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WILSON – Alfred Newman


Original Review by Craig Lysy

20th Century Fox Studio Director Darryl F. Zanuck had long been an admirer of President Woodrow Wilson and for many years resolved to bring a biopic homage of his hero to the big screen. The film became a passion project, if not obsession, which led him to micromanage all aspects of its production. When finished it resulted in the greatest budget expenditure in the studio’s history, nearly $5 million. He personally took charge of production, hired Lamar Trotti to write the screenplay, and tasked Henry King to direct. He brought in an exceptional cast, which included, Alexander Knox as Woodrow Wilson, Charles Colburn as Professor Henry Holmes, Geraldine Fitzgerald as Edith Wilson, Thomas Mitchell as Joseph Tumulty, Ruth Nelson as Ellen Wilson, Cedric Hardwicke as Senator Henry Cabot Lodge, Vincent Price as William G. McAdoo, William Eythe as George Felton, and Mary Anderson as Eleanor Wilson.

The film offers a biopic and begins in 1909 with Wilson serving as chancellor of Princeton University. He is an academic, a professor who has written several books on progressive governance, which have brought him to the attention of Democratic party operatives. They arrange a meeting and convince him to run for governor of New Jersey. He wins, governs well, and goes on to earn the party’s nomination for president in 1912, winning the election over a divided Republican party. He institutes a progressive agenda and skillfully keeps America out of WWI. Tragedy comes in 1915 when his wife Ellen dies unexpectedly, yet he rebounds, meets a widow in 1916, and following a courtship, marries Edith Bolling Galt. In 1917 the infamous Zimmerman communique brings the U.S. into the war with decisive results, which leads to Germany’s surrender 11 November 1918. He goes to Europe and works tireless for a just peace and the establishment of his League of Nations. Republican opposition at home leads to a tour of the country promoting the League, but the strain is too much and he has a debilitating stroke. Edith shields him from visitors and runs a shadow government until he gradually recovers and transfers power to the newly elected Warren G. Harding in 1921. He never got an opportunity to enjoy his retirement as he died three years later. The film was a commercial disaster, with the studio losing over $2 million. Critical reception was mixed with some praising its inspiring American portrait, with the harshest critics labeling the film boring, tedious, and impotent. Nevertheless it earned an astounding ten Academy Award nominations for Best Picture, Best Director, Best Actor, Best Special Effects, Best Film Score, winning five awards for Best Original Screenplay, Best Cinematography, Best Art Direction, Best Sound and Best Film Editing.

“Wilson” was Darryl Zanuck’s passion project, which had an enormous financial investment. As such Alfred Newman as Director of Music rightfully took personal charge in scoring the film, taking an unprecedented two-month leave of absence from his duties to do so. He also assembled a massive 150 player orchestra, mixed chorus of eighty voices and a seventy-eight-piece brass band, which resulted in an unprecedented cost $250,000 for the music. Wilson’s Fanfare and his theme, which is sometimes emoted as a powerful anthem, offer the traditional dignity and moral rectitude of the nation’s highest office. Eleanor’s Theme interpolates the melody from the song “Put on Your Old Grey Bonnet”.

To provide a contemporaneous feel and cultural authenticity to which the audience could relate, Newman interpolated an extensive volume of popular and folk songs, including; “Old Folks Home” by Stephen Foster, “Oh Susanna” by Stephen Foster, “Put on Your Old Grey Bonnet” music by Percy Wenrich and lyrics by Stanley Murphy, “Hail to the Chief!” by James Sanderson, “Yankee Doodle Dandy” Traditional, “Glory, Glory, Hallelujah” music William Steffe and lyrics Julia Ward Howe, “Yip I Addy I Ay” Written by Will D. Cobb, John H. Flynn and George Grossmith, “Princeton Cannon Song”, by Joseph F. Hewitt and Arthur H. Osborn, “Yale Boola”, by Allan M. Hirsch, “Whoop It Up”, music by Stanleigh Friedman and lyrics by H.G. Dodge, “Tammany”, music by Gus Edwards and lyrics by Vincent Bryan, “In My Merry Oldsmobile”, music by Gus Edwards and lyrics by Vincent Bryan, “There’ll Be a Hot Time In the Old Town Tonight”, by Theodore A. Metz, “O Sole Mio”, by Eduardo Di Capua, “On Moonlight Bay”, music by Percy Wenrich and lyrics by Edward Madden, “Everybody Works But Father” by Jean C. Havez, “Onward Christian Soldiers” by Arthur Sullivan, “They Gotta Quit Kickin’ My Dawgaround” by Cynthia Lee Perkins and Webb Oongs, “School Days” music by Gus Edwards and lyrics by Will D. Cob, “By The Light Of The Silvery Moon”, music by Gus Edwards and lyrics by Edward Madden, “Take Me Out to the Ball Game” by Jack Norworth and Albert von Tilzer, “I’m Glad My Boy Grew Up To Be a Soldier”, music by Al Piantadosi and lyrics by J.E. McManus, “He’s Got Those Big Blue Eyes”, by Lew Wilson, “Anchors Aweigh” by Charles A. Zimmerman, Keep The Home Fires Burning”, music by Ivor Novello and lyrics by Lena Guilbert Ford, “Stars and Stripes Forever” by John Philip Sousa, “Pack Up Your Troubles” by George Asaf and Felix Powell, “K K K Katy” by Geoffrey O’Hara, “Goodbye Broadway, Hello France” by Billy Baskette, Benny Davis and C. Francis Reisner, “Over There” by George M. Cohan, “Smile” music by Lee Roberts and lyrics by Will Callahan, “Quand Madelon” music by Camille Robert and lyrics by Louis Bousquet, and “Hail Columbia, The Gem of the Ocean” by David T. Shaw.

“Main Title” offers an inspired score highlight abounding with patriotic pride, which perfectly sets the tone of the film. We open with a bold fanfare declaration of Wilson’s Anthem buttressed by surging strings furioso, which support the 20th Century Fox studio logo. At 0:21 we flow into a rousing full rendering of the “Hail to the Chief” presidential anthem expressed as a powerful marcia Americana, which ushers in the film title, and roll of the opening credits. At 1:11 a lush string bridge ushers in another American anthem, “My Country Tis of Thee” empowered by choir, which concludes the opening titles and supports onscreen script paying homage to the legacy of Woodrow Wilson, the 28th President of the United States. “Princeton” reveals views of the idyllic Princeton University campus, which is governed by its chancellor, Woodrow Wilson supported by the sprightly tune “Yip-I-Adday-Ay”. At 0:37 we segue into the rousing “Princeton Cannon Ball March”, which supports the university’s marching band performing at half-time for a football game.

“The Game Ends” reveals a stunning reversal where Yale snatches victory from the jaws of defeat to win the game. Newman supports with the Yale anthem “Boola, Boola” as their fans celebrate. At 0:21 men’s chorus sings the proud victory song “Whoop it Up” as and Princeton fans look on with disappointment and Wilson consoles the halfback who fumbled the ball. “Wilson For Governor” (*) reveals Wilson, Elenore and his family singing with piano accompaniment, the happy song “Put on Your Old Grey Bonnet”. Senator Edmund Jones and two others arrive to speak to Wilson as the family dances to the folksy tune “The Old Folk’s at Home”. They propose that he run as a progressive Democratic candidate for Governor of New Jersey. His family exhorts him to seize the opportunity and they all hug to celebrate the moment. “Campaign Parade” reveals supporters of Wilson for Governor parading down Main Street under a banner declaring; “Win With Wilson” supported by the choral empowered celebratory tune “Tammany”. At 0:32 the band offers the festive “In My Merry Oldsmobile” as Wilson stands on stage and prepares to give a speech to excited followers.

“He Speaks For The Party” reveals an inspired speech that promises to reform the party and purge it of control by corrupt “bosses”. This earns cheering accolades from the crowd, supported by a rousing rendering of the festive tune “They’ll be a Hot Time in the Old Town Tonight”. “Wilson Wins!” (*) reveals election night and Wilson being declared victorious as his supports sing the celebratory “For He’s a Jolly Good Fellow”. In “Governor Wilson” Wilson’s Theme resounds as the gold-leaf state capitol dome glistens in the sunlight. “Wilson Vs. Big Ed” reveals Wilson chastising Big Ed for shameless reneging on his pledge to not run for reelection. After harsh words, Big Ed and aids depart as political enemies. Music supports newspaper headlines that display images of Wilson Kicking Big Ed out, supported by a bold declaration of his theme. Later at an Italian restaurant, Big Ed nurses his wounded pride as the Italian classic “O Sole Mio” plays in the background.

“Moonlight Bay” reveals Wilson’s secretary Joe Tumulty refusing to disclose his location to a team advocating he run for president. Music enters with a scene change to a live stage performance where women dancers dance as Eddie Foy sings the classic song wistful and romantic “Moonlight Bay” song. We conclude with the comic song “Rude Ending” as a smiling Wilson and Eleanor applaud. In “Vaudeville Continues” Wilson discusses presidential politics with professor Holms as the comic and festive “Everybody Works For Father” song plays and we see an actor in black face mocking opposing candidate Teddy Roosevelt. “Presidential Convention” offers a score highlight. It reveals an album-film variance as the creative team has chosen to rearrange the sequence of the various song interpolations used in the scene into a more cogent listening experience. I believe they succeeded. We open with the confederate anthem “Dixie Land”, which supports southern state celebrations. As the revered William Jennings Bryan speaks at 0:30, the religious hymn “Onward Christian Soldiers” supports. At 1:09 the classic southern tune “Oh Susannah” supports when Alabama native son Oscar Underwood speaks. When civil war hero and candidate Champ Clark speaks at 2:09, he is supported by the folksy “They Gotta Quit Kickin’ My Dog Aroun”. When Wilson’s name is placed in nomination at 2:29, the song “School Days” supports. As repeated ballots rounds are cast, the musical identities of Wilson and Clark contest with ever increasing tempo and ferocity.

“Champ Clark Victory Parade” reveals candidate Clark and his followers reveling when the New York state delegation changes its support of Wilson to him. Supported by his marching band declared anthem “They Gotta Quit Kickin’ My Dog Aroun”. In “Bryan, The King Maker” (*) party icon William Jennings Bryan of Nebraska announces that he and his followers will support Wilson. A marching band unleashes a jubilant rendering of “School Days” as his Wilson supporters celebrate. “Wilson Nominated” reveals a marching band playing “Hail to the Chief” after he secures the party nomination on the 46th ballot. “Campaign Speech Montage” offers a montage of Wilson campaigning across the country supported by a stately rendering of his theme. At 1:07 we segue into a solemn rendering of “America” as Wilson gives an inspiring speech to a large crowd in an auditorium extolling the virtues and exceptionalism that defines America. In “Students´ Serenate” Eleanor reads to Wilson concession and congratulatory telegrams from William Howard Taft and Theodore Roosevelt. Outside the Princeton university men’s chorus serenades, them with their school song “Old Nassau”. After a humble speech acknowledging the hard road ahead, we conclude with a solemn refrain of the “School Days” song.

“Washington D.C.” (*) reveals a montage of the great Washington monument, White House, and Presidential Seal supported by a reverential rendering of the patriotic “America” anthem. As Wilson and his family enter the White House a reverential statement of “Hail to the Chief Supports. In “White House Tour” Wilson and his family are given a tour of their living quarters by the Chief Usher Hoover. Newman supports their trek of discovery with a parade of patriotic songs, including “Hail Columbia”, “America” at 0:34, “Hail to the Chief” at 1:07, “Yankee Doodle Dandy” at 2:40, and “Glory, Glory Hallelujah” at 3:05 as Eleanor reads a commemorative plaque of President Lincoln’s Emancipation Proclamation. A solemn reprise of “Glory, Glory Hallelujah” supports their visit to the Lincoln Bedroom, and at 4:31 “Put on Your Old Grey Bonnet” plays as Wilson bestows gifts to Eleanor and the girls. A butler named Sims who hails from Wilson’s home town of Rome Georgia escorts the family to lunch supported by a folksy African-American tune.

“The Work Begins” reveals Wilson formally signing a series of progressive reforms for government and worker rights, which Newman supports with a grand statement of Wilson’s Theme that emotes as a marcia maestoso. An intervening cue, not on the album follows. “Jessie Wilson’s Marriage” (*) reveals the Wilson and his daughters singing the classic song “By The Light of the Silvery Moon” as Eleanor fills out wedding invitations. Wilson coaxes her to join, which she does. We resume the prior cue at 1:05 with a grave chord as Eleanor takes ill and nearly faints. “Mrs. Wilson´s Sickbed” reveals Eleanor on her deathbed, attending to by her daughters. Newman supports with a beautifully evocative rendering of the “Moonlight Bay” song led by plaintive strings. At 0:58 the music warms and becomes tender as she exhorts her daughters to attend to, and support their father who is a great man. We close grimly at 2:11 atop portentous horns as her daughters state not to worry as you will recover. “The Funeral” reveals a painful family vigil followed by Eleanor passing. Newman supports with a very moving choral rendering of the traditional hymn “Nearer, My God To Thee” as we see relatives and friends entering the White House to pay their respects. At 0:36 we segue ominously atop dire horns into “Germany At War” as newspaper headlines declare the start of WWI supported by gunfire and explosions. Newman supports with an ominous martial musical narrative.

In A Man Alone” Wilson is devastated at the loss of his beloved and has isolated himself from family and friends, supported by a lament by strings tristi of Eleanor’s Theme – “Put on Your Old Grey Bonnet”. “Warning To Germany” reveals Wilson personally typing a letter warning the German government to desist all attacks on non-combative nations supported by grim, resolute declarations of Wilson’s Theme. “A Budding Romance” offers a wondrous score highlight. It reveals a budding romance between President Wilson and Edith Gault where he enjoys her companionship during a drive in the countryside and begins wooing her affection with the gift of an orchid corsage. Stings felice offer joie de vivre and one of the finest passages of the film. “At The Ballpark” reveals President Wilson throwing out the traditional first pitch to start the American baseball season supported by a spirited rendering of the all-American classic “Take Me Out to the Ball Game”. The White House announces the engagement of President Wilson to Edith Gaul and as a wedding invitation displays, we flow into “Wedding Processional” atop fanfare reale, which ushers in a sterling performance of “Hail to The Chief” led by strings maestoso as President Wilson escorts Edith down the residential staircase as guest politely clap. Afterwards at the reception we conclude with a delightful valzer elegante.

“Re-Election Campaign” offers an exciting score highlight. It reveals a montage of scenes of President Wilson campaigning for reelection in 1916. Newman supports with a parade of songs. A festive prelude supports the convention exterior and at 0:14 ushers in the salutary “We Take Our Hats Off to You Mr. Wilson”. At 0:14 we segue into pleading antiwar song “I Didn’t Raise My Boy to Be a Soldier” supported by a solo female vocalist singing to restaurant patrons. At 1:43 we segue into the patriotic “Daddy Mine” sung be a female vocalist with small ensemble at an upscale night club. As the vitriolic campaign intensifies, a thematic musical duel unfolds at 2:16 between the rousing “National Emblem March” for the Republican candidate Charles Evans Hughes and “Dixie” (not on the album) and “School Days” for President Wilson. In “Inauguration Reception” Wilson’s fanfare supports a newspaper headline that declares “Wilson Re-elected” and ushers in a valzer gentile to support the inaugural reception as Wilson is congratulated by supporters on his come from behind victory.

In “His Predecessors” Wilson excoriates the German ambassador and declares him persona non grata after Germany resumes its policy of attacking neutral ships entering European waters, and the discovery of the infamous Zimmerman Cable. Music enters atop a solemn choral rendering of “Yankee Doodle” in the aftermath as a contemplative Wilson prepares to take the nation into war. At 0:43 we flow into the inspired, indomitable confidence of “Glory, Glory Hallelujah” as President Wilson stands reverentially below a portrait of Abraham Lincoln. “Declaration Of War” reveals Wilson giving an inspired speech with moral force, to a joint session of congress calling for a declaration of war. As he nears the end of his speech a choral crescendo commences with “Glory, Glory Hallelujah”, which crests with a glorious flourish as President Wilson receives jubilant congratulatory applause from both sides of the aisle.

“Fox Newsreel” offers a score highlight brimming with Americana. It reveals a montage of scenes by Fox Newsreel depicting America’s preparations for war. We commence with “Jack Vigil’s Fanfare” and then launch at 0:04 into a call to arms by the three military branches. We open with the Army’s anthem “You’re in the Army Now” as drafted young men march down Main Street. At 0:25 we flow into the rousing Army anthem “The Caissons Go Rolling Along” as we see inductees disembarking from trains and undergoing basic training. At 0:45 we flow into the Navy anthem “Anchors Away” as we see the launch of Liberty ships. At 0:55 we segue into the inspirational “Keep the Home Fires Burning” as we see various efforts by women to support the war. At 1:28 we flow into the John Philip Sousa’s rousing American anthem “Star and Stripes Forever” and a military band and soldiers parade in front of the White House as President Wilson watches with pride. At 2:00 we segue into a mixed choral rendering of the marching song “Pack Up Your Troubles in Your Old Kit-bag” as we see the drive to purchase Liberty Bonds to fund the war. At 2:27 we segue into another WWI classic song “K-K-K-Katy” as we see celebrities exhorting crowds to buy Liberty Bonds. At “Goodbye Broadway, Hello France” as we see soldiers boarding transport ships bound for France. We conclude with WWI’s greatest anthem, George Cohan’s rousing “Over There” as we see American doughboys marching through Paris to jubilant crowds.

“Railway Canteen” features the song “Smiles”, which emotes with a happy, carefree dance-like sensibility played by a diegetic Victorola phonograph as President Wilson and Edith serve coffee and donuts to doughboys heading oversees at a railroad station. “Wilson Addresses Congress” reveals President Wilson addressing a joint session of congress on January 8, 1918, where he enumerates his “Fourteen Points”, his vision and principles for ensuring peace supported by a noble and inspiring rendering of the Wilson Theme, which concludes with grand fanfare. “Armistice” reveals President Wilson receiving a telegram from Germany requesting he facilitate an end to hostilities based on his “Fourteen Points”. He is relieved and the country celebrates with a rousing rendering of the confederate anthem “When Johnny Comes Marching Home”. An intervening scene of President Wilson and Edith attending a piano concert at the White House where a pianist plays a classical piece is not on the album. Afterwards at 0:28 we resume film-album synchrony with a segue into the “Expectation” waltz, a pleasant valzer gentile. As President Wilson explains the imperative of him convincing the Europeans of his vision.

“Peace Conference Newsreel” reveals a Fox Newsreel covering the Peace Conference. We open grandly with the popular French song “Madelon” by Camille Robert as President Wilson arrives and travels by carriage through the streets of London. At 0:52 we segue into a proud rendering of the British anthem “Rule Britannia” as British monarchs King George V and Queen Mary greet the Wilson’s and accompany them on a carriage ride through the streets of London. At 1:18 we flow into a confident rendering of Wilson’s Theme as he arrives in Paris as a major player on the world stage, joining the Big Four who will determine the post-war treaty; Llyod George of Great Britain, Georges Clemenceau of France and Vittorio Emanuele Orlando of Italy. “Peace Treaty Signing” reveals President Wilson dominating the peace conference during very heated arguments regarding final terms. Music enters with the signing of the peace treaty, which includes President Wilson’s vision of a League of Nations. Newman pays homage to President Wilson’s grand achievement with a molto maestoso rendering of his theme. At 0:19 an aggrieved German delegation arrives and signs the treaty, supported by a grim rendering of the German anthem “Deutschland Uber Alles” borne with palpable indignation and anger. We return to a majestic Wilson’s Theme as he walks to the table to affix his signature, as the indignant German delegation turn their backs and depart.

“League Of Nations Battle” reveals Newman offering a dramatic Wagneresque rendering of Wilson’s Theme as he arrives home and engages in an epic battle with Republican senators opposed to America joining the League of Nations. “America Has But Two Choices” reveals President Wilson in a heated argument with a team of Republican senators led by Henry Cabot Lodge about joining the League of Nations. Music enters with his closing speech where he asserts that America has but two choices; join the League or forever live with a gun in hand. Newman offers a noble and solemn rendering of Wilson’s Theme, which becomes forlorn joined with a dispirited “My Country Tis of Thee” as the recalcitrant Republicans depart and President Wilson contemplates a response. Yet at 0:41 his theme is reborn with determination as he decides to take his vision for a League of Nations directly to the American people. At 1:08 the theme shifts to a romantic expression full of yearning as a protective Edith begs him not to go against physician advice and risk his health. At 1:17 a bold and resolute Wilson’s Theme empowers a montage of scenes follows where President Wilson is seen traveling by railroad across the country giving impassioned speeches to gain public support for his beloved League of Nations.

“Wilson Suffers A Stroke” reveals a clearly exhausted and stressed President Wilson, against physician advice and Edith’s pleading giving his 41st speech in seventeen days. Near the end of the speech, he is forced to stop as he clearly exhibits a speech impediment and he is escorted into the railroad car. Dire horns usher in a grim narrative with a plaintive Wilson’s Theme as Edith orders the train to proceed to Washington D.C. “Resting Quietly” reveals that President Wilson has suffered a stroke, which has led to left side paralysis. Though his mind is sound, doctors advise that Edith that to minimize stress that she scrutinize and limit what the president sees. A sad and dispirited rendering of Wilson’s Theme supports the scene. “Democratic Convention” (*) takes place in San Francisco supported by a rousing rendering of “School Days”. On election night President Wilson and family listen to a piano piece as Tumulty brings news of a Harding landslide victory.

In “Democrats Defeated” a severe recession, labor strikes, race riots and anarchist attacks propelled victory for Republican candidate Warren G. Harding, who immediately declares the death of the League of Nations. A noble, yet vanquished rendering of Wilson’s Theme speaks to his great disappointment as he and Edith depart for their personal residence. At 1:00 we flow into a victorious rendering of “The National Emblem March” as newspaper headlines announce Harding’s arrival for his inauguration. We close at 1:09 with a resigned Wilson’s Theme as another article discloses that “Wilson Ends Eight Year Term at Noon Today”. “End Of Term/Finale” reveals the dignified departure of President Wilson and Edith from the White House, supported with a grand inspiring choral empowered rendering of “America”. “Exit Music” was never used in the film. It offers a full rendering of the patriotic anthem “The National Emblem March”. “Trailer” offers a bonus cue for music that supported the theatrical trailer. It opens with grand fanfare declaring Wilson’s Theme, which ushers in at 0:22 the festive “Tammany”. At 0:33 we segue into the energetic “Pack Up Your Troubles in Your Own Kit-bag”, the hymn “Glory, Glory Hallelujah” follows at 0:53, yielding to an optimistic Wilson Theme at 1:13. We conclude at 1:49 with “Wedding Fanfare”, which ushers in a confident rendering of “Hail To The Chief”.

I would like to thank Ray Faiola, Nick Redman, Craig Spaulding and Screen Archives Entertainment for this long-sought restoration of Alfred Newman’s Oscar nominated score “Wilson”. The transference form optical film to magnetic audio tape was largely successful and the album offers greatly improved archival audio. Although 21st century audio quality was not achieved, the score still shines and provides a good listening experience. Newman understood that this film at its core was a biopic of a great man, a visionary far ahead of his time. In a masterstroke he composed a very malleable Main Theme for Woodrow Wilson, which captured his essence, his nobility, integrity and resolute determination. Although the score has only one original theme for the titular character, it never the less manages through the use of university anthems, popular songs, patriotic songs and anthems, and hymns to perfectly support the film’s narrative. In scene after scene the confluence of music and film narrative is spot on, empowering the story-telling and achieving an inspiring positive synergy. Folks, this score offers a testament to Newman’s mastery of his craft. He clearly demonstrated that the use of source and non-original music can very effectively support and enhance a film’s narrative. The film was indeed as critics derided boring, tedious and ultimately impotent. Yet I believe Newman’s score was well-conceived and executed. It also infused vital energy, which propelled the film’s forward momentum and mitigated much of these faults. In summary, I believe this is a classic biopic and political narrative score with many entertaining moments, and I recommend you purchase this fine album.

For those of you unfamiliar with the score, I have embedded a YouTube link to a 15-minute suite; https://www.youtube.com/watch?v=0rNmk3orvSY

Buy the Wilson soundtrack from the Movie Music UK Store

Track Listing:

  • Main Title (2:39)
  • Princeton (2:07)
  • The Game Ends (1:32)
  • Campaign Parade (1:16)
  • He Speaks For The Party (0:33)
  • Governor Wilson (0:16)
  • Wilson vs. Big Ed (0:43)
  • Moonlight Bay (1:25)
  • Vaudeville Continues (1:08)
  • Presidential Convention (3:24)
  • Champ Clark Victory Parade (1:24)
  • Wilson Nominated (0:56)
  • Campaign Speech Montage (1:57)
  • Students Serenate (2:14)
  • White House Tour (5:46)
  • The Work Begins (1:12)
  • Mrs. Wilson’s Sickbed (2:21)
  • The Funeral/Germany at War (1:00)
  • A Man Alone (0:25)
  • Warning to Germany (0:22)
  • A Budding Romance (1:16)
  • At the Ballpark (0:37)
  • Wedding Processional (2:03)
  • Re-Election Campaign (3:35)
  • Inauguration Reception (0:49)
  • His Predecessors (1:21)
  • Declaration of War (1:15)
  • Fox Newsreel (3:42)
  • Railway Canteen (1:42)
  • Wilson Addresses Congress (0:50)
  • Armistice (3:04)
  • Peace Conference Newsreel (1:49)
  • Peace Treaty Signing (1:41)
  • League of Nations Battle (0:14)
  • America Has But Two Choices (3:02)
  • Wilson Suffers a Stroke (1:04)
  • Resting Quietly (0:44)
  • Democrats Defeated (1:26)
  • End of Term/Finale (0:59)
  • Exit Music (2:02)
  • Trailer (2:31)

Running Time: 68 minutes 26 seconds

Screen Archives Entertainment SAE-CSR 0004 (1944/2002)

Music composed and conducted by Alfred Newman. Orchestrations by Edward B. Powell and Jack Vigil. Recorded and mixed by XXXX. Score produced by Alfred Newman. Album produced by Ray Faiola, Nick Redman and Craig Spaulding.

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