MOVIE MUSIC UK

GREATEST SCORES OF THE TWENTIETH CENTURY

Original Review by Craig Lysy

Director John Ford believed the Saturday Evening Post story “Massacre” by James Warner Bellah told a story he believed needed to be brought to the big screen. This film would be the first of Ford’s renowned “Cavalry Trilogy”, followed by “She Wore A Yellow Ribbon” in 1949, and “Rio Grande” in 1950, which all starred John Wayne. Ford’s production company Argosy Pictures purchased the film rights, with he and Merian C. Cooper overseeing production with a $2.1 million budget. Ford would also direct and Frank S. Nugent would write the screenplay. Ford assembled an impressive cast, which included John Wayne as Captain Kirby York, Henry Fonda as Lieutenant Colonel Owen Thursday, Shirley Temple as Miss Philadelphia Thursday, John Agar as Second Lieutenant Michael Shannon “Mickey” O’Rourke, and Pedro Armendáriz as Sergeant Beaufort.

The story is set in the years following the Civil War at Fort Apache, which is located on the New Mexico and Arizona Territories border. Captain York is preparing to assume command of the fort’s calvary regimen when Lieutenant Colonel Owen Thursday arrives. Thursday is imperious, arrogant, and a rigid “by the book” commander. He lacks knowledge and understanding of Apache Indian culture, which brings ruin to himself and his command. A corrupt Army agent Silas Maechum causes unrest among the Apache. Thursday ignores York’s advice to engage Cochise in respectful negotiation, instead ordering an attack on the Apache. Protest by York results in him being relieved and sent to the rear. A foolhardy cavalry charge plays right into Cochise’s hands and the regimen is decimated. Thursday falls, only a few men escape to join York, and Cochise decides to spare their lives as he believes York to be an honorable man. Years later York commands the fort and relates to correspondents that the “Famous Thursday Charge” portrayed in a painting in his office is an event the regimen will never forget. The film was a commercial success, earning a profit of $445,000. Critical reception was favorable, and the film received two Academy Award wins for Best Director and Best Cinematography.

Director Ford enjoyed his previous collaboration with Richard Hageman on “Stagecoach” in 1939 and hired him to score his latest western. Upon viewing the film, I believe Hageman understood that the many cavalry scenes would need to be empowered by requisite marches, and that the traditional martial bugling calls for Reveille, Taps, and a Cavalry Charge would be needed. Given this was set during the 19th century Indian Wars, I believe he also understood that he would have to speak to, and musically contrast the indigenous Apache culture. A romance between the dashing John Agar and Shirley Temple would also require a love theme. To add a folksy quality to the music, guitar and accordion were added to provide the necessary ambiance.

For his soundscape, he chose to render two traditional songs melodies for use as Cavalry marches, which embodied, pride, confidence, heroism and boldness, including “She Wore a Yellow Ribbon” (Cavalry Theme 1), and “The Girl I Left Behind Me” (Cavalry Theme 2). Hageman offers these songs in many guises; anthem, fanfare and a march. There is no doubt that the music embraces American strength, exceptionalism and Manifest Destiny. Of interest is that the song melody “She Wore a Yellow Ribbon” evolved over time to become the Main Theme of Ford’s Cavalry trilogy of films, grounding it is traditional Americana. Juxtaposed is the pentatonic imbued Apache Theme. It is empowered by drums of war, horns bellicoso, which offer menace, but also a strident and resolute defiance. In battle it swells as an anthem, and in scenes of ambush it becomes lurking. For the Mickey and Philadelphia Love Theme, Hageman offers a romance for string, which while tender, lacks ardency, and maintains a sense of innocence given she is only sixteen years old. Lastly, Hageman chose to infuse his soundscape with a number of folk songs to foster the requisite Americana, including; “Sweet Genevieve” by Henry Tucker and George Cooper, “O Dem Golden Slippers” by James Allen Bland, “Good Night Ladies”, music unknown, lyrics by E.P. Christy, “The Girl I Left Behind Me” traditional, “She Wore a Yellow Ribbon” by George A. Norton, the “Scarlet and Green Regimental March” of the British military, and “The Regular Army O” by David Braham and Edward Hart.

The score does not have a commercial release, as such I will review it using film scene descriptors and time indices. 00:00 “Main Title” offers a bold score highlight, which features a parade of Hageman’s themes. It opens with a lone cavalryman sounding reveille, set against a grand cloud swept panorama of monument valley. As the opening credits flow Hageman introduces his menacing war drums empowered Apache Theme at 00:13 to support a war party crossing the valley as the film title displays. At 0:23 a confident, trotting, and martial US Cavalry Theme 2, supports the ride of a cavalry brigade. At 00:35 we flow into the song melody of “She Wore A Yellow Ribbon”, as we see Captain York motioning his men forward. At 00:43 a proud Cavalry Theme 1 emotes as a marcia bravura as Captain York leads his men forward. At 01:09 we shift to a promenade formale as officers escort their women across the dance floor. At 1:26 Hageman offers exuberant pride, which supports a return to Monument Valley where we see two cavalry men carrying the regimental flags, countered by a horn empowered Apache Theme at 01:36 rendered as a marcia bellicoso as the war party trots in formation. We close in a flourish beginning at 02:00 atop fanfare bravura and swirling strings as the credits end while Captain York leads his brigade.

02:16 “Stagecoach” reveals a stage coach traversing the magnificent Monument Valley monuments propelled by a trotting “She Wore A Yellow Ribbon” Theme, which serves as a stagecoach Travel Motif. An extended rendering of the theme as a travel motif supports as a bitter Lieutenant Colonel Owen Thursday complaining to his daughter Philadelphia of his assignment to this Hell hole. The music becomes joyous and concludes at 05:00 as they reach a supply depot stopover. Thursday is angry that the fort lays 35 miles further south and demands they leave at once to no avail. After an embarrassing introduction of a half-naked Lieutenant “Mickey” O’Rourke to the smitten Philadelphia in the washroom, he presents himself to Colonel Thursday. 07:17 “Second Stagecoach Arrival” reveals the arrival of another stagecoach carried in by the spritely Travel Motif. The gregarious four paternal sergeants, Shattuck, Quincannon, Mulcahy, and Beaufort warmly greet their friend Mickey who was just promoted. The Colonel douses the merriment with a grim formality and is aggrieved that transport was made for a Lieutenant, but not his commanding officer. Thursday accepts O’Rourke’s invitation to join him and then introduces his daughter who makes no attempt to hide her attraction to Mickey.

10:19 “Onward to Fort Apache” opens with a brief quote of the Love Theme as Mickey and Philadelphia sit together, before shifting to a free flowing and dance-like rendering of the Travel Motif as we see the stagecoach riding across the valley, escorted by the sergeants on horseback. 11:14 “Welcoming Party” reveals a dance social being held at the fort. Hageman supports with the song melody of “O Dem Golden Slippers” rendered as a danza festivamente. We shift to a valzer gentile as Colonel Thursday’s stagecoach arrives. As he walks in the music ceases, snuffed out by the descent of a grim pall of cold formality as he rebuffs a warm greeting by the current commander Collingwood and his wife. When Captain York advises that the party celebrates the birthday of George Washington, Thursday agrees to remain and the waltz resumes with Philadelphia joining York on the dance floor. At 14:19 a warm and heartfelt rendering of the song melody for the traditional “There’s No Place Like Home” supports Mickey joining his father and mother in their quarters.

16:16 “First Day” opens with reveille, drums militare and a canon shot, which welcome the day. At 16:50 Philadelphia rushes out to the balcony and gazes upon a bustling fort, which Hageman supports with a vibrant musical narrative. At 17:18 the trumpet led melody for “You’re In The Army Now” carries Mickey’s to the Thursday residence. The Love Theme joins at 17:36 as Philadelphia offers him a good morning. They have a spat over semantics, but she smiles, as she knows she made her point. At 18:46 confident horns nobile carry Captain York’s arrival as he explains to her that all officers are required to make a duty call and present their cards to the commanding officer. Colonel Thursday arrives at his office and imperiously orders Master Sergeant O’Rourke to sound the bugling “Officer’s Call” at once, which he does. Thursday assumes command, reassigns his officers and advises that he intends to instill duty, order and discipline in both his officers, and the men.

26:44 “Philadelphia’s Morning” reveals a playful, prancing prelude, which introduces a danza felice that carries Philadelphia’s descent from her bedroom. Embedded descent motifs support comedic moments as she tries to clean up the residence, and the music sours as she seems unhappy with her new home. At 27:38 the music brightens on a crescendo di speranza as we see an idea arise in her eyes, which carries her departure. A buoyant motif of happiness carries her through the fort to Emily Collingwood’s residence. She complains of her barren and dirty residence and a sympathetic Emily calls for Mary O’Rourke to assist. When she arrives, she agrees to lend her assistance. Later, the sergeants drill new recruits supported by the classic military song “The Regular Army, Oh”.

35:54 “Home Sweet Home” reveals the Colonel thankful and pleased with Philadelphia’s decoration of their residence. Hageman supports with a warm and folksy musical narrative, interrupted by a kerplunk descent motif as his new chair collapses when he sits down. Lieutenant Gates arrives, advises that Fort Grant has declared a general alarm, and the Colonel advises that he will return to headquarters to evaluate options. 40:45 “Sweet Genevieve” reveals Philadelphia joining the Collingwood’s, Mickey, and Captain York for dinner. She and Mickey go out to the porch when they hear a serenade of the romantic ballad by Sergeant Quincannon in tenor vocals with guitar and accordion accompaniment.

43:55 “Mickey and Philadelphia” reveals the two spending an intimate moment together on the porch supported by their Love Theme. She happily accepts his invitation to go riding together in the morning. 48:01 “Morning Ride” reveals our two lovers riding across the valley supported by a spritely, galloping rendering of the Love Theme. The moment is lost when they stop after she alerts him to distant smoke. At headquarters the Colonel is advised of an Apache decampment from their reservation. He becomes enraged when he learns that his daughter is out riding with O’Rourke’s son. At 50:28 Hageman sow tension with oblique quotes of the Apache Theme as Mickey and Philadelphia come upon a burnt army repair wagon with two soldiers burnt alive. An intense, galloping musical narrative propels their ride back to the fort, further strengthening when they arrive back at the fort. After debriefing, the Colonel berates Mickey and orders him as his commanding officer, and as Philadelphia’s father, to never socialize with her again. He then orders the young O’Rourke to lead a party of four to repair the down telegram wires against York’s objections that for safety, more men are needed. After Mickey departs, Thursday informs York that they will follow with a full brigade, ready to strike if the Apache’s take the bait.

56:56 “Mickey Rides Out” reveals his team of four men traveling through the valley supported by a distressed travel motif. Back at the fort trumpets militare sound as Colonel Thursday departs with Captain York and the cavalry brigade. As they ride off in a column of two the Cavalry Theme 2 is rendered as a proud anthem. At 58:26 Hageman sow tension, which swells as Mickey and his team reach the ambush point where the previous repair team met their end. The Indian Theme joins as the men view the burnt bodies of their comrades. At 59:10 a dirge commences as they prepare the fallen for burial. 59:28 “The Apache Attack” offers a score highlight, a tour de force and the score’s most kinetic action cue. Tremolo violins of alarm support Mickey sighting approaching Apache, with a rifle shot forcing him to duck for cover. He orders a retreat and Hageman whips up an orchestral furioso to propel their flight. At 1:00:06 a menacing Apache Theme supports the sight of the war party watching the fleeing soldiers from a hilltop. Diablo’s rifle shot triggers a charge and transforms their theme into a ferocious anthem. Interplay with the Flight Motif raises tension as Mickey sees they are outnumbered and being pursued. At 1:05:55 the bugle declared US Cavalry call resounds as Captain York leads a charge. We end with a diminuendo of relief as the two forces collide and disappear in a cloud of dust.

1:02:46 “Silas Meacham” reveals Colonel Thursday and the brigade arriving at the reservation supply station carried by proudly by horns eroica. He orders the flag raised to full staff, which is supported by a bugle declared reveille. Inside York introduces the corrupt Apache agent Silas Meachum to Colonel Thursday. At York’s counsel, Thursday orders the storage room inspected and finds toxic whiskey and Winchester rifles that Meachum had been selling the Indians. Thursday orders both to be destroyed and personally rebukes Meachum. Sergeant Mulcahy decides that he and his men should destroy the whisky as ordered, by drinking it! 1:10:35 “Disgrace” reveals Sergeant Mulcahy in the stockade supported by a dispirited “You’re in the Army Now” tune. Master sergeant O’Rourke angrily calls him and the other three sergeants out and addresses them all as privates, as they have been disgraced and demoted. He orders them to the manure pile supported by a marcia comica, buttressed with a sardonic rendering of “You’re in the Army Now”. In an unscored scene York convinces Thursday to allow him to personally negotiate with Cochise to end hostilities with Beaufort joining as an interpreter.

1:14:02 “York’s Mission” reveals he and Sergeant Beaufort riding out carried by a playful traveling motif as Beaufort kids his buddies shoveling the manure pile. As they shovel, a sardonic rendering of “You’re in the Army Now” supports. At 1:14:30 a vibrant and confident travel motif supports their ride through the picturesque valley. At 1:14:48 Hageman infuses Spanish auras as they will be traveling into Mexico where Cochise has fled. At 1:15:07 we are graced by sweeping grandeur as stunning shots of Monument Valley edifices are seen. A diminuendo with Spanish accents supports York giving the hungover Beaumont a swig – a tail of the dog that bit him, and then tossing the bottle over a cliff. They resume their ride and cross the Rio Grande into Mexico carried confidently by the Spanish Travel Motif, which culminates with Castilian flare as they reach the far shoreline.

In an unscored scene Philadelphia makes a planned visit to the O’Rourke’s who are eating dinner. She is welcomed, joins them, and it is very transparent to all that she is smitten with Mickey. Colonel Thursday arrives and orders Philadelphia to leave, but she refuses. Mickey then asks the Colonel for his daughter’s hand in marriage, to which she agrees. The Colonel however, says she is not of legal age, and will not consent as the O’Rourke’s are not of the same class. He orders Philadelphia out and says she will return east where she will forget Lieutenant O’Rourke. 1:20:53 “Contact” reveals York and Beaumont continuing their trek with a white flag, supported by a less vibrant, and more cautious Travel Motif. As they share a canteen of water a sumptuous string borne danza Spagnola supports. They stop when they see mirror signals from opposing hills. They ride forward in a valley as we see first Apache scouts on the bluffs above, and then the entire war party. They ride into their midst, dismount and walk up to meet Cochise, who Beaumont greets respectfully in Spanish. An uncomfortable silence follows, which York diffuses by stepping forward, saying “Buenas Tardes”, and offering his two hands to Cochise, who smiles and accepts them.

In “Dance Party” we return to Fort Apache, where Sergeant O’Rourke supervises the setup of tonight’s non-commissioned officers dance party. The dance begins with an awkward tension as tradition dictates that the commanding officer take the host non-commissioned officer’s wife, Mrs. O’Rourke for the first dance, and that the Sergeant O’Rourke as host, take the commanding officer’s wife, or in this case, his daughter. The dance is announced, the men and women pair off and at 1:28:07 the band strikes up a formal danza maestoso rendering of the “Scarlet and Green Regimental March” as we see men and women paired off and proceeding in a highly structured circulating procession. Upon conclusion, Colonel Thursday again awkwardly takes Mrs. O’Rourke into the next dance at 1:29:40 supported by the lively and more festive melody of “Oh, Dem Golden Slippers”. At 1:31:07 York and Beaumont return as a valzer gentile wafts out onto the courtyard. Their entry surprises everyone and the music stops as they are greeted. York delivers the news that Cochise has returned to negotiate peace and that he has arranged a rendezvous to meet and parley. Colonel Thursday instead orders the regimen to prepare for departure, intent on enforcing the existing treaty now that he has tricked Cochise to return to American soil. York protests as a matter of personal honor, yet Thursday rebukes him saying no honor exist with murdering savages. He departs as York stews with rage at his betrayal and also departs. O’Rourke then announces the last dance of the evening, followed by an order for all men to assemble at headquarters. We conclude with a 1:33:33 with the melody of “Goodnight Ladies” rendered as a danza gentile. Outside Mickey and Philadelphia dance together and then join in a kissing embrace.

1:34:31 “Thursday Rides Out” reveals an extended rendering of the reveille call for the men to assemble as we see the entire regiment assembled. A prelude usher in the melody of “The Girl I Left Behind Me” rendered as a proud marcia militare as Thursday rides off to his destiny. At 1:36:06 men’s chorus begins singing; a diminuendo supports Mrs. Collingwood receiving the long-awaited transfer letter, yet she is powerless to retrieve her husband. The march resumes, although less powerfully as the supply and medical wagons head out. 1:37:44 we see Colonel Thursday leading his men across the valley supported by the song melody “She Wore A Yellow Ribbon” rendered as a proud marcia decisa. Scouts report an Apache encampment ahead of 300 wigwams, and Colonel Thursday orders a stop, and then summons Captain York to him. He orders York to split the column so that they will attack the encampment from the north and the east. York’s protests are rebuffed until he points out that the Apache are not in the encampment, but approaching from the south.

1:40:45 “The Parley” reveals a massive Apache war party arriving atop a hill supported by a menacing rendering of their theme. York says they are outnumbered 4-1 and Colonel Thursday states that he will honor York’s pledge and dispatches him to arrange a parley with Cochise. A horn propelled galloping motif joins with a galloping Apache Theme as Cochise dispatches two warriors to meet with York and Beaumont. Swirling strings evoke tension as a concerned Cochise looks on. At 1:42:15 a bugle resounds as Colonel Thursday and a small detachment march out to parley. The Cavalry Theme rendered as a grim march carries Thursday and Cochise to the parley point. York greets and introduces Cochise with honor. Beaumont takes over and introduces Colonel Thursday and the other officers in Spanish. He then introduces Alkesey, Chief of the White Mountain Apache, Satanta, Chief of the Mescaleros, and the Chiricahua Medicine Man Geronimo. Cochise through translation declares that the Apache are a great nation who have never been conquered, but nations should not always be at war. The young men die, and the women sing sad songs, and the old ones are hungry in the winter. He then personally rebukes Meachum as the source of their discord. He said they looked to the Great white father for protection, and instead got slow death. He says they will not return to the reservation while Meachum remains. Send him away and there will be peace, retain him, and there will be war. Colonel Thursday takes offense, insults Cochise as a man without honor and orders him to return to the reservation or he will attack at dawn. At 1:46:20 he storms aways and a dire Apache Theme supports as a distressed York looks on. The Apache Theme swells with rage as Cochise returns to his warriors and rides off.

1:47:10 “Thursday Fateful Choice” reveals it is dawn of the next day and Colonel Thursday leads his regiment supported by a dire musical narrative, which portends doom. Repeated bugle declarations support shots of each brigade commander and his troops. At 1:47:39 he orders the bugler to sound forward propelled by trumpeting fanfare and the regiment ride in twos forward. Cochise stands atop a buff watching, grabs dirt, casts it to the ground with disgust, and walks away supported by an orchestral descent of angry resignation. A spritely riding cadence buttressed by the Cavalry fanfare support the column advancing. At 1:48:40 an accelerando carries Colonel Thursday, Captain York, and an advanced guard riding away from the column. A lurking Apache Theme is heard as the colonel says he sees nothing ahead. He orders an attack in fours, which York declares is suicide. The Colonel castigates him, calls him a coward, and relieves him of command. York tosses his glove to the ground as a challenge of honor, buy the Colonel declines. He orders York to take Lieutenant O’Rourke, to return to the supply wagons, and await court martial. York relays the order to attack in fours to Sergeant O’Rourke and that his son is to accompany him to the wagons.

York orders a defiant Mickey to join him and then orders the wagons to assume a defensive formation atop the ridge. 1:52:45 “The Massacre” opens with a bugle declaration of charge, which keeps repeating as an attack anthem. A small band of Apache stand at the entrance of a gorge, fire some shots, killing the bugler and then retreat. Colonel Thursday foolishly takes the bait and leads his men in a charge up the gorge where the Apache await, embedded in a superior hillside position on each side of the gorge. Thursday horse is shot from under him and the Apache rain down a maelstrom of bullets, which decimate the column. Thursday sits up and watches in horror as his command is massacred. York and Mickey watch the massacre with devastation as Sergeant O’Rourke and a dozen men dismount, and form a circle to make a last stand. York orders the wagons toppled over and the remaining men take up shooting positions alongside them. York then orders Mickey to ride to Fort Grant for assistance, and barks that he should marry that girl! York sees Thursday struggling to obtain a mount and rides in to rescue him. He gives him his horse and says they have a secure defensive position on the ridge, but Colonel Thursday demands his saber, says he will rejoin his men in the gorge, and rides off to certain death as York realizes that he cannot bear to live on with the ignominy of this massacre. He rejoins his men and faces the onslaught of an Apache charge, which wipes them out.

The Apaches ride to the wagons and York orders his men to hold their fire. He removes his gun holster, and walks out to meet Cochise unarmed. 02:03:20 “Cochise Spares York” reveals Cochise thrusting his spear into the ground, and then riding away, thus sparing York’s life whom he believed to be an honorable man. A dire Apache Theme supports the scene as he disappears in a cloud of dust.

In 2:03:33 “Denouement” we advance several years and see a portrait of Colonel Thursday, his saber underneath, and the regimental flag as “Taps” plays in the background. We learn that Lieutenant Colonel Kirby York now commands Fort Apache. In an office meeting with correspondents, they discuss the current campaign against Geronimo. York with dismay suffers the irony that Colonel Owen Thursday is now revered across America as a hero who led an epic charge. The correspondent say it is regretful that the lives of the other men are forgotten. As York looks out the window, we see ghost images of the cavalry riding forth as he reminds the reporters that the soldiers will never be forgotten as long as the regiment lives. He then praises the courage and dedication of his men. He escorts them out and introduces his adjutant Lieutenant O’Rourke, his wife Philadelphia, and son Michael. Music enters at 2:16:18 with trumpet as Colonel York mounts his horse and leads his regiment out to challenge Geronimo, empowered by the melody and lyrics of “The Girl I left Behind” rendered as a confident marcia orgogliosa, which ends in a flourish.

This film was the first installment of Ford’s renowned “Cavalry Trilogy”, and is regarded today as one of the finest in the genre. While the breath-taking cinematography and sterling performances by Henry Fonda and John Wayne shine, I believe that Richard Hageman’s masterfully crafted score enhanced the film, providing vital energy and musical storytelling, which won the audience’s hearts. The repurposing of traditional Americana folk songs as cavalry marches was well conceived and executed, serving to empower, ennoble and arose patriotic pride. Several dances and waltzes, which were also interpolated from traditional and folk sources expertly established the requisite cultural sensibilities, and grounded the film. His several travel motifs found confluence with Archie Stouts panoramic cinematography, which featured the unique and stunning beauty of Monument Valley. Folks, this is an iconic western film empowered by a masterful Americana score, which has stood the test of time, remaining an enduring classic of the cinema. I highly recommend you take in the film as essential for lovers of the western genre.

Track Listing:

• NOT AVAILABLE

Music composed by Richard Hageman. Conducted by Lucien Cailliet. Orchestrations by XXXX. Recorded and mixed by XXXX. Score produced by Richard Hageman and Boris Morros.