warns him of the dangers posed by Indians. As he informs Fen of his decision at 1:24 we are graced with a beautiful extended rendering of the Love Theme, whose string borne melody flows with warmth, tenderness, and gentility. She exhorts him to let her come with him and share the burden, but he is resolute saying that he will send for her when the time is right. An ominous Indian interlude intrudes at 2:10 and alludes to her fate. He gives her his mother’s bracelet and as he departs men’s chorus take up her theme, sending him off with her love.

In “Red River Camp” we see Dunson and Groot slowly moving to the shores of the Red River – gateway to Texas. Tiomkin supports with a wonderous free flowing Americana romanticism interpolating the melody “Old Man River” by Jerome Kern and Oscar Hammerstein II. At 0:32 Tiomkin sow tension, severing the melodic flow by woodwinds of alarm, discordant horns, dire strings, and nativist drums as they look north an see massive billowing black smoke, which portends a bad fate for the wagon train. They are more than two hours away, and we see regret in Dunson’s eyes as they decide to setup camp with the river covering their rear. We close on a grim diminuendo of uncertainty as they make camp. “The Red Menace Strikes” offers the score’s first action piece as Indians attack in a night raid, which commences with the arrival of a flaming arrow. Tiomkin unleashes a fierce torrent as they kill several. A descent motif carries Dunson into the river where he fights for his life hand to hand. Three savage orchestral strikes support his knife thrusts, which kill the Indian. At 0:49 a solo violin affanato support the discovery of the bracelet he gave Fen on the warrior’s wrist. He is heart stricken and his return to Groot is carried by a sorrowful rendering of her theme. He realizes that he has lost her, and when he crosses the Red River in the morning, he begins a new chapter in his life.

“The Lone Survivor” reveals a young boy leading a cow into the camp. Dark ominous strings and woodwinds carry his arrival, as nativist drums counter. He seems in a trance supported by a discordant sea of turmoil. An orchestral strike at 0:47 supports Dunson slapping him to snap him out of it. The kid pulls a pistol, which Dunson easily grabs from him as he knocks him to the ground at 0:58, supported by another orchestral strike. Plaintive strings support the kid relating the slaughter. A deconstructed Fen’s Theme emerges and slowly coalesces as Dunson decides to take him with them. The use of her theme informs us that in death she has brought him a son. I find this choice by Tiomkin poetic, and a testament to his genius. “Birth of the Red River D” opens with the Red River fanfare, which supports travelling music as we see the men journeying ever southwards through Texas. As on-screen script states;

“And that was the meeting of a boy with a cow and a man with a bull and the beginning of a great herd. In search for land, they traveled South through Texas, across … promising land, but weighed it and … found it wanting. So they went on through the panhandle, ever southward… past the Pecos… nearing the Rio Grande…”

Against the vast vistas of the plains, set against billowy cloudscapes, Tiomkin channels the romantic vison of the pioneering West using men’s chorus to empower a majestic rendering of the Main Theme, achieving a wondrous confluence of music and cinematography. At 1:04 horns magnifico declarations resound with a grand statement of the theme, which inspires. We see in Dunson’s eyes that he has found the land on which to build his River D Ranch. At 1:04 he dismounts and a solo oboe ushers in passage which abounds with optimism and speaks to Dunson satisfaction. At 2:53 tension enters as two Mexican riders approach carried by Mexican auras. As they arrive, horns bravura resounds with Castilian flare.

In “Mexican Burial” the pistolero informs Dunson that he is trespassing on land to which Don Diego has a legal deed. Dunson will have none of it and asserts he now owns all land north of the Rio Grande River. The Mexican pulls his gun to shoot, but Dunson is faster and kills him. He orders the remaining pistolero off his land. Tiomkin scores the aftermath with a dirge replete with elegiac horns and tolling bells as Dunson ensures a Christian burial. “Growth of the Dunson Empire” reveals a montage, which supports the passage of fourteen years as Dunson narrates the growth, success, and prosperity of the River D ranch. Matt (Montgomery Clift) is now a young man who has returned home from the Civil War. At 1:13 a solo oboe ushers in a plaintive line with grim auras a Dunson relates that the poverty of the South after the end of the Civil War has caused demand for his beef to dry up. He will be broke, unless he drives the entire herd 1,000 miles north to sell in Missouri.

“Roundup” reveals the men branding the remaining cattle in preparations of the drive north. Tiomkin supports the scene with a folksy accordion carried piece with accents by the Red River Fanfare. “Suspense at Dawn” reveals Dunson making an early morning ride to survey his massive herd of cattle, cattle drivers, and support wagons. Pensive strings, full of foreboding join with the dawn auras as Dunson makes the fateful decision. The confluence of the camera’s 180-degree pan and music offers a perfect cinematic moment. “On to Missouri” offers a rousing set piece and score highlight. We open with a slow building stepped crescendo, which launches at 0:13 a choral rendering of the Cattle Drive Theme, which utilizes the melody of the song “They’re Off to Missouri”. Tiomkin’s music resounds with confidence and optimism, propelling the massive herd and support wagons forward on Dunson’s quest for destiny. Trombones and kindred horns voice the Cattle Drive Theme as we see thousands of steers moving en masse. At 1:19 we have a diminuendo on the Main Theme as it is nightfall, and the men are taking in supper.

“The Drive Moves North” offer a score highlight, where we behold an extended choral empowered rendering of the Cattle Drive Theme. The scene reveals Dunson shooting down an alternative plan to drive west to Abilene Kansas. As the cattle drive crosses spectacular vistas Timokin’s music creates an inspired cinematic confluence. “The Bazos Trail” reveals the cattle drive moving north, sustained by the Cattle Drive Theme music of the previous cue. “Stampede” offers a tour de force score highlight! Cattle hand Kenneally overturns the pots and pan rack and the metal clashing causes a stampede. Strings furioso and horns feroce unleash hell as Tiomkin whips his orchestra into frenzy, propelling the stampeding tsunami with furious kinetic power. The tide turns at 2:10 atop the “They’re Off to Missouri” song melody as they corral the herd into a blind canyon. In “The Missing Cowboy” the men discovery that young Dan is missing, and they search for him. They discover his trampled corpse and are saddened. Tiomkin supports the pathos with a heartfelt elegy using the mournful melody of the “Bury me not on the lone prairie” (AKA as “The Cowboy’s Lament”) song. We hear elegance manifest as the melodic line is passed from flute, to trumpet, to oboe, then shifting among kindred woodwinds and horns for a beautiful passage. At 1:37 a grim anger swells in the orchestra as Dunson blames himself, promising full pay to his widow. We close with the music shifting to oboe tenero and strings gentile as Matt suggests buying the widow the red shoes Dan had promised her.

“Latimer Burial” reveals Dan’s burial service against a panorama of a towering mountain and cloud swept skies. As Dunson performs the service Tiomkin supports the pathos with a mournful reprise of the melody to “The Cowboy’s Lament”) song. At 0:28 the music swells with anger as Dunson grabs a whip and orders Kenneally to be bound to a wheel and whipped for Dan’s death, the loss of one of the grub wagons, and the loss of 400 head of cattle. He apologizes profusely, but to no avail. As Dunson move in, he draws his gun but is shot in the arm by Matt before Dunson can kill him. In “Thunder on the Trail” the drive north is buffeted by rainstorms. We commence with twinkling aquatic auras, which yield to a storm swept statements of the Main Theme as they forge ahead. “Red River Ahead” offers a wonderful cue with inspired thematic interplay. They finally reach the Texas border and behold the Red River again. We open with the twinkling Water Motif and then are graced by wonderful interplay of the Cattle Drive Theme, the Red River Fanfare and a majestic Main Theme. In the following unscored scene, a mutiny due to food and water rationing is brutally put down by Dunson killing three men.

“Red River Crossing” offers more inspired thematic interplay as Dunson orders the crossing. The Cattle Drive Theme resounds and supports the crossing with a folksy banjo reprise. We close with a proud rendering of the Main Theme as they successfully reach the other side. The marriage of cinematography and music is astounding. “In Cottonwood Justice” Cherry retrieves two deserters who stole food and returns them to camp. Dunson orders them to be hung, which results in a mutiny led by Matt. Strings irato surge and are joined my dire horns, which swell with betrayal as Dunson’s gun hand is injured by gun fire sending wood shrapnel into it. The men then affirm unanimously their support Matt’s decision to drive the herd to Abilene. “Dunson Swears Vengeance” reveals Matt trying to make amends with Dunson, promising to get the cattle to market. Dunson replies coldly; “Every time you turn around, expect to see me; ‘cause one time you’ll turn around and I’ll be there … I’m gonna kill ya’, Matt …” Tiomkin supports the fracture of their relationship with strings agitato and menacing drums, which swell on an angry rendering of the Cattle Drive Theme.

In “Comanche Arrows” they discover a dead steer with a Comanche arrow in its neck. Tiomkin sow tension, from which rises a menacing Indian Theme on nativist drums. Matt orders the herd forward and sends two men out front to scout. “Fight For Life” offers a ferocious battle cue. The scene reveals Matt ordering his men to rescue the wagon train, which is encircled and under attack. Galloping music takes Matt and three men into the encircled camp where they add their guns to the fight. Tiomkin whips his orchestra into frenzy, unleashing a tour de force empowered by a warlike Indian Theme. Tess takes an arrow into her shoulder and at 1:34 a warm Main Theme supports Matt tending to her wound. As the rest of Matt’s men ride in, the tide of battle shifts and the Indians withdraw, carried by their theme, which diminishes as they disappear in the distance. “Tess Inquires” reveals a victory celebration with everyone dancing to festive source music. She asks for insight into Matt and Groot and Cherry inform her of the rupture of Matt’s relationship with Dunson. The music for this scene is not on the album.

“In Wait” Tiomkin sow anger and menace, which supports Dunson’s seething rage at Matt’s betrayal. No words are spoken, but the music speaks volumes, offering a powerful emotional commentary. “Vigil in the Night” reveals Matt’s return to a fog shrouded camp. He startles an edgy Buster who fears it was Dunson returning for vengeance. Tiomkin offers an eerie and unsettling soundscape, which joins with the fog to elicit fear. In “Foggy Night Surrender” Tess joins Matt at camp and all pretenses are dropped when we see their mutual attraction as they snuggle lovingly. Tiomkin opens with a romantic rendering of the Main Theme by solo violin, which ushers in a romance for strings adorned with woodwinds, which dance to and fro. She says she sees that he loves Dunson, and that he must also love him. As she kisses him a grand, molto romantico statement of the Main Theme blossoms.

“The Spectre Takes Form” reveals Dunson riding with ten hired guns pursuing Matt. We open with a solemn wordless men’s chorale voicing “The Great Tales of Texas” melody, from which arises a swelling of anger empowered by a cadence of dire drums and strings full of menace, which churn with dark purpose. As he arrives at the wagon train, we close on the Main Theme. In “Interlude” Dunson is told that the men of the cattle drive saved their lives and left nine day ago. He and his men are warmly received and offered dinner, which they accept. Tess greets Dunson by name, which takes him by surprise. She offers him dinner at her tent, which he accepts. Music enters when he notices his wife’s bracelet on her hand as Fen’s tender themes resurrects, unfolding on strings romantico. “Out of the Past” reveals them discussing his relationship with Matt as she tries to reconcile his feeling of love, and anger of betrayal. The Main Theme, which blossom with banjo accents, transfers to an eloquent solo violin for an exquisite and embellished performance.

“Memory of Love” offers a score highlight where we bear witness to a poignant emotional catharsis. Tess speaks of her pain of parting and how this must have been felt by the woman Dunson left – a revelation, which visibly shatters Dunson’s stoic façade. Elegiac woodwinds usher in achingly beautiful statement of Fen’s Theme, which speaks to Dunson’s pain and regrets. We flow into the score’s most beautiful rendering of the Main Theme, which transmutes Dunson’s seething vengeance into his fatherly love for Matt. This is a testament to Tiomkin’s mastering of his craft in that his music in a masterstroke, informing us of Dunson’s change of heart, not his taciturn façade. She asks to join him in finding Matt, and he agrees, his eyes revealing that he will not repeat the mistake he made with Fen by leaving her behind.

“Joyous Meeting” offers another celebratory score highlight. We open with a solemn wordless men’s chorale voicing “The Great Tales of Texas” melody, which ushers in the proud rendering of the Cattle Drive Theme as we see Matt and the heard traveling against cloud swept skies. An interlude diminuendo supports talk of missing Abilene and ending up in Canada. At 0:55 the Cattle Drive Theme returns in force as the men hear odd sounds and ride to the point. At 1:10 Tiomkin interpolates the traditional folk song “She’ll be comin’ ‘round the mountain when she comes” set to a locomotive cadence by drums as a train roars into view. We crest on a joyous choral empowered rendering of the Cattle Drive Theme as the men celebrate its arrival!

“Approach to Abilene” offers a proud score highlight, which supports the long-sought arrival at the city of Abilene. Matt and his men are supported by a proud, almost swaggering ride into Abilene carried by the Cattle Drive Theme with banjo accents. A diminuendo at 0:58 supports the arrival of an Abilene welcoming party, which includes Mr. Melville of the Greenwood trading company and city elders. At 1:37 we close with a proud rendering of the Cattle Drive Theme as the welcoming committee escorts Matt and his men into town as heroes. In “A Big Day in Abilene” the men have been paid and are out to have a good time. Warm French horns, which usher in men’s chorus and orchestra singing happily “They’re Off to Missouri” song of how they’ll be celebrating the end of their journey now that they have been paid. Interplay with “Oh Susanna” adds to the folksy and celebratory moment.

“The Specter Closes In” reveals Dunson crossing the track and soon arriving in town. Strings of menace and dire horns portend dark purpose. At 0:14 a warm rendering of the Main Theme supports Mr. Melville informing the men that before the night is over, he’ll be buying the drinks. In “A Message For Matt” we open with ominous auras as Matt opens his hotel room door and finds the light on. He draws his gun and discovers Tess, not Dunson is waiting for him. She informs him that Dunson is near and coming, intent on killing him. She loves him, is distraught, and Tiomkin sow unease. Yet all is lifted as a tender rendering of the Main Theme affirms his love, supported by his embrace and kiss.

“The Challenge” opens darkly, with horns of menace as Dunson and his men arrive at the outskirts of town. At 0:21 the Main Theme enters as he pauses and reminds the men to obey his orders. Resolute horns carry their ride into town. At 0:47 a crescendo of alarm swells as Buster sees his approach and rides through the cattle to warn Matt. A grim interlude supports Buster informing Matt, and at 1:37 a dirge like rendering of the Main Theme carries him to meet Dunson. A march-like cadence carries Dunson’s ride. As Matt waits, the sad Main Theme supports him. Dunson dismounts and an angry march fueled by growling horns empowers him walking resolutely, eyes full of anger through a sea of cows. He alone crosses the railroad tracks as this is a score that must be settled man to man, and father to son. We climax harshly as Cherry calls him out to protect Matt. They each shoot with Cherry going done and Dunson suffering a superficial abdominal wound.

In “The New Brand” Dunson orders Matt to draw and he refuses. Dunson fires repeatedly shooting his hat off, and grazing his cheek, yet Matt will not draw. Dunson yells “Draw! … you’re soft … won’t anything make a man out of ya”? He starts to pummel Matt with his fists, yet still he will not fight. After being decked three times, Matt has had enough, and music enters forcefully as a crushing punch sends Dunson reeling. They now both brawls, propelled by strings furioso and angry horns, which swirl in a sea of anger as Matt gains the upper hand. At 0:26 a rapid diminuendo quells the fight with Tess firing several warning gun shots. An aggrieved Main Theme plays as she angrily admonishes both men and orders them to stop and accept that each loves the other. As she storms off, the melody warms as Dunson tells Matt to marry that girl. Dunson then affirms Matt as his son and heir, reuniting them in familial love. With his finger he draws the River D Brand in the sand, adding a “M” on the other bank, stating “You’ve earned it”. We conclude with a joyous paean to familial love with a heartfelt choral empowered reprise of the Main Theme, which ends in a flourish.

I would like to commend the creative team of John C. Morgan and William Stromberg for this exceptional re-recoding of Dimitri Tiomkin’s masterpiece, “Red River”. The audio quality is excellent as is the performance of the Moscow Symphony Orchestra and Choir under Stromberg’s baton. I believe with this effort Tiomkin composed the quintessential score that embodied the mythos of the American Western genre, providing classic romanticism that would define the genre for decades. The infusion of American folk songs into the tapestry of his score brought familiarity and comfort to the audience’s ears, which helped personalize the film. His themes for the score are confident, warm, folksy, full of American pride, and eloquently speak to the fortitude and pioneering spirit that propelled settlers westward, allowing America to realize its Manifest Destiny, its God ordained destiny to stretch from the Atlantic to Pacific oceans. In scene after scene the confluence of story-telling, cinematography and music were exceptional, fully allowing Hawks to realize his vision. Although there were many westerns before this film, I assert it was Tiomkin’s effort with “Red River” that brought a paradigmatic change, creating sweeping romanticism that would set the standard for years to come. I believe the score to be one of the finest in Tiomkin’s canon, a masterpiece of the Golden Age, and the album, essential for your collection.

For those of you unfamiliar with the score, I have embedded a YouTube link to the iconic Main Title: https://www.youtube.com/watch?v=mYHsuMTJpfE

Buy the Red River soundtrack from the Movie Music UK Store

Track Listing:

  • Main Title (01:30)
  • Dunson Heads South (04:47)
  • Red River Camp (01:29)
  • The Red Menace Strikes (01:34)
  • The Lone Survivor (02:15)
  • Birth of Red River D (03:15)
  • Mexican Burial (00:58)
  • Growth of the Dunson Empire (01:46)
  • Roundup (00:27)
  • Suspense at Dawn (01:07)
  • On to Missouri (01:36)
  • The Drive Moves North (03:04)
  • The Brazos trail (00:31)
  • Stampede (02:46)
  • The Missing Cowboy (02:36)
  • Latimer Burial (01:01)
  • Thunder on the Trail (00:45)
  • Red River Ahead (01:26)
  • Red River Crossing (02:01)
  • Cottonwood Justice (00:59)
  • Dunson Swears Vengeance (01:24)
  • Comanche Arrows (00:40)
  • In Wait (01:35)
  • Fight for Life (02:20)
  • Vigil in the Night (01:01)
  • Foggy Night Surrender (01:54)
  • The Spectre Takes Form (00:43)
  • Interlude (00:22)
  • Out of the Past (01:47)
  • Memory of Love (01:31)
  • A Joyous Meeting (01:53)
  • Approach to Abilene (01:50)
  • A Big Day of Abilene (01:40)
  • The Spectre Closes In (01:02)
  • A Message for Matt (02:50)
  • The Challenge (03:22)
  • The New Brand (02:22)

Running Time: 64 minutes 09 seconds

Marco Polo 8-225217 (1948/2003)

Music composed by Dimitri Tiomkin. Conducted by William Stromberg. Performed by The Moscow Symphony Orchestra and Choir. Original orchestrations by Lucien Cailliet and Paul Marquardt. Score produced by Dimitri Tiomkin and David Chudnow. Album produced by William Stromberg, John Morgan and Anna Bonn.

  1. TiomkinFan
    April 3, 2021 at 4:07 pm

    Can you tell me who is the composer of “They’re Off to Missouri” folk song. It seems to be an original song from Tiomkin. Can you confirm if it was a pre-existing song?

  2. omarie
    September 29, 2022 at 9:28 pm

    I swear I hear Barbara Allen when Dunson parts from his girl…… I know Barbara Allen is part of American folklore that goes back to the 1700’s, but why don’t you mention that song in your description?

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