MOVIE MUSIC UK

GREATEST SCORES OF THE TWENTIETH CENTURY

Original Review by Craig Lysy

Director Mark Robson was intrigued when presented with the short story “Champion” by Ring Lardner. He decided the riveting film noir boxing drama would translate well to the big screen and so secured financial backing from producer Stanley Kramer whose production company provided a $600,000 budget. Robson would direct and tasked Carl Foreman to write the screenplay. For the cast, Kramer took a gamble and offered the lead role of Midge Kelly to Kirk Douglas, and both benefited greatly with Kramer making a huge profit, and Douglas being rocketed into stardom. Joining him would be Marilyn Maxwell as Grace, Arthur Kennedy as Connie, Paul Stewart as Haley, and Ruth Roman as Emma.

The story offers a potent tale of an unsympathetic protagonist who is determined to realize his dreams, and is willing to do whatever it takes to achieve them, including punishing himself physically, betraying loved ones, and backstabbing his friends. His rise from poverty is fueled by the boxing ring, and although he eventually becomes champion, he has sown the seeds of his own destruction. In his final fight his stubbornness and resolute aggression which brought him the title, now works against him as he succeeds in defeating his opponent only to die of a cerebral hemorrhage in the locker room. The film was a huge commercial success, earning a profit of $18 million. Critical reception was favorable, and the film received six Academy Award nominations, including; Best Actor, Best Supporting Actor, Best Screenplay, Best Cinematography, Best Music for a Drama Film, winning one for Best Film Editing.

Dimitri Tiomkin had caught producer Stanley Kramer’s ear with his score to “Red River” in 1948 and so was offered the assignment. However, because production was strapped for cash, he could not pay Tiomkin much in advance. As such, Tiomkin agreed to accept a percentage of the film’s earnings. In his autobiography, Tiomkin relates that the massive commercial success of the prize-fight melodrama was unexpected, and that his “percentage” was very good! I believe that upon viewing the completed film Tiomkin understood that his music would need to fuel Midge’s ambition, fierce fight scenes, but also speak to the women in his life who loved him; Emma, Grace and Palmer.

For his soundscape, Tiomkin offers three primary themes, and a fanfare motif; Midge’s Theme offers a swaggering marcia pomposa, which speaks to his egotism, cockiness and unbridled belief in his superiority. It often followed his fanfare, carrying his march through the boxing venue to the ring. Tiomkin’s Love Theme’ melody was adapted into the song, “Never Be It Said,” with lyrics by Aaron “Goldie” Goldmark. It is sung a couple times in the film and was popular outside the film. It emotes with longing, and it is important to understand that the theme always emotes from the woman’s perspective, never Midge’s, as he does not seem to understand or value what love is, seeing each woman as merely another trophy. In the film we see him callously dump each of the three women. The Fight Theme offers an aggressive horn driven identity, which propels his fights. It is used early in the film as Midge fights for recognition and ranking, but is entirely absent in the film ending title fight until the final round when it mutates into a truly monstrous, violent and horrific iteration. For motifs, we have one; heraldic fanfare grandiosa, which is used throughout the film to announce Midge’s grand arrival at the boxing venue. Lastly, instead of interpolating source music to provide the requisite cultural and setting sensibility, he wrote his own source music including some dances, jazz and Swing tunes.

Cues coded (*) contain music not included on the album. “Main Title” reveals boxing champion Midge Kelly in his boxing outfit walking with his team through a dimly lit corridor. Tiomkin supports his walk powerfully with his anthem, a swaggering marcia pomposa, which culminates in fanfare grandiosa as he enters the arena and the film title displays. In “Production Credits”, following crowd applause, Midge begins his trek to the ring as the display of the opening credits unfolds, empowered by a bravado rendering of his march as he is bathed in exuberant adulation. “The Story of Midge Kelly” reveals the announcer lauding this great man who as a boy rose up from poverty to become champion of the world. As Midge turns to the crowd with a cocky grin, we flashback to his youth as a train roars by. Midge and his lame brother Connie are in an open train car being accosted by three thugs spoiling for their money. Warm horns open until 0:05 when all Hell erupts as Midge pushes Connie off the train. Tiomkin offers a nascent precursor of Midge’s march to propel the scene. “Boxcar Beating” reveals Midge being pummeled, robbed and tossed off the train by the thugs. Tiomkin offers a torrent of violence and once again we hear a nascent precursor of his anthem during the fight.

“Riding in Style” reveals the brothers Kelly hitchhiking west when they have the good fortune of securing a ride from Johnny Dunne, a boxer hunk, and his blonde bombshell girlfriend Grace Diamond. Tiomkin provides original source music played from the car radio that sets a perfect traveling ambiance. “Kansas City” was dialed out of the film. Tiomkin wrote a short narrative full of gentility and warmth to support their arrival as we see the Star Arena display; “Johnny Dunne vs Sammy Romero. “Hit the Road” reveals the arena manager propositioning Midge to fight Ziggy Mendoza for $35 as he has lost a fighter and needs a replacement. The brothers are desperate for money, and he agrees. In the arena his lack of boxing training results in him being pummeled. After the fight, an agent named Tommy Haley propositions him saying, you have guts, and with proper training you could be a winner. Midge declines, but Haley says if he changes his mind to look him up at in LA at Bradey’s Gym. Later the arena manager stiffs him, paying only $10, and music enters with a violent surge as Midge responds with a sucker punch to the gut and then flees. As they ride in a stake truck with sheep, tranquil music supports. At 0:12 a danza felice supports as they ride up the Pacific coast highway and they are dropped off at the hamburger joint that they bought half interest in. We conclude grandly as the men walk in.

“A Little More Respect for the Owners!” reveals the brothers walking in and issuing orders as the new owners. The waitress Emma asks her father the cook to join them. Lou says that he is the owner, and they were swindled by Bud Tyler, whom he fired a month ago. He is generous and offers them $100/month and lodging behind the restaurant, with the caveat that they stay away from his daughter. Tiomkin again supports with original source music, a jaunty Swing piece with some jazzy sax accents that sour at 0:46 when they are given the bad news that they were swindled. In “Elbow Grease” Tiomkin again supports with original source music played from the juke box, this time with a sultry slow dance tune as Midge makes an aggressive pass on Emma, which eventually breaks down her defenses. She then accepts his offer to go swimming tonight.

“Shall We Get Wet?” offers a romantic score highlight, which introduces the Love Theme “Never Be It Said”. Midge waits on the beach supported by dreamy, languorous strings romantico, joined by a quote of the Love Theme on piano. She disrobes and we see lust in his eyes as he takes in her curvaceous physique. He says, “Let’s get Wet”, and they run into the water as Connie watches from above on a roadside sand bluff. At 0:47 an idyllic woodwind borne pastorale carries the run back. As he dries her off at 0:57 a crescendo romantico commences and culminates at 1:16 when he kisses her, which earns a rebuke – “You’re just like the rest of them.” Yet she succumbs to him and joins now in a passionate kiss. At 1:37 as they lay on the sand she probes as to why he never seems to smile or seem happy, and he replies that it is hard to be happy when you are poor. He relates how his father abandoned and orphaned him, vowing revenge if he ever finds him. Tiomkin supports with a soft, and languorous romanticism within which is woven the Love Theme. At 3:25 the music becomes determined and more energetic with a precursor of his anthem as he vows that his is going to be rich someday, saying “I’m not going to be a “Hey you!” All my life. Tiomkin returns to romance as she affirms his aspirations, they kiss and then he accepts her request to depart as it is late.

“Love on the Sly” reveals Emma sneaking out to Midges quarters supported by woodwinds animato. At 0:09 woodwind borne fragments of the Love Theme support her musings of hiding their relationship from Lou, and that perhaps they should just come clean and tell him that they intend to marry. Midge is taken aback by this revelation and at 0:36 an alto saxophone offers a prelude to the Love Theme, as he says that they have no money to support themselves, and that would be bad for both of them. He suggests they just go on as they are and kisses her at 1:13 as the song form of the Love Theme, “Never Be It Said” is sung by contralto Polly Bergen.

Slowly, the camera pans away, across the bed until 1:42 when ominous horns sound as we see the door open and Lou appear holding a pistol. Lou, calls Emma a tramp like her mother, and when she says they are getting married, he adds with menace; “Yes you are.” “Shotgun Wedding” reveals the forced marriage of Midge and Emma. Tiomkin adapts Wagner’s Wedding March with interplay of the Love Theme, but the music is not celebratory but instead lack luster, plodding, and eventually sours as Midge pays the Justice of the Peace and declares he is leaving. The Love Theme weeps as a devastated Emma’s pleas fail to move him. Outside Connie efforts also fail as Midge declares this was forced and that he is tired of being pushed around.

“Training Montage” offers an ingenious, entertaining, well-conceived and executed score highlight. It reveals Midge looking up Tommy at Bradey’s Gym. Tommy declines to take him on, saying that he had retired. But Midge’s persistence persuades him and he relents. Tiomkin’s music creatively supports a montage of Midge training with comedic effects injected when something goes wrong. Each exercise is scored at a tempi synchronous with it; squats, windmills, jumping jacks, skipping rope, sit ups, sit ups with ball tossing, hand punching, bag punching, speed bag punching, footwork training and skipping rope. In an unscored scene Midge is successful with a knockout in his first bout. Tommy says he will work on the mistakes and adds that he will see him tomorrow at nine am and leaves. Connie suggests that now that he proved he can box, perhaps it is best to walk away from it, which elicits Midge to sit with him and ask why he feels this way. Connie answers that he is uncomfortable of how Midge changes while fighting. “A Tough Schedule” reveals a train ride to the next fight with Connie reviewing a pile of letters to Emma marked “Returned – Not at this Address”. Tiomkin supports with a plaintive quote of the Love Theme. At 0:11 Tommy and Midge discuss his tour and a montage of his knock-out victories follows propelled by his anthem rendered as a marcia brutale crowned by horns victoriose for his fight in Kansas City.

“Climbing the Ladder” reveals Midge holding up the fight until the manager who stiffed him coughs up the $25 owed him from his first fight. Tiomkin supports with a playful narrative with a comic coda at 0:21 by a sardonic saxophone as Midge fakes another gut punch. His anthem follows as we see him again victorious in the fight. At 0:28 a folksy tune supports Midge lovingly carrying his mama across the threshold of her new apartment. At 0:45 a montage follows of Midge pummeling his opponents empowered by his anthem. However, at 0:53 the musical bravado becomes beleaguered as we also see that he is paying his dues as he suffers some punches and knockdowns. Yet at 0:59 Midge’s fanfare and anthem resumes as narration says that after two years you should be getting a ranking, and a series of Middle Weight rankings lists reveal Johnny Dunne at #1 and Midge at #9, moving up to #6, and then #4. In the locker room Tommy relates that if he wins tonight’s fight, he secures the #2 ranking and the right to challenge Johnny Dunne for the title.

“So This is New York” reveals the headline “Dunne-Kelly Fight Set For September” empowered by Midge’s anthem. At 0:07 playful musical narrative unfolds as the brothers join Tommy in their hotel room tossing boxes of ties and playing like boys. He gifts one to Tommy, who then at 0:29 is supported by a grim musical narrative with tolling bells as he breaks the bad news. The boxing establishment bosses have decided that Dunne must win the bout with Midge dutifully losing as this will be crowning achievement and reward to Dunne, a publicly loved boxer, for a long and respected career. In a year they will grant Midge a legitimate shot at the title. Midge is outraged at the Boxing establishment corruption, and defiant. Tommy counsels that if you want the title and the big money, you lose or be sent back to the sticks forever denied a return to big ring bouts. Tommy is sympathetic, paternal, and asks Midge what is it going to be. Midge shouts I lose and angrily smashes a table lamp.

“Supper Club” reveals Midge, Connie and Tommy dining at a high-end New York restaurant when Johnny walks in with his girl Grace. Midge is angry, but Tommy chimes in that the broad is no good, to which Midge replies; What’s the difference. He’s not losin’ any fights”. Tiomkin supports the restaurant ambiance with a soft flowing danza gentile. “Kelly-Dunne Fight” reveals Midge and Johnny entering the ring. Johnny comes up to him and tells him to relax, adding you will get your chance next time. The scene is supported by the rousing John Philip Sousa march “Semper Fidelis”. “Double-Cross” reveals Midge spotting Grace in the ringside seats. He smiles and she responds with a sneer and then gossip to Johnny’s manager who looks up at Midge with a mocking, condescending sneer. A dire, descending narrative portending doom supports as this serves to infuriate Midge. As his bite block is placed, Midge fixates on Grace with glaring anger. As the bell rings Midge immediately attacks with a ferocious pummeling onslaught, which knocks out Johnny in less than a minute, stunning everyone. Midge is declared the winner and the boxing bosses angrily depart as this betrayal has cost them a huge amount of money. As he leaves the ring, he bends over to Grace and states that his telephone number; Skyler 7-8941.

“Connie Gets Worked Over” reveals Tommy is very concerned about their safety. He orders Connie to fetch a cab, and for Midge to dress without showering. However, reporters burst in and Midge basks in the attention. In an alley, Connie is accosted by two thugs who severely beat him supported by a brutal musical narrative of violence. In “The Long Dark Hallway” Tiomkin sow a lurking menace as Tommy and Midge walk down a dimly lit corridor to join Connie and the cab. At 0:20 muted trumpets sound when Tommy sees the shadows of two men lurking around the corner. They turn back and tension surges as he orders Midge to split up as they are after him. At 0:54 a crescendo di violenza commences after Midge runs off. Tommy runs to a pay phone and starts dialing and we crest brutally at 1:01 as Tommy is bludgeoned with a pistol butt. Tiomkin sow desperate pursuit music as Midge flees into the arena. “No Way Out” reveals Midge cornered in the ring by three thugs. Tiomkin supports with a torrent of violence as Midge fights valiantly but is eventually overcome and pinned against the ropes. “A Sock to Remember” opens with the sound of police sirens. A mob boss who just lost a great deal of money steps up and delivers a devastating punch, that opens the cue, which breaks knocks Midge to the mat. We close on a diminuendo of pain as the mob boss and his thugs flee. At 0:13 trumpets energico sound as a newspaper man sells the morning edition shouting; “Boxer Beat Up By Gamblers”.

“Newsreel” opens boldly with fanfare as we see a newsreel exclusive; “Kelly’s K.O’s Dunne” as we watch the shattering punch that took him down in slow motion. In an unscored interlude, a montage follows of news reporters lauding the new fighter for not giving in to mob threats. In his hotel room Midge apologizes to Connie and Tommy for his dirty trick, adding it turned out all right, didn’t it? At 0:05 we segue into “Martinis” when Midge receives a phone call, says, “How about right now?” He smiles and departs supported by the Love Theme. He rings Grace’s doorbell and when he enters, she says; “Hello Skyler 7-8941 as she stirs martinis in a mixer. An alluring romantic musical narrative follows as she offers him a martini and asks him to sit down. She advises him that Johnny is in hospital and they say he’ll never fight again, and now, you’re king of the world. As he moves in for a kiss, the romantic moment is shattered when she slaps him and tells him to get out. Yet at the door, she says that he gives up too easily, and elicits his return saying that she is expensive and did not want him to think he could buy her on the cheap. We see he understands the rules, and she now welcomes his passionate kiss.

In unscored scenes Grace colludes with Jerome Harris who is wealthy and has ties to the crime syndicate. At the gym, Midge is frustrated because he cannot reach Grace, and also that he cannot score a match. Tommy suggests that they return to LA where he can score all the matches he wants. But Midge balks and refuses to be run out of town when Tommy tells him that despite the glowing newspaper headlines, he has alienated the men running the boxing business in New York. “Pitch from a New Manager” reveals Midge barging into Grace’s apartment where he learns why she has been avoiding him. She says I told you I was very expensive, and the fact is you are unemployed and cannot secure a match in New York matters. He grudgingly agrees to meet Jerry and later the bustling City Motif supports in Jerry’s office, which overlooks the city skyline. Jerry pitches that New York is the capital of the world and that it, fame, and money are yours if you want it. At 0:13 jazz accents support Jerry pitching that there are big and small people in the world, and that you have a choice of which one you want to be. At 0:26 trumpets sound and emote his march as he continues to entice Midge with the glory of the ring. At 0:37 the music becomes sultry as Grace is dangled as benefit if he makes the right choice. At 0:50 Tiomkin sow hope for a better tomorrow as Jerry promises to manage and grow Midge’s money so he can retire at the right time, with people addressing him as, Mister. Midge accepts the check and has a new manager.

In an unscored scene Tommy tells Midge that he is surprised that he got a title bout. Connie joins, and then Midge breaks the news that Tommy is out as his manager, and that he will pay him back the money he owes him. Tommy leaves bitter but with dignity. Connie is stunned at the callous way Midge threw him out. Midge justifies the betrayal saying this was his only chance to fight again in New York. Connie admonishes him for casting off the man that made him, and who was like a father. He then rebukes Midge for destroying anyone who gets in his way; Emma, Johnny and now Tommy. Connie leaves with a devastating rejoinder, saying he would not get much sleep at night wondering when it would be his turn. “Connie Finds Emma” reveals him finding her in a cocktail lounge. He convinces her to talk after she gets off work and she fills him up on all the jobs she has taken. He sees her wedding ring and asks why she has not divorced Midge and we see that she is still in love with him. He convinces her to return to Chicago to care for their ailing mother as the will offer an opportunity to win back Midge. Tiomkin scores the intimate scene with an aching extended piano and song rendering of the Love Theme, which speaks to Emma’s unrequited love.

“Dinner Party” reveals Midge winning another bout and graciously saying to Johnny afterwards that he is open to a return fight. He then attends a dinner party where he meets Jerry’s wife Palmer, and we see an immediate sexual chemistry. After several dances and some playful conversational repartee, he agrees to her request to allow her to sculpt him. Tiomkin again uses the Love Theme to support the extended scene, with a big band rendering as a free flowing danza elegante. “Sculptor’s Studio” reveals her clay sculpting Midge in her studio. He probes as to why she married Jerry and she relates that he treats her well and that she has never regretted marrying him, with Midge adding, up till now. She is uncomfortable and ends the session. He then walks over and squishes his sculpture’s head which earns her ire. He grabs her, says she has been living with statues too long, and takes her into his kissing embrace without resistance. Tiomkin renders the Love Theme as a valzer romantico to support the scene and the birth of their romance. In two unscored scenes, Midge returns to his apartment to find Grace fuming about him tossing her aside for Palmer. She insists they marry and he drops the bombshell that he is already married, providing her the address of his wife Emma in Chicago. She is furious, but he callously doubles down saying he is dumping her and that she’ll need to find another meal ticket. She pleads, then says she’ll make a big stink, only to have him say, if you do, I’ll put you in the hospital. Later, Midge receives the “Athlete of the Year” award at a big gala.

“Is There a Law That Says I Can’t Grow Up?” reveals Emma in Chicago finally coming to terms with the reality of her marriage with Midge and confiding to Connie that she realizes there are good men in the world and that it is time to move on. In an unscored intervening scene, Jerry and Palmer discuss her affair with Midge. She apologizes and says she wants to marry him, to which Jerry replies he is not the man for you. Midge arrives and Jerry tells her before he enters that he will show her that he doesn’t love her. He advises Midge that he has arranged a fight with Dunne. He then makes him an offer; he’ll tear up their contract, meaning his cut of 33% is gone and Midge gets 100% of the purse, provided he gives up Palmer. He tells Midge, that means you would get $65,000 clear after beating Dunne. To sweeten the offer, he agrees to waive his remaining debts. Music rejoins at 1:04 with a distorted and souring rendering of the Love Theme as Palmer shouts Midge! as he seems to be seriously considering dumping her for the money. Well Midge quickly dumps her for the money, departs, and we close at 1:38 on a plaintive rendering of the Love Theme as Jerry asks Palmer to join him for dinner.

(*) “Midge Solicits Tommy” reveals Midge receiving a telegram from Connie; “Ma Dying. Come if you can”. Tommy arrives as requested to receive the money Midge owes him. He gives him a check and then shamelessly offers him 10% of the purse to train him to fight Dunne, saying he is the best trainer in town. Tommy agrees, but demands 33.3% of the purse and Midge agrees. As he departs a foreboding rendering of Midge’s Theme supports. “Conne and Emma to Wed” reveals Midge arriving home, only to be told by Connie that he is too late. Connie then advises that Emma is going to divorce him, and then they intend to marry. Midge feigns congratulations, but as he lights Emma’s cigarette, we clearly see a romantic spark in her eyes. Tiomkin offers a tentative Love Theme, which becomes dream-like, voiced by a clarinet tenero in an idyllic narrative, which belies Midge’s and Emma’s rekindled desire. He asks them to hold off and instead come to New York and support his preparations with Tommy to fight Dunne. He says he owes them both, that Ma would have wanted it, and they agree.

“Training Camp” reveals Tommy putting Midge through a vigorous training regimen. As the session ends, Emma and Connie arrive. She and Midge make eye contact at 0:26, and the Love Theme is rekindled. “I Don’t Hate You Midge” reveals Connie and Tommy out on errands as Midge joins Emma inside. He inquiries about the divorce, she mentions Reno, and music enters combatively on his fanfare as he walks to her and asks if she hates him. A conflicted Love Theme struggles as she denies it and he dare her to kiss him. She does so, and this provides him the opening he needs as he takes her into his arms and passionately kisses her. She moves away, he follows and says that she still loves him, and that she was his wife, with the scene fading to black supported by dream-like harp glissandi. (*) “The Arena” reveals a panoramic shot of the packed arena, which Tiomkin supports with Sousa’s Semper Fidelis march. “Brother Vs. Brother” reveals an outraged Connie confronting Midge for violating Emma, which caused her to leave. He angrily rebukes his brother for moral corruption and depravity and strikes him with his cane. Midge responds with a devasting knockout punch, and then departs for the ring. At 0:09 Midge’s fanfare and anthem support his arrival at the ring.

(*) “Champion of the World” reveals the announcer extolling Kelly’s rag to riches story, which has made him the most popular champion in history. We see Connie watching from the tunnel entrance, Jerry and Palmer sitting ring side, as well as Grace. Tiomkin empowers the moment with Midge’s resounding anthem. The first twelve rounds of the fight are unscored with Midge scoring a knockdown in round one. The fight is brutal and Midge suffers a facial cut over his left eye, which motivates Dunne’s to pound it whenever possible. As rounds 5, 6 and 7 unfold the announcer declares that the tide has turned with Dunne taking the last three rounds. Adding that with Midge’s left eye swollen shut, we may be seeing an upset in the works. Kelly goes down after a savage volley of punches. Between rounds Midge angrily rejects Tommy’s offer to throw in the towel. Round twelve reveals Keely going down again and hearing the announcer declare that he is through and that they are getting a new champion tonight. “Force of the Champion” reveals a primal rage, which swells in Midge as he hears the announcer write him off. Monstrous horns furioso resound and propel a crescendo di orrore, which drives forward with unstoppable violence, as the Fight Theme mutates, joined by blaring trombones that punctuated each savage punch. Dunne is knocked down by a withering volley of punches and loses on a ten-count knockdown.

“Delirium” reveals Midge in his locker room delirious, and babbling incoherently to Tommy about being cheered for the first time in his career. Tiomkin supports the delirium with incoherent musical delirium that surges violently at 0:33 as he punches a locker and breaks his hand. We close pathetically as he looks at his broken hand, collapses, and falls dead from a cerebral hemorrhage. “Eulogy/End Title” reveals Emma arriving and joining Connie outside the locker room supported by a fleeting, dispirited reprise of the Love Theme. At 0:14 Tiomkin offers a tender eulogy as Connie chooses forgiveness and filial honor over revenge and extols his brother as a great champion to a lone reporter. At 0:24 a hopeful Love Theme supports Connie and Emma’s departure as a coda of Midge’s anthem heralds “The End”. “End Cast” supports the cast credits and offers a quote of the Love Theme, followed by a final declaration of Midge’s Anthem, which ends with orchestra members applauding Dimitri Tiomkin.

I commend Ray Faiola and Craig Spaulding for issuing a nearly complete score for Dimitri Tiomkin’s Oscar nominated “Champion”. The original acetate sources were digitized and mastered, with only a few very minor cues lost. The archival, monaural sound has been enhanced and a good listening experience is provided. This was the first of three collaborations with director Mark Robson, who was very pleased with the score. Tiomkin understood that the nexus of the story was Midge Kelly, a man driven by ambition, and a loathsome parasite who used and then discarded callously everyone in his orbit. As such Tiomkin created a trio of themes to propel the rags to riches story; grandiose heraldic fanfare to support his regal arrivals, a swaggering marcia pomposa, which served as his heroic anthem, and his ferocious fight theme. Juxtaposed was the Love Theme for the three women who all suffered unrequited love. He used each of them, and then callously discarded them without remorse. Tiomkin conceived the Love Theme to emote from the women’s perspective and we discern within its yearning notes of desire, that it never blossoms or resolves as Midge is incapable of loving anyone. This is a classic example of ‘a moth to a flame’. Folks, Tiomkin composed a classic boxing score that in scene after scene enhanced the film’s narrative, Midge’s obsession, the carnage of those he vanquished, and the devastation of all who had the misfortune of associating with him. I consider the score a classic of the Golden Age and recommend you purchase it for your collection.

Buy the Champion soundtrack from the Movie Music UK Store

Track Listing:

• Main Title (0:46)
• Production Credits (1:19)
• The Story of Midge Kelly (0:18)
• Boxcar Beating (0:25)
• Riding in Style (1:20)
• Kansas City (0:22)
• Hit the Road (1:00)
• A Little More Respect for the Owners! (1:03)
• Elbow Grease (1:35)
• Shall We Get Wet? (4:20)
• Love on the Sly (2:07)
• Shotgun Wedding (0:43)
• Training Montage (1:59)
• A Tough Schedule (0:48)
• Climbing the Ladder (1:22)
• So This is New York (0:44)
• Supper Club (0:37)
• Kelly-Dunne Fight (0:29)
• Double-Cross (0:36)
• Connie Gets Worked Over (0:19)
• The Long Dark Hallway (1:40)
• No Way Out (0:24)
• A Sock to Remember (0:23)
• Newsreel/Martinis (1:30)
• Pitch from a New Manager (1:17)
• Connie Finds Emma (2:37)
• Dinner Party (2:37)
• Sculptor’s Studio (1:56)
• Is There a Law That Says I Can’t Grow Up? (1:49)
• Conne and Emma to Wed (1:16)
• Training Camp (0:48)
• I Don’t Hate You Midge (0:54)
• Brother Vs. Brother (0:27)
• Force of the Champion (0:34)
• Delerium (1:00)
• Eulogy/End Title (0:44)
• End Cast (0:18)

Running Time: 42 minutes 26 seconds

Screen Archives Entertainment SAE-CRS-021 (1949/2010)

Music composed and conducted by Dimitri Tiomkin. Orchestrations by Joseph Dubin, Manuel Emanuel, Herb Taylor and Paul Marquardt. Recorded and mixed by XXXX. Score produced by Dimitri Tiomkin. Album produced by Ray Faiola and Craig Spaulding.