MOVIE MUSIC UK

GREATEST SCORES OF THE TWENTIETH CENTURY

Original Review by Craig Lysy

20th Century Fox executive Darryl F. Zanuck decided that the 1944 novel “The Razor’s Edge” by W. Sommerset Maugham would be his next passion project, which would showcase the studio’s star, Tyrone Power. He purchased the film rights in March of 1945 for $250,000 plus 20% of the net profits. Zanuck took personal charge of production with a $1.2 million budget, tasked George Cuckor with directing, but later fired him over creative differences, replacing him with Edmund Gouling. Zanuck also collaborated with writer Lamar Trotti to write the screenplay. An exceptional cast was hired, including Tyrone Power as Larry Darrell, Gene Tierney as Isabel Bradley, John Payne as Gray Muturin, Ann Baxter as Sophie MacDonald, and Clifton Webb as Elliott Templeton.

The conception of the story is based on a verse from the ancient Hindu text Katha Upanishad – “the sharp edge of a razor is difficult to pass over; thus, the wise say the path to salvation is hard”. The story takes place in the years following WWI. Larry Darrell has been traumatized by the war, and specifically the death of his friend who sacrificed his life for him. He defers his engagement to Isabel for one year while he travels the world seeking enlightenment and the meaning of life. Isabel eventually gives up on him and marries Gray Maturin a wealthy man who can provide her the luxurious high society life she desires. Eventually Larry and Isabel’s paths converge, and given that Gary has had a nervous breakdown, she seeks to rekindle her romance with Larry. But it is to no avail as their world views are irreconcilable. The film was a commercial success, earning a $3.8 million. Critical reception was very favorable, and the film received four Academy Award nominations, including; Best Picture, Best Supporting Actor, and Best Art Direction, winning one for Best Supporting Actress.

The fact that this was a Darryl F. Zanuck passion project meant Alfred Newman had to take personal control of scoring the film. Zanuck brought him in early in production and Newman quickly realized that the film’s narrative offered several very complex interpersonal relationships, an ill-fated romance between Larry and Isabel, as well as Larry’s personal quest for spiritual enlightenment. Settings in Chicago, Paris and the Indian Himalayas would also need to be addressed to provide the requisite cultural sensibilities. Director Goulding’s insistence on using many source songs, some written by him personally required Newman and his team to arrange and orchestrate them.

For his soundscape, Newman anchored it with three primary themes; The Quest Theme, speaks to Larry’s personal quest to seek truth, achieve enlightenment, and to understand the meaning of life. Newman inspires with repeating refulgent four-note phrases and infuses the theme with nobility, draped in solemn religioso auras. Throughout his career Newman displayed the gift of tapping into the divine and here is yet another magnificent example. The Love Theme, speaks to Isabel’s ill-fated love affair with Larry. Somerset’s rebuke in the film that she gave up his love for a diamond ring and mink stole is damning. The theme offers classic Newman string borne sumptuousness by fervent, lush strings romantico full of yearning. The Holy Man’s Theme supports the mystic monk who serves as Larry’s mentor and spiritual guide. Newman captures his gentle, humble and loving nature with softness and gentility using a clarinet tenero, which at times is buttressed by French horns nobile. Newman also composed a number of original elegant waltzes in fine Straussian fashion, which he used to establish café and party ambiance.

Newman as instructed used a number of songs Goulding composed for the film, as well as other traditional, classical and folk songs, including “April Showers” (1921) by Louis Silvers, “I’ll See You in My Dreams” (1924) by Isham Jones and Gus Kahn, “I’m Forever Blowing Bubbles” (1919) by James Kendis, James Brockman and Nat Vincent, “Miner’s Song” (1946) by Edmund Goulding and Jacques Surmagne, “Mam’selle” (1946), Edmund Goulding and Mack Gordon, the traditional Scottish folk song “Loch Lomond” sung a cappella by Elsa Lanchester, “Frère Jacques” sung by Susan Hartmann and Suzanne O’Connor, “Night Was So Dark (1946) by Edmund Goulding and Nina Koshetz, “J’aime ta Pomme” by Edmund Goulding and Jacques Surmagne, the traditional song “Auprès de ma Blonde,” and “Polonaise in A Flat Major (Heroic), Op. 53” by Frédéric Chopin.

“Main Title” offers a magnificent score highlight. It opens with Newman replacing his iconic 20th Century Fox fanfare with trumpets nobile declarations, which announce the Quest Theme, which is given an extended and magnificent exposition, supporting the roll of the opening credits. In a master stroke Newman captures musically, the emotional core of the film – Larry’s quest for enlightenment, and the meaning of life. At 0:42 we flow into the Love Theme, which blossoms atop sumptuous strings full of longing as we see restless waves crashing on the shoreline. We conclude with a coda of the Quest Theme’s fanfare. Narration supports a prologue by Herbert Marshall who appears as W. Somerset Maugham in the film. He sets the tale saying he was joining his friend Elliot Templeton for dinner party in the summer of 1919 at a Chicago country club.

“April Showers” reveals the dinner party being held at a Chicago country club where a live band plays a pleasant and sunny instrumental rendering of the famous song “April Showers” as we see merriment and a crowded dance floor. Elliott, an expatriate who has been living in France for years, has recently returned to the United States to visit his sister, Louisa Bradley, and his niece, Isabel. Elliot is critical of Isabel’s fiancé Larry, complaining to his sister and Somerset that he is unemployed and embraces indolence by refusing to seek employment. “I’ll See You in My Dreams” reveals Isabel and Sophie joining the party and chit chatting with Elliot and Louisa about Sophie’s engagement to Bob MacDonald. Newman supports the relaxed ambiance with an instrumental rendering of the song “I’ll See You in My Dreams” as a valzer gentile.

“A Chicago Country Club Dance” reveals Sophie and Somerset discussing Elliot’s insufferable snobbery, with Newman sustaining the party ambiance by offering an original, softly flowing Fox Trot. Gray, a millionaire joins briefly, and afterwards Sophie relates to Somerset that he loves Isabel to no avail as she is in love with Larry. She departs with Isabel for some food, as Larry enters the courtyard. Isabel introduces him to Somerset and Elliot is displeased when he admits that he turned down a job from Gray, saying he believed he would prove, inadequate. “I’m Forever Blowing Bubbles” reveals Sophie and her beau Bob dancing, while Larry and Isabel stroll away to the garden for a quiet moment together. Newman continues the party ambiance with an instrumental rendering of the song, which is rendered as a free flowing valzer felice.

“The Missouri Waltz” reveals Isabel admonishing Larry for not seeking employment. He responds amorously with a kissing embrace. When she presses him, he says he prefers to loaf, which cases her to turn away in distress. Music joins with Newman interpolating the melody from “The Missouri Waltz, rendered as an instrumental canzone triste. She says he is making her miserable, he says that he regrets it, and takes her into his arms dancing to the waltz. She soon stops, they sit down, and she presses him that it is a man’s duty to find employment, and work to support his family. He responds by bearing the terrible memories of the war, and men dying which torment him, especially his friend who sacrificed his life so he might live. She sees he is distraught and she tries to console him. In “I’ll See You in My Dreams” Newman reprises the song in waltz form as they agree to delay marriage for a year so he can go to Paris to clear his mind, and find answers to his questions. Later, Elliot admonishes her when she relates that Larry has left for Paris to find himself. He then sits down with Somerset and says that he will arrange for Larry’s passage on the Aquitania and then will keep an eye on him in Paris.

“Larry’s Journey Overseas” reveals a montage of Larry’s new life on Paris; playing chess in a café, bike riding in the countryside, buying books, and renting a garret where he will room and board. Newman shifts to and fro in the montage interpolating the festive and happy song “Le Bistro” and the song “Chenin de Compagne” rendered in waltz form. “Isabel and Larry in Paris” offers a beautiful romantic score highlight. It reveals Larry receiving a telegram from Isabel informing him of her arrival today at 11:30 am. They have a joyful reunion at the train station, and agree to join Elliot and Louisa for dinner tonight. As they stroll, she realizes that after a year apart that he has not changed, still lacks ambition, and is content to loaf through life. Newman introduces his Love Theme, which is borne elegantly by yearning strings romantico. At 1:02 as they enter his garret, we segue into Chopin’s Polonaise in A Flat Major, which wafts in from a neighboring apartment. When he proposes going through with their marriage, she bulks, saying his paltry income of $3,000 a year is inadequate to support her in the style to which she has become accustomed. She beseeches him to return with her, and get a job so she can live comfortably and raise a family. He says doing so would not end well for either of them.

“Returned Engagement Ring” reveals Isabel finally realizing that what they each aspire for in life is irreconcilable. She says there is nothing more to be said and returns his engagement ring. She can barely hold back tears as he begs her to wear the ring on another finger, asking if they are still friends, to which she answers, of course. Newman supports with an aching and anguished rendering of the Love Theme. She departs for Elliot’s apartment where she changes into a gorgeous black Cassini evening dress. She informs Elliot and Louisa that she and Larry are spending a last night together. In “Last Night Together” A solo violin d’Amore emotes the Love Theme, which carries her to the stairwell where she stuns Larry, who says that he has never seen her so beautiful. The theme carries their departure and at 0:56 we flow into the festive “Parisian Trot” as they join the merriment at a club.

“Night Clubbing” offers a well-conceived score highlight, with sublimity achieved from 3:24 onward. It reveals a montage of scenes with Larry and Isabel enjoying a festive night on the town club-hopping. Newman supports deftly infusing each particular nightclub with the perfect ambiance. We open with the vibrant and energetic “Café Francais” for the very festive first night club. At 0:27 we segue into the song “Night Was So Dark” as a Russian tenor sings the soulful ballad supported by a men’s chorus while they play balalaikas. A bridge by strings romantico carry their exit and at 1:57 we segue into the jazzy and drum driven “Le Jazz Hot!” as acrobats perform. The music takes on a Swing vibe at 2:18 as Larry and Isabel take to the dance floor. They are out of step with the festive music, instead dancing slowly, cheek to cheek. She stops, gazes at him with yearning eyes and they depart. At 3:24 we segue into sad, and aching rendering of the Love Theme, which carries them up the stairs to Elliot’s apartment. He pauses, and says well, I guess this is it, but she invites him in for one last drink at 3:52 supported by the allure of soft woodwinds seducenti. As they enter a solo violin d’Amore with a retinue of kindred string and harp adornment carry them in. The theme becomes impassioned as the join in a kissing embrace, with her beckoning him by caressing his label. A crescendo romantico unfolds, yet never culminates, instead dissipating as she pulls back at 5:15, walks away, and then begs him to go. He is visibly hurt, yet maintains his composer and departs as a gentleman leaving her devastated, her romantic aspirations dashed. Newman supports with anguish and pathos as she turns out the lights supported by the Love Theme rendered as a threnody. The music ends as she finds Elliot has stayed up to see her.

In “The Wedding Cake” Elliot commends her on “her performance”, offending her by indelicately exposing knowledge of her plan to seduce him, and then entrap him into marriage with a pregnancy. He counsels that once home she will rightfully soon forget him, supported by aching strings of regret. At 0:05 we segue into Isabel and Gray’s wedding reception, which Newman supports elegantly with an original flowing valzer gentile. She is happy and celebrate the cutting of the cake. “After the Wedding” reveals Somerset asking Elliot if he knows what has happened to Larry, to which he replies – “I do not care a row of beans!” Newman continues the elegant ambiance with another original valzer gentile rendered in song form. “Miner’s Café” reveals Larry walking out of the mine with his fellow workers and entering a café to have a beer with his friend Kosti, a defrocked priest. Newman infuses the scene with a medley of French folk songs, led by an accordion, including Aupres de ma Blonde” a happy and buoyant love ballad, and the drinking song “Les Trois Capitanies”. Kosti sees that Larry seeks truth and so counsels him to go to India, and seek out a mystic he once studied under at a monastery in the Himalayas.

“Larry Travels to the East” offers a spiritually powerful and evocative score highlight. It reveals Larry waiting in the Himalayan monastery to meet with the holy man. Newman bathes us in the religioso auras of the Quest Theme, enriched with sumptuous strings solenne, which speaks to Larry’s yearning for truth. At 0:56 the Holy Man Theme borne by clarinet pacifico supports his arrival, and as the two men sit, he asks Larry why he has come here? He answers that he has come to learn, that he has been searching for something that is elusive, and that he was hoping you might guide me. The Quest Theme supports the Holy Man commending Larry for the courage to take up this quest. The theme gains emotional potency, expressing a profound longing as Larry voices his frustration with modern living and economics, which he finds mundane and unfulfilling. The Holy Man preaches that happiness must come from within, and that the wise man lives from within himself, which is from God, and offers the path of calmness, forbearance, compassion, selflessness, and everlasting peace. Newman masterfully joins the Quest and Holy Man Themes to achieve a profound, serene and solemn musical narrative, cresting at 4:45 as the Holy Man agrees to aid Larry on his quest by taking him on as a student. He closes by saying there are three paths to God, the path of faith and worship, the path of good works and love of others, and the path you have chosen, a path that leads through knowledge, to wisdom. In the end you will discovery that the three paths are one.

In an unscored scene, a doctor asks that Gray give Sophie the terrible news that her husband Bob and their baby Linda died in their car crash. She is so distraught they are forced to sedate her. “The Mountain Retreat” offers another profoundly moving and solemn score highlight, where Larry’s prose describing his mystical vision and Newman’s music achieve a sublime confluence. We open with a powerful statement of the Quest Theme, joined at 0:26 by the tender Holy Man Theme on clarinet as the Holy Man asks if Larry is ready to begin his pilgrimage, to which he answers, yes. A surging religiosity supports the Holy Man’s exhortation to embrace the serenity of the mountaintop where nothing stands between you and God. At 1:15 a crescendo religioso supports Larry’s departure. A solemn and very expressive of the Quest Theme carries Larry’s journey, and after the passage of time, the arrival of the Holy Man. He tells Larry that he sees he has changed. Larry says he has indeed changed and relates poetically his moment of spiritual rapture;

“It was just at that moment before night ends and day begins, when the whole world trembles in the balance. Gradually the light began to filter through the darkness, like some mysterious figure stealing through the trees. And then the first rays of the sun came up. The mountains, the mist caught in the treetops, I’d never before felt or seen anything like it. How grand the sight was that was displayed before me as the day broke in its splendor…I was ravished with the beauty of the world. I’d never known such exaltation and such a transcendent joy. I had a strange sensation, a tingling that arose in my feet and traveled up to my head, and I felt as though I were suddenly released from my body and as pure spirit partook of a loveliness I had never conceived. I had a sense that a knowledge more than human possessed me, so that everything that had been confused was clear and everything that had perplexed me was explained. I was so happy that it was pain and I struggled to release myself from it, for I felt that if it lasted a moment longer, I should die; and yet it was such rapture that I was ready to die rather than forego it. How can I tell you what I felt? No words can tell the ecstasy of my bliss. When I came to myself, I was exhausted and trembling”.

Newman infuses an ethereal religiosity following the sharing of his vision. At 4:57 warm French horns nobile emote the Holy Man Theme, shifting to strings tenero full of paternal love, for having heard his account, he counsels Larry to go back and again live in the world among your own people. At 5:54 woodwinds tenero reprise one last time the Holy Man Theme, which carries his morning departure. As he steps outside, the Quest Theme swells gloriously atop a grand crescendo magnifico as refulgent sun rays radiate from behind a luminous cloud. I consider this cue, a transcendent, masterpiece of rapturous beauty.

In an unscored scene Somerset reacquaints with Elliot, who discloses that Gray had a nervous breakdown when he lost everything in the crash, and that he is currently unemployed. In the interim he is graciously supporting them in his Paris apartment until Gray gets back on his feet. Elliot then accepts Somersets invitation to join him for lunch with an old friend. When Elliot discovers the ‘friend’ is Larry, he departs perturbed for a pressing engagement. “Larry and Maugham Reunited” reveals Larry relating his spiritual quest, which took him to India, where he learned something about himself. Newman supports with a brief quote of the Quest Theme. We shift to an unscored scene where Somerset pays a visit to Gray and Isabel. Gray excuses himself with a headache and Somerset surprises Isabel when he reveals Larry has returned to Paris having spent time in India. Larry arrives as Isabel is attending to her two daughters. She greets him warmly pressing cheeks and then introduces him to Pricilla and Joan. They join Larry in the library, where Larry, using hypnosis cures him of his headaches. When Gray wakes, he is cured and thankful. The three then accept Somerset’s invitation for dinner and a night on the town.

“Somerset Maugham and the Princess” reveals the Princess Edna Novemali inquiring to Somerset about Mr. Elliot. Newman offers an original valzer elegante to support the meeting and her departure from the restaurant. In a private moment Isabel reveals to Somerset that she still loves Larry, the only man she has ever loved, implying that she only married Gray for his money. They return to Larry and Gray and she suggest going off the beaten track to the Parisian dive, Rue de Lappe. “The Rue De Lappe” reveals the four at a table surrounded by dancing couples. Newman supports with an original song “J’aime ta pomme” by the director Edmund Goulding led by an accordion accompiament. The music slows at 0:23 after a festive prelude, when joined by a man singing in French. At 0:55 it shifts to a danza sensuale as a drunk Sophie arrives, reacquaints and joins them at the table. The four of them are shocked to see a pathetic and drunk Sophie wallowing in self-pity. At 1:50 the festive song resumes as Sophie departs and begins dancing with her boyfriend. Later while in a cab in an unscored scene, the four discuss Sophie, each expressing sadness except for Larry who listens stoicly. He is shocked when they confide that Bob and the baby died in a car crash. We see that Larry is troubled by Sophie’s dissolution and he stops the cab, thanks everyone, and promises to look them up in the future.

In an unscored scene time has passed and Isabel has returned to Paris from a sojourn at Elliot’s mansion on the Riviera. She telephones Larry and is shocked, hanging up on him in a fury when he discloses that Sophie has regained sobriety, and that they are to be married. Later, she calls Somerset to her apartment and vents her fury, disparaging Sophie and revealing her jealousy. He rejects her plot for him to dissuade him from marrying and she throws a dish at him, yet he maintains his composure and diffuses her anger with a series of compliments. He then says if she loves Larry, and does not want to lose him, then should be friends with Sophie. In “Cocktails at the Ritz” Isabel has arranged a lunch date with Gray, Larry, Sophie, Somerset and Elliot, with Newman again gracing us with an original valzer gentile. Isabel has arranged for alcohol to be served, including a rare and coveted Russian liqueur Perzovka. Sophie politely declines, but Elliot who has been forbidden to drink by his doctor, succumbs. Isabel then begins repeatedly raving about the taste and flavor of the liqueur, shamelessly trying to get Sophie to fall off the wagon. Her scheme fails and she convinces Sophie to accept the gift of a wedding dress, with the two of them doing the fitting tomorrow.

“Sophie’s Torment” reveals a very tense conversation between Sophie and Isabel. She continues to tempt Sophie with the Perzovka and leaves her alone with it purposely to run an errand. Music enters with a muted and sad reprise of the “J’aime ta pomme”, a siren call luring her back to the bottle and her former life. She succumbs drinks a glass of the Perzovka, then another, and empties the bottle. The music regains its energy at 1:05 as we shift to a montage of scenes where Larry is searching for Sophie. “Oboesque” was largely dialed out of the film. A man says he knows where she may be and escorts Larry to a dive in the Arab quarter where he discovers Sophie drunk. She refuses to go and Larry is forced to fight several Arab men who pummel him. Sophie runs out screaming and Larry is tossed out on the street. Newman’s conception was to infuse the scene with Arabic auras with a woodwind Arabo led musical narrative

“Sophie’s Room” offers a poignant and beautiful score highlight, where we achieve a cinematic confluence of poetry and music. It reveals that a year has passed with news that Sophie had been brutally murdered. The Inspector of Police agrees to take Larry and Somerset to visit her room. Music enters as we enter her room, with Newman supporting with a threnody. The music softens at 0:26, becoming tender and sweet as Larry shows the inspector photos of her dead husband and daughter. A violin triste supports Larry’s discovery of a volume of Keats. He recites a poem, which he read to Sophie in their youth supported by a wistful violin and kindred strings. We close darkly with finality as the inspector grants permission to have the photos and Keats buried with her.

(*) “Loch Lomond” reveals Somerset inviting Larry to join him in Nice, as Elliot has had a relapse. They find a weakened Elliot on his death bed. He rages at the insult of the princess not inviting him to her grand party. He begins weeping expressing betrayal by her and others whom had drunk his wine and eaten his food for years. He then acquiesces to Somerset’s counsel to accepts a priest’s final blessing. Gray and Isabel arrive and Larry goes to the princess’ estate where he advises her secretary Miss Keith that Elliot is dying and cannot attend. He convinces her to issue an invitation as a compassionate gesture despite being in the princess’ bad graces. She turns her back and begins singing the traditional Scottish folk song “Loch Lomond” as cover for him to steal an invitation.

“After Elliott’s Death” reveals Somerset, Isabel and Gray at Elliot’s bedside as the butler delivers the party invitation Larry stole. As Elliot dictates his response, he passes. Newman reprises the threnody of Sophie’s room by low register strings grave and weeping violins. At 0:25 the sumptuous Love Theme reprises as Isabel is advised that Larry is leaving to return to America. She advises Somerset that she intends to see him often, determined to do what she wants for a change. When she asks Larry what he intends to do, he says work in a factory or as a mechanic fixing cars or maybe becoming a taxi driver. She reproaches him for squandering his life. She then exhorts him to work at Gray’s company and the Love Theme blossoms at 1:05 as she declares he was her only love, hugs him, and asks, don’t you love me? He does not answer and she pulls back. When he tells her Sophie was murdered, she asks by whom, and he responds the police do not know, but that he knows as he glares at her. She denies she gave her Perzovka that day, but when she sees he wasn’t buying it, she confesses shamelessly saying that she saved him from a terrible mistake, the cue ending grimly with the revelation.

In “Finale” Isabel watches Larry depart and she realizes that she has lost him, and will never see him again. At 0:26 we shift to the ship Larry has hired on for passage with him working on deck, and we close with a final grand declaration of the Quest Theme, which closes with a flourish. “Exit Music” offers an extended rendering in Straussian fashion a valzer elegante, which Newman recorded during his scoring sessions. It was never used in the film and the production team speculated that it was either intended as exit music or for intermission. “J’aime ta Pomme” offers a demo of the song, which is sung by French singer-actor Louis Mercier. It was however never used in the film, but is included on the album as a bonus cue.

I wish to thank the production team of Ray Faiola, Craig Spaulding and the late Nick Redman for restoring and issuing the complete score to Alfred Newman’s masterpiece, “The Razor’s Edge”. The source audio tapes offered multiple microphone angles, which Ray Faiola synchronized to produce a stereophonic recording. I believe he largely succeeded, and although 21st century audio quality was not fully achieved, the album listening experience is wonderful and does not diminish the rarified and rapturous beauty of Newman’s handiwork. At its core, this was a classic quest story of a man seeking truth, spiritual enlightenment, and an answer to the age-old question; “What is the meaning of life?” Newman, in a masterstroke on conception composed one of the finest themes in his canon – the Quest Theme, which fully expresses Larry’s yearning for the Divine. The cues 16 “Larry Travels to the East” and 17 “The Mountain Retreat” masterpiece compositions, with the later achieving rapturous sublimity. Newman’s yearning Love Theme offers his quintessential, lush, string borne romanticism, fully expressing Isabel’s lifelong and insatiable desire for Larry. While the Love Theme at times blossoms; tragically, it never resolves, as their love is never realized and consummated. Her insistence for wealth and material comfort creates an insurmountable impediment, as it is irreconcilably with Larry’s spirituality and rejection of materialism. Folks, Alfred Newman throughout his career had the gift for tapping into the Divine, as demonstrated here with one of the finest musical scores of his career. I highly recommend this quality album as essential for your collection.

For those of you unfamiliar with the score, I have embedded a YouTube link to a suite: https://www.youtube.com/watch?v=_E9mecNugMQ

Buy the Razor’s Edge soundtrack from the Movie Music UK Store

Track Listing:

• Main Title (1:35)
• April Showers (written by Louis Silvers) (2:51)
• I’ll See You in My Dreams (written by Isham Jones and Gus Kahn) (2:02)
• A Chicago Country Club Dance (2:02)
• I’m Forever Blowing Bubbles (written by James Kendis, James Brockman and Nat Vincent) (1:45)
• The Missouri Waltz (1:48)
• I’ll See You in My Dreams (written by Isham Jones and Gus Kahn) (1:47)
• Larry’s Journey Overseas (1:20)
• Isabel and Larry in Paris (1:46)
• Returned Engagement Ring (0:40)
• Last Night Together (1:38)
• Night Clubbing (6:28)
• The Wedding Cake (0:50)
• After the Wedding (0:45)
• Miner’s Cafe (2:00)
• Larry Travels to the East (5:15)
• The Mountain Retreat (6:44)
• Larry and Maugham Reunited (0:11)
• Somerset Maugham and the Princess (0:41)
• The Rue de Lappe (2:47)
• Cocktails at the Ritz (1:52)
• Sophie’s Torment (3:09)
• Oboesque (1:43)
• Sophie’s Room (2:13)
• After Elliott’s Death (1:43)
• Finale (0:54)
• Exit Music (4:13)
• J’aime ta Pomme (written by Edmund Goulding and Jacques Surmagne, performed by Louis Mercier) (2:38) [Demo]

Running Time: 63 minutes 20 seconds

Screen Archives Entertainment SAE-CRS-015 (1946/2008)

Music composed and conducted by Alfred Newman. Orchestrations by Conrad Salinger, Edward Powell and Herbert W. Spencer. Recorded and mixed by XXXX. Score produced by Alfred Newman. Album produced by Ray Faiola, Craig Spaulding and Nick Redman.