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SCARAMOUCHE – Victor Young


Original Review by Craig Lysy

One of Hollywood’s most beloved authors was Rafael Sabatini, whose swashbuckling novels were highly prized and often brought to the big screen, including; Scaramouche (1923), Bardelys The Magnificent (1926), Captain Blood (1935), The Sea Hawk (1940), and The Black Swan (1942). In 1938 MGM decided to remake its 1923 silent version of Scaramouche. It would however take thirteen years for the project to finally go to production under Carey Wilson. Ronald Millar and George Froeschel were hired to adapt the novel for a fresh iteration, and a $3.0 million budget was provided. George Sidney was tasked with directing, and a stellar cast was hired, including; Stewart Granger as Andre Moreau, Eleanor Parker as Lenore, Janet Leigh as Aline de Gavrillac de Bourbon, Mel Ferrer as Noel, Marquis de Maynes, and Nina Foch as Marie Antionette.

The film setting is France circa 1790 during the wanning years of the reign of France’s last king, Louis XVI. What unfolds is court intrigue and a love triangle, which leads to conflict and sword fights galore! Andre is a nobleman’s bastard son who seeks the hand of Aline in marriage, but she is also sought by rival nobleman Noel. The competition descends into animus when Noel kills Andre’s best friend Philippe. Andre is no match for Noel, a master swordsman, fails in his first attempt at vengeance, and is forced to flee. Andre is pursued by Noel’s henchmen and finds refuge in a traveling comedy troupe, where he discovers hidden talents. Andre secures training in swordsmanship, eventually meets Noel again, and this time prevails in what is known as the longest recorded sword fight in Hollywood history. Yet for reasons unknown to even himself, Andre does not slay Noel. Later he is informed by Philippe’s father that he is really the bastard son of the older Marquis de Maynes, which makes Noel, his half-brother. We end happily when Andre’s mercy is rewarded and he wins the hand of Aline. The film was a huge commercial success, earning a profit of $3.7 million. Critics were mixed, citing the romance as “cheeky” but the sword fights outstanding. The film failed to earn any Academy Award nominations.

Director of Music Johnny Green assigned Victor Young to the project as he believed the lyricism of his beautiful melodies were ideally suited for the French period piece film. Upon viewing the film Young realized that he would need to provide love themes for the two leading ladies, Lenore, and Aline de Gavrillac de Bourbon. Also, given that this was a swashbuckler film with some outstanding sword fights, he would need to provide the rousing and kinetic energy to propel these scenes. The royal court required the requisite fanfares, but he decided against imparting French cultural sensibilities preferring instead to let his melodies carry the romantic drama.

For his soundscape Young offers four primary themes, including two exquisite love themes. Lenore’s Theme serves as her identity, but also as a love theme for Andre. Lenore is passionate and Young offers a graceful danza romantico borne by sumptuous strings d’amore. Her relationship with Andre is volatile, tempestuous and love-hate, and so her theme has a much greater emotive range than Aline’s. Aline’s Theme, also serves as her identity as well as a love theme for Andre. Her theme is also borne by strings d’amore, and while equally expressive romantically to Lenore’s Theme, it lacks its fire and fervency, always expressing itself with grace, delicacy and refinement. Our hero Andre is supported by fanfare eroico, which speaks to his brash, cocky and irreverent persona. But after he assumes the identity of the comedian Scaramouche, a playful and comic musical identity is provided. De Valmorins Theme supports House de Valmorin, and by extension its patriarch Georges and his beloved son Philippe. The theme emotes alla maestoso with reserved solemnity borne by horns and strings nobile. There are also a number of fine set pieces where Young’s penchant for lyricism just shines.

The first two cues offer rousing score highlights where Young perfectly sets the tone of the film. In “Prelude” Young unleashes a crescendo dramatico as the MGM studio Logo displays. At 0:09 narrative script reads “He was born with the gift of laughter, and a sense that the world was mad. Sabatini”. The music surges and at 0:18 the film title displays, and the roll of the opening credits commences, set against an ornamental brick signpost displaying the triple fleur de lis embléme royal of the French monarchy. Young empowers the credits with by a rousing, bravado, Korngold-esque anthem, reeling the audience into the film. At 0:56 a fleeting B Phrase emerges (Scaramouche’s Theme) on warm strings, before reprising the anthem’s fanfare. At 1:21 we segue kinetically into “Royal Signpost”, propelled by strings energico and horns bravura as we see the Chevalier de Chabrillaine riding furiously past the signpost with a contingent of soldiers. A charging orchestral furioso carries them to Castle de Maynes with an urgent message from the queen for Noel, Marquis de Maynes. We close with a diminuendo as they arrive at the dueling greens where Noel has just dispatched another adversary.

“Royal Fanfare” offers fanfare reale as the Chevalier arrives and declares a message form the queen, which elicits a bow from Noel. A diminuendo ushers in a scene change and we close with solemn aristocratic formality as we see Noel presented to the Queen Marie Antionette. She admonishes him for killing nobles of her liking in his duels and orders him to stop. She is unsettled to find another revolutionary pamphlet in her jewel case, which says “Liberté, Égalité and Fraternité!” In “Pavane #2” she escorts Noel to meet with her beautiful ward Aline de Gavrillac, who is participating in a dance lessen with other young ladies of the court. The queen states that at age 35, it is time for Noel to marry. He is in love with the queen, but agrees, asking her to select his bride. She introduces him to her choice, her cousin and protégé, Aline who impresses Noel with her education and affinity for the arts. The queen departs, stating that it is her wish that they become ‘good friends”. Young supports with a score highlight, an elegant set piece that graces us with a classic and beautiful duple time Pavane. At 2:25 we segue vigorously into “Andre Arrives on Horseback” atop a galloping motif as the rogue Andre Moreau rides into the camp of a theater troupe where a poster displays a comedy staring Harlequin, Scaramouche and Punchinello. Young sows suspense as he sneaks into Lenore’s trailer and professes his love, supported by guitar and strings d’amore voicing their Love Theme. We end with a comedic coda as his kiss of her hand rouses a man to sit up, shocking him, and causing him to flee. Outside her father informs Andre that she got tired of waiting for his proposal and will marry a wealthy merchant Tuesday in Paris.

“Roses & Diamonds” reveals her adoring husband to be, a corpulent man much senior to her, fawning over her. Young supports with Lenore’s Theme, a gorgeous string borne valzer romantico joined by a solo violin d’amore for a sumptuous exposition. We end comically at 1:00 as she has to pull his stuffed body into their wedding carriage. “Vanished Merchant” offers a romantic score highlight. It reveals Andre barging into the carriage and causing great umbrage from the merchant, until he discloses that Lenore is an actress, and that he is her true love. He kisses her and afterwards we discover that the aggrieved merchant has abandoned Lenore. Young supports the scene with Andre and Lenore’s Love Theme, which unfolds for a molto romantico performance when they embrace and kiss. At 1:10 foreboding tension enters as Andre departs to meet with his friend Philippe, who he tells Lenore, has their wedding rings. Yet he bolts after a boy advises him that Philippe is in trouble and requires assistance.

“De Valmorin” reveals Andre arriving at the De Valmorin residence supported by ominous strings grave as Philippe’s parents Georges and Isabelle mistake him for a coachman. Stepped tension builds as they await the stranger’s arrival until 0:19 when Andre’s warm fanfare supports his relieved welcome by the De Valmorins. Grieving strings voice their distress as they relate Philippe is in hiding, and hunted by the King’s soldiers. As Georges goes upstairs to fetch Philippe, strings gentile yield to strings triste as Isabelle voices her concerns to Andre’s. At 0:48 Philippe reunites with Andre supported by the De Valmorin Theme born by strings nobile draped with sadness as he admits to being the notorious ‘Marcus Brutus’ who foments revolution with his pamphlets. Andre tells him to don his coachman garb and depart with Lenore from the city, and rendezvous in the forests of Bovary. In “Father & Son” an aching De Valmorin Theme reprises to support his hugging goodbye of his mother, and respectful familial acceptance of the family sword from his father.

“Gavrillac” offers one of the score’s finest passages with a sumptuous romance for strings. It reveals Andre reuniting with Philippe at the rendezvous where he is informed that Lenore bolted from the carriage at the city gates. They ride off to castle Gavrillac, which is home of his foster father Comte de Gavrillac. An intense, churning string and horns galloping motif carries their ride. Later they ride casually through the countryside and at 0:11 martial horns support Philippe’s assertion of the coming revolution, which will overthrow the monarchy and aristocracy. At 0:23 horns reale sound as they see a beautiful woman sitting at the roadside as men attempt to repair her damaged carriage. They ride to join and at 0:33 an extended rendering of the sumptuous Aline’s Theme borne by strings romantico unfolds. Andre is smitten, looks adoringly at her, and begins flirting with her. She is clearly moved by his charm, yet departs gracefully. At 2:37 we segue into “Andre & Aline” atop spritely strings as Aline’s carriage departs. He shocks her when he climbs into her carriage and confesses his fervent love for her, which Young supports with a lighter and more tender version of her Love Theme. Andre captivates her with a faux reading of her palm, yet the romantic interlude is shattered, ending in silence when he discovers that she is a daughter of House Gavrillac, which makes her his half-sister, and romantically, inaccessible.

“Candlelight” reveals Andre and Aline arriving home where they are informed that the count has died. Young offers a cello lutto, which ushers in a string borne threnody as they grieve for their father. At 1:08 an energetic galloping motif carries Andre’s and Philippe’s ride over the countryside, with fanfare supporting the sign “Taverne du Coq Rouge”, which ends in a diminuendo as the two men drink beer inside. Later, the Chevalier of Chabrillaine recognizes Philippe and orders the arrest of he and Andre for treason. Noel goads him into a duel, and then slays Philippe. Andre is provoked to fury, escapes the guard and recklessly attacks Noel with sword. We flow into “By All I Hold Sacred” supported by an ominous musical narrative by strings and dire horns. Andre grabs a pistol from a horse saddle and then issues a threat, that one day he will return a kill Noel, as he killed Philippe, with a sword. At 0:54 we segue into “Andre Escapes” a kinetic score highlight. Andre flees by horseback with Noel’s cavalry in hot pursuit, propelled by propulsive flight and pursuit music empowered by strings energico and horns bellicoso. At 2:01 a suspense diminuendo supports Andre hiding under a bridge as the pursuing soldiers ride off. We segue into “Tomb” at 2:05 atop a lamentation as we see Aline place a rose on her father’s tomb. At 2:15 strings d’amore usher in her Love Theme as Andre joins, and consoles her.

“Andre’s Departure” reveals the approach of Noel’s soldiers supported by ominous strings. Aline helps Andre escape supported by a stepped tension surge, and the flight motif resumes in earnest as he is again pursued on horseback. At 0:32 a comedic interlude supports the sight of a poster; “Theatre de Lacrosse – Binet Présente Ses Comédiens Célebres”. The pursuit motif resumes on a crescendo dramatico until 0:54 when horns eroico resound as Andre makes an athletic escape, hiding in a bridge’s rafters as the soldiers ride by. At 1:08 we segue into “Andre & Scaramouche” as Andre hides in a building where he discovers the drunken actor Scaramouche, who wears a mask to conceal his facial disfigurement. Young supports the encounter with a playful, comedic musical narrative as the men banter.

In “Pierrot & Pierrette” Scaramouche has passed out, the soldiers enter the theater, and Andre assumes Scaramouche’s masked identity to elude arrest. Young offers music of the Renaissance with a small ensemble led by flute animato and harp. Andre is thrown on stage and provides buffoonery and slapstick much to the crowd and soldier’s delight. At 0:20 we segue into “Lenore & Scaramouche” where she performs a comedy skit with Andre, only to realize it is Andre, not Scaramouche when they kiss. Young reprises his spritely Renaissance music, which is again emoted by bubbly flute animato and harp. Afterwards the Chevalier of Chabrillaine and his soldiers shows up back stage and begin searching for Andre. As he is about to compel Andre to remove his mask at sword point, we flow into “Trap Door” as Lenore pulls a lever and Andre falls through a trap door. Andre’s fanfare supports his descent and grim strings carry the Chevalier of Chabrillaine downstairs in search of Scaramouche, entwining with Lenore’s Theme. Woodwinds comici bubble up when the Chevalier of Chabrillaine finds Scaramouche, unmasks him, and becomes enraged as the man is not Andre. A dire musical narrative seething with anger carries the Chevalier of Chabrillaine’s departure. Comedy bubbles up as Lenore is startled to find Andre popping up from a chest unharmed and safe. Her Love Theme blossoms, emanating from his perspective, and carries him to her as he thanks her for saving his life. She will not suffer his antics, rejects his advances, and punctuates her rejection with three slaps to his face! He remains undeterred and unrepentant, tries to kiss her, only to be bitten on the hand as she flees. At 2:08 we close with horns nobile voicing De Valmorin’s Theme as he picks up the De Valmorin family sword and departs.

“Pamphlet” reveals Scaramouche awake and falling into a chest where Andre pulls from his shirt one of Philippe’s pamphlets declaring; “Liberté, Égalité and Fraternité!” Scaramouche informs Andre that master swordsman Doutreval is Noel’s mentor, but also a republican, and the key to learning the skill to defeat Noel in a duel. Young supports with an amorphous, foreboding and ominous musical narrative. At 1:18 dueling strings lines sow tension as Andre sneaks into Noel’s guarded estate and observes him practice dueling with Doutreval. Noel loses and retires, and Andre stealthily stalks Doutreval supported by a lurking tension. Doutreval detects him, pulls a pistol, but agrees to train him in swordsmanship, persuaded by Andre’s effusive praise, and revelation of a ‘Marcus Brutus’ pamphlet. In “Saucepan Love” Andre in awarded the role of Sacramouche by the troupe, and again pursues Lenore into her personal trailer. We open with woodwinds comici and strings animato, which carry his entry into her trailer. His efforts to woo her are rebuffed, yet he forces a kiss, she acquiesces and at 0:39 their Love Theme blossoms. Yet at 1:04 a stinger unleashes a barrage of them striking each other’s heads with frying pans as we descend into silly slapstick.

“Duel Montage” reveals Andre’s first lessons, scored with drama and tension as we see him struggle. At 0:18 we shift to comedy as Andre transforms into Scaramouche for tonight’s performance. In “Take Me to Paris” we are graced with a molto romantico score highlight. The troupe is offered a breakthrough opportunity to perform in Paris, but Andre declines as he must remain in Lagrasse to complete his training. Lenore is frustrated and begs him to go, her pleading Love Theme borne by solo violin d’amore seeking to entice him, yet he is resolute, which angers her. He cleverly diffuses her anger with sweet, amorous talk, and a passionate kissing embrace as the Love Theme blossoms. “Noel & Andre” reveals Noel discovering Andre training, and uses it as a pretext for a duel, which is unscored. Andre is outmatched and suffering injury by several cuts as Noel toys with him. As Noel is poised to strike a mortal thrust, Aline enters in “Noel, Aline & Andre”, empowered dramatically, which distracts Noel. Her plaintive theme emotes a romantic yearning, not unnoticed by Noel. At 0:21 tension surges as Noel orders his house guard to seize Andre, but he escapes through a secret panel opened by Doutreval. As Noel confronts Aline, she reveals her feeling for Andre supported by an exquisite, extended rendering of her yearning Love Theme. She rejects Noel as he only seeks her because of the queen’s command, while Andre follows his heart. Yet when he admits that while this was true in the beginning, he is now motivated not by a royal command, but by love, and we see her conflicted as he kisses her hand.

In “Perigore of Paris” Doutreval counsels Andre to seek out his master swordsman Perigore in Paris. Young supports with a reserved musical narrative full of nobility and warmth, which speaks to the bond between the two men. Regretfully the music from 0:00 – 1:20 was dialed out of the film. At 1:21 A ‘Gotcha” stinger supports Lenore catching Andre sneaking out of the catacombs. She is furious as she believes he has been seeing Aline, yet he denies the allegation and wins her over saying that he is joining her and the troupe and going to Paris after all. Young supports with Lenore’s Love Theme, which blossoms joy and sweet anticipation, ending with a romantic flourish as their carriage drives off. At 2:29 we segue atop playful woodwinds into “Big Apple” as we see a poster of the Binet Troupe featuring Scaramouche. We conclude with warm strings as Lenore and Andre bow on stage following the close of the opening act. “Big Apple No. 2” reveals a comedic skit where Lenore receives a bouquet of flowers form Andre that sprays water on her as she sniffs, followed by Lenore’s revenge with her gift of an apple that explodes as he takes a bite. Young supports with a playful and prancing musical narrative full of fun!

“Perigore & Andre” reveals Noel’s nemesis Chevalier of Chabrillaine and his guards visiting Lenore’s dressing room, intent on securing a date, only to suffer rejection as Andre/Scaramouche enters and kisses Lenore. Music enters on grim strings when the Chevalier of Chabrillaine advises that Noel is in Paris to marry his ward, Aline. The news causes a reaction of dread from Andre/Scaramouch that is noticed by Lenore. Her Love Theme supports warmly, but becomes aggrieved after her request to dine is declined. She becomes furious saying that he hates the Marquis for Aline’s sake. He forcefully denies this, excuses himself, and departs. At 0:44 horns nobile sound as we see a sign “Perigore”. Dire horns and tremolo strings exude tension as a spy observes through a window, Andre being trained by the master. Perigore admonishes Andre for fighting with his heart instead of his brain and ends the lesson. After Andre departs, we close darkly as Perigore meets with the spy who states; “He may be our man.” We flow seamlessly atop the grim musical narrative borne by strings grave into “Pay Me Tomorrow” as they set the trap to capture Andre. At 0:13 the music brightens and blossoms atop Lenore’s yearning Love Theme as Andre finds her in his room. She is distraught, as she thought he had died. She begs him to go with her, but he refuses, and the music darkens with grim purpose when he finally discloses his retributive quest to avenge Philippe’s death by killing the Marquis. He declares he is going to challenge de Maynes and she begs him not to go, but he is resolute. A tearful rendering of her theme supports his request that she wish him luck, and when she refuses, he departs saying, then pray for me.

In an unscored scene Lenore visits Aline and advises that Andre intends to fight De Maynes and will be cut to pieces. Aline is clearly distraught at the news, and then Lenore elicits her to reveal what they both already know, that she loves Andre. Lenore departs, and Aline makes preparations to intercept Andre before it is too late. “Chase” reveals Aline riding to the meadow Noel frequents while riding in the morning and attempts to lure Andre to ride away with her. He refuses and she drops all pretenses, saying that she loves him. Tender strings d’amore offer a yearning, deeply expressive rendering of her Love Theme to support the moment. He declares he does not, and cannot love her, but she does not believe him. She counters that she has loved him from the moment they met, and will continue loving him. She rides away and at 1:13 dire muted trumpets sound as she sees Noel approaching. She rears up on her horse, catches his attention, and rides off vigorously. He falls for her rouse and begins to chase her, propelled by kinetic flight and pursuit music. He catches her and decides that they have had enough riding for the day and takes her home, much to her relief.

In two unscored scenes a physician named Dubuque greets Andre in his room, declares he is a friend of Phillipe, and solicits Andre to join the National Assembly as a delegate. Andre declines, saying he has no interest in politics. Yet when Lenore arrives with supper, he has a change of heart, and agrees to Dubuque’s proposal. The next day Andre presents his credentials to the Assembly and is admitted as a deputy. An attempt by de Maynes’ ally Chevalier of Chabrillaine to arrest him is denied as all deputies have immunity from prosecution of past crimes. As the Assembly ends its session, the Chevalier of Chabrillaine conspires to kill Andre by dispatching the aristocrat du Rogue of Soixante. He goads Andre into a duel and later is mortally wounded by Andre in a duel. The next day Chevalier of Chabrillaine dispatches aristocrat Duraillon of Chateau Thierry. He too goads Andre into a duel, and also ends up being gravely wounded. The next day in the Assembly, Chevalier of Chabrillaine challenges Andre to a duel and is also wounded. In Wounded Chabrillaine” Young offers a grim musical narrative as Noel visits Chabrillaine at his estate. Noel declares that he will kill Andre tonight and is overheard by Aline. She does everything in her power to induce him to spend the evening with her, and succeeds. Chabrillaine convinces Noel to take her to the Ambigule Theater, where unbeknownst to Aline, Andre is performing as Scaramouche.

“Big Show” reveals Scaramouche and Lenore performing a silly comedic skit. Young supports with a playful, comedic musical prelude, which ushers in at 0:19 an endearing statement of Scaramouche’s Theme. A curtain close chord ends the skit, and at 0:34 we segue into “Magic Box”, which offers a score highlight, a beautiful balletic set piece. During the performance Aline realizes that Scaramouche is actually Andre. The emotive music gains intensity and passion as Scaramouche and Lenore complete the act and take their bows. The music is severed when Andre recognizes Noel in the gallery, and silences the orchestra. Aline feigns illness and elicits Noel to depart, but Scaramouch swings up to the balcony, reveals himself as Andre, and Noel vows to make this Andre’s last performance.

In “Pinned to the Wall” the longest sword duel in cinematic history unfolds. The fight is unscored, with music entering atop dire strings as Andre pins Noel against the wall with a sword pressed against his chest over his heart. He pauses and Young unleashes with soaring strings brillante, a paean of triumph as Andre spares Noel. At 0:26 horns nobile unleash a descending string motif of flight music as Andre cast his sword into the floor and departs, much to Noel’s amazement and relief. At 0:36 we segue into “Why” atop a solo cello lutto and kindred strings of contemplation. At 1:03 strings nobile emote de Valmorin’s Theme as Georges arrives. Strings affanato join and crescendo in pain as Andre confesses that he could not bring himself to kill Noel, repeatedly shouting Why! Georges then comes to him and discloses that de Gavrillac was not his father, but instead, de Maynes. He is stunned and laughs at the irony, as this makes Noel his half-brother. Lenore, who has been listening, adds, that since Aline is not his sister, there is no impediment to their love.

“Lenore’s Farewell” offers a sentimental and wistful rendering of Lenore’s Theme as she graciously surrenders to the inevitable, offering Andre the best with Aline as she bids him a fond farewell. Her theme swells as he kisses her one last time, accepting that their love was not destined to be, and she orders him to go, weeping as he departs. At 1:27 we segue atop celebratory horns and sparkling strings brillante into “Roses & Napoleon” a wondrous score highlight! We see Andre and Aline travelling through Paris in their wedding carriage. Young weaves a resplendent musical narrative with interplay of Aline’s and Lenore’s themes. As they pass below her balcony, Lenore tosses him a bouquet of flowers which explode in his face, a parting prank from their show. At 2:13 a bravado rendering of Les Marsellaise resounds and ends in a flourish as Lenore turns away and takes the outstretched hand of her new over, Napoleon Bonaparte. At 2:34 we flow into “Cast”, which is supported by Aline’s Theme rendered as a wonderful valzer allegro.

I would like to commend Lukas Kendall resurrecting Victor Young’s long sought score for Scaramouche. The original score recording in 1952 was in stereo. In the early 1960s the score was inexplicably transferred to ¼ inch monaural tape and this source tape is all that remains. The technical team led by Doug Schwartz have remastered this archival monaural recording, and although 21st century stereophonic qualitative standards were not achieved, we can still appreciate the beauty of Young’s music. The film offered a classic love triangle, which Young’s melodic lyricism brought to life with two of his finest love themes. Andre’s two loves were very different; Lenore was earthy, passionate and tempestuous, while Aline was tender, refined and elegant. Both of his love themes embodied these personality traits offering very different and distinct forms of romanticism. Worth noting is that their love themes emote from their perspectives, not Andre’s, who is by nature, a rogue. Cues such as “Vanished Merchant” (Lenore) and “Noel, and Aline Andre” (Aline) offer gorgeous rendering of each Love Theme. While the final cue “Roses and Napoleon” offers sublime interplay of the two love themes and perhaps the score’s finest moment. Young brings Andre alive with two motifs; fanfare eroico when he is heroic, and comedic when he is performing in the guise of Scaramouche. Folks, Young understood that the film’s narrative required that he support the comedy, romance, adventure, and conflict between Andre and Noel. His supreme gift for lyricism gave the film the necessary heart, the silly comedy for the slapstick buffoonery, and the rousing kinetic fury for the chase scenes that made the film a fan favorite. I believe that this film succeeds because of Young’s music and I highly recommend that you not only pick up this wonderful album, but also take in the film.

For those of you unfamiliar with the score, I have embedded a YouTube link to a nineteen-minute suite; https://www.youtube.com/watch?v=5pbHsorDNOw

Buy the Scaramouche soundtrack from the Movie Music UK Store

Track Listing:

  • Prelude / Royal Signpost (2:21)
  • Royal Fanfare (0:17)
  • Pavane #2 / Andre Arrives on Horseback (3:37)
  • Roses & Diamonds (1:10)
  • Vanished Merchant (1:34)
  • De Valmorin (1:17)
  • Father & Son (1:13)
  • Gavrillac / Andre & Aline (4:44)
  • Candlelight (1:25)
  • By All I Hold Sacred / Andre Escapes / Tomb (4:50)
  • Andre’s Departure / Andre & Scaramouche (2:30)
  • Pierrot & Pierrette / Lenore & Scaramouche (1:38)
  • Trap Door (2:23)
  • Pamphlet (2:18)
  • Saucepan Love (1:03)
  • Duel Montage (0:25)
  • Take Me to Paris (1:24)
  • Noel & Andre / Noel, Aline & Andre (1:29)
  • Perigore of Paris / Big Apple (2:41)
  • Big Apple No. 2 (0:45)
  • Perigore & Andre (1:06)
  • Pay Me Tomorrow (2:09)
  • Chase (1:56)
  • Wounded Chabrillaine (0:19)
  • Big Show / Magic Box (2:46)
  • Pinned to the Wall / Why (2:06)
  • Lenore’s Farewell / Roses & Napoleon / Cast (3:14)
  • Pavane #1 (0:42)
  • Pavane #2 (alternate) (2:27)
  • Candlelight (alternate) (1:26)
  • Big Apple (alternate) (1:12)
  • Magic Box (alternate) (2:14)
  • Interlude (0:40)
  • Lenore & Scaramouche (0:38)

Running Time: 61 minutes 59 seconds

Film Score Monthly FSMCD Vol. 5 No. 13 (1952/2002)

Music composed and conducted by Victor Young. Orchestrations by Sidney Cutner and Leo Shuken. Recorded and mixed by XXXX. Score produced by Victor Young. Album produced by Lukas Kendall.

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