MOVIE MUSIC UK

GREATEST SCORES OF THE TWENTIETH CENTURY

Original Review by Craig Lysy

Columbia Pictures came across the 1944 novel “No Sad Songs For Me” by Ruth Southard and believed its sentimental tale would translate well to the big screen. They purchased the film rights, assigned production to Buddy Adler, tasked Rudolph Maté with directing, and hired Howard Koch to write the screenplay. Casting was problematic. Originally Irene Dunne was envisioned for the lead role of Mary Scott, but this did not pan out, nor did Olivia de Haviland. In the end, they secured Margaret Sullavan for what would be her final film. Joining Sullavan would be Wendell Corey as Brad Scott, Viveca Lindfors as Chris Radna, and Natalie Wood as Polly Scott.

The story revolves around Mary Scott, who is happily married with a young daughter. She believes she is pregnant and so visits her physician, only to be informed of terrible news – that she has terminal cancer and only eight months to live. She orders her physician to not disclose her diagnosis, and resolves to keep it secret from her family, choosing instead to live each remaining day happily and to the fullest. Her plans are upended when her husband falls in love with another woman and has an affair, which causes much heartache. Yet she realizes that Chis is a good match for Brad, and so they reconcile. Brad decides to take Mary on a wonderful scenic vacation to Mexico so she may enjoy her last days. Mary passes during the trip and Brad calls Polly and Chris to inform them of her death. The film was a classic tearjerker, which resonated with the public. Critical reception was favorable, and the film received one Academy Award nomination for Best Film Score.

Paramount Studios Director of Music Morris Stoloff, who had hired George Duning in 1946, assigned him to the project. Upon viewing the film I believe Duning understood that Mary was the nexus of the story and that he would have to speak to her irrepressible spirit, and desire to embrace life fully in the face of certain death. He would also need to speak to Brad and Chris’s affair, and Mary’s altruism in accepting that both Brad and Polly would benefit from Chris once she passed. Lastly, Duning understood that his music needed to support the film’s very sentimental narrative, without becoming maudlin. In conceiving his approach to the score Duning relates;

“There were several problems encountered in the preparations of the score. First, the story called for a symphonic excerpt which was one of the favorite works of the wife and later turns out to be a favorite of the other girl. After much deliberation, the Horn solo section of the Brahms First Symphony, Fourth Movement, was chosen because of its great warmth and quiet beauty. It was found that the original orchestration of Brahms dubbed beautifully except for the high flute answer; also the statement of the chorale by the trombones. Being a great worshipper of Brahms it was with extreme reluctance that I reset the high flute solo an octave lower and doubled with an oboe, My orchestrator, Arthur Morton, who did a magnificent job on the orchestration of the score, devised an excellent setting of the chorale with a combination of four horns overlade with woodwinds. Other than these two sections, the Brahms was quoted verbatim on the recordings”.

For his soundscape Duning composed six themes, including; Mary’s Theme offers long lined eloquence, is string borne, and often embellished by woodwinds. Its lyricism is tinged with sadness, with only a few exceptions when hope and happiness struggle to arise. Duning related; “The main theme, had to be a long tune that could be played unaccompanied or with very little underpinning, because of the low husky quality of Miss Sullavan’s voice… Considerable use was made of fragments of the main theme, especially the jump of the minor seventh found in the first two notes”. Chris Radna’s Theme is primarily voiced by a solo Clarinet. There is a pastoral quality to her theme, but it too, like Mary’s is tinged with sadness, which speaks to her loneliness and lingering pain from the death of her husband in the war. Doctor Frene’s Theme speaks to his gentle, paternal, and caring nature. It is borne warmly by a solo French horn nobile or violas. The Death Theme speaks to scenes when Mary is confronted by her mortality. There is an ethereal quality as it emotes as a “‘G’ natural on harp, joined by vibraphone and celeste.” The Home Theme speaks to the Scott home and homelife, and offers an idyllic gentility borne by strings felice and bubbling woodwinds of delight. The Brahms Adagio Theme mentioned by Duning above, links both Mary and Chris as it their favorite piece of music. It speaks of love, but also altruism and nobility. When we see that Chris has taught Polly to play it in the finale, it closes the circle forever bonding Polly with Mary, and Chris her new mother.

0:00 “Logo” reveals the Columbia Pictures logo supported by a stirring ascent atop repeating four-note quotes of Mary’s Theme opening by strings appassianato, which usher in at 0:08 the “Main Title”, a rapturous score highlight where Duning graces us with the exquisite romanticism. Joining the strings appassionato at 0:22 is an unabashedly sumptuous full exposition of Mary’s Theme. Duning perfectly establishes the tone of the film and makes us love Mary before even meeting her. We enter the film proper at 0:57 “Morning” as we see a boy riding his bike delivering newspapers supported by the Home Theme in a carefree musical narrative borne by strings felice and bubbling woodwinds. At 1:12 Mary’s Theme supports her opening the front door and finding the cat trying to open a bottle of milk. She brings in the cat and milk supported by an idyllic musical narrative borne by strings felice and woodwinds gentile. In an unscored scene Mary prepares breakfast for Brad and Polly as they discuss her doctor’s appointment to confirm she is pregnant. 4:23 “Brad Goes To Work” reveals him departing for work with the happiness of the Home Theme supporting his departure.

We flow seamlessly atop a carefree, tender string borne Mary’s Theme at 4:30 into “Bad News For Mary”, a poignant score highlight masterfully scored by Duning. At 5:09 the music turns grim when Dr. Frene informs her that she is not going to have a baby, now or ever again. She is distraught saying Brad so much wanted a son. He asks her to return in a week and says to take very good care of herself. As she exits the office at 6:40 her theme, now tinged with sadness weighs her down as she struggles to answer Polly’s questions. She asks Polly to wait in the car as she returns to ask Dr. Frene a question carried by her sad and tentative theme. Her heart sinks as she walks in the office and finds the nurse placing a call to her husband. Dr. Frene invites her back and she asks if he is hiding something from her. He deflects her inquiries, but he finally relents due to her dogged persistence. At 9:23 a warm French horn and retinue of the violas voice his warm and caring theme, from which arises a grim and foreboding musical narrative as he says if only you have come to him six month or a year earlier, I might have been able to help you. Her face reveals fear with her theme growing anguished as she says “I have cancer?” punctuated by dire two-note horn bursts. Weeping strings affanato voice her theme and devastation, with hope denied by his revelation that the best doctors have confirmed his findings, and that at this advanced stage, radium therapy or surgery are no longer options. His theme joins hers with quotes of the Brahms Adagio as he answers that she has ten months remaining, six on her feet if she rests and takes good care of herself. As she departs at 12:30 the Death Theme on harp supports her thanking him for his honesty.

12:34 “What To Do?” reveals Mary walking down the stairs to the street wondering what she is going to do. Her anguished theme supports until 12:51 when music shifts to trepidation as she sees Polly waiting in the car. As she drives home Polly expresses the desire to buy a dog since she will not be getting a brother. Mary drives with a vacant affect, driving through a rain stop and red light. Duning supports with a bleak musical narrative with quotes of the Death Theme until 13:57 when the music brightens atop her theme as she stops to admire the beauty of the mountain towering over the town. Yet the moment is fleeting as her theme shifts to cello doloroso as her recognition of reality returns. The Death Theme joins at 14:20 when Polly asks to walk across Main Street for her music lesson, saying that she has to learn to do it alone eventually. We close warmly with her theme borne by strings of maternal love as she consents and Polly departs. In an unscored scene Brad meets his new assistant, who surprises him as she is a woman named Chris Radna. He accepts her with reservations and she departs as Mary arrives to take him home. She tries to speak, but he insists she come in and look at sketches of his current dam project.

17:12 “I Cannot Have a Child” reveals Mary disclosing that she is not pregnant, and then saying she will not again be able to bear a child. His disappointment is apparent and a beleaguered rendering of her theme supports. Her theme descends into anguish as she breaks down and begins sobbing, which bring Brad to her to comfort with his embrace. As he consoles her and says we can adopt and will live a wonderful life together her theme struggles to find hope. We flow seamlessly to the bedroom where they hold hands while sleeping in separate beds, with the Death Theme sounding at 18:57. A tender, yet sad rendering of her theme supports her telling him that if something were to happen to one of them, that the other could go on and find happiness. But to her dismay, he is asleep and did not hear her. She tenderly places his hand on his bed, and her sad theme entwines with the Death Theme as the bedside clock’s ticking offers a grim reminder of time’s relentless march forward.

20:16 “New Year’s Party Preparations” reveals Polly practicing on the piano. Louis visits and says that she is behind in her shopping, and remind her that they need the clothes she promised so they can gift them to the poor. After she departs, Polly resumes her piano practice as Mary begins taking out dresses from her closet, including sentimental ones as she knows she will not get to wear them again. She asks Flora the maid to box these dresses, and gifts one to her that she like, but she becomes dismayed when she sees the calendar, which serves as a grim reminder of her mortality. 27:49 “Mary and Dr. Frene” offers beautiful thematic interplay. The two have an unexpected meeting at the flower shop. He reminds her that she needs to see him so he can monitor her health. She puts up a stiff upper lip and answers that although she has no pain, she fatigues easily. Her sad theme and his warm and caring theme interplay, joined warmly at 28:55 by the Brahms Adagio on French horns nobile as she relates that she has discovered that it is not important how long we live, but how we live. As her theme rejoins on strings tenero she relates that since there is nothing more to lose, that she feels liberated, freer than she has ever been. The moment is lost when Mona arrives for her husband and the two depart.

32:30 “New Year’s Eve” Brad has invited Chris to join them at a New Year’s party and goes to the top of the stairway to view her as Flora lets her in. The Tom Boy is transformed and shows up in an elegant evening gown, which surprises Brad. Duning introduces her theme on solo clarinet tenero, which blossoms on sumptuous strings as Brad looks at her amorously. Her theme lingers as he enters the bedroom to retrieve Mary, but Mary’s Theme returns tenderly with a mother’s love as she kisses Polly good night and they depart. 34:20 “The Party” reveals a festive dance party with Brad and Mary dancing to a vibrant Swing tune. Chris who is dancing with Dr. Frene, trade off and she begins dancing with Brad. Mary tires, and retreats to a lounge chair in the women’s restroom where Mona voices concern. She returns to the dance floor to discover Brad and Chris intimately dancing. Midnight strikes at 37:19 supported by an instrumental rendering of “Auld Lang Syne”, later joined by mixed chorus. Brad realizes his error and rushes to Mary, taking her into a kissing embrace. At 38:47 he takes a bottle of champagne and they move to an open space to share a toast with a solo baritone now singing the song in the background. Brad joins in and as they toast for a long life together the song shifts to wistful strings.

39:41 “Diner” reveals Mary cooking eggs and pancakes on a diner’s grill for Brad, the Frene’s, Chris, Mr. Caswell, Louise and Frieda. A source music slow dance supports in the background. Mary is in good spirits, but Dr. Frene coaxes Brad to take her home and he hoists her over his shoulder and carries her out with Chris in tow, much to everyone’s amusement. 41:38 “Brad Drives Chris Home” reveals Brad dropping Mary off at the house and coaxing her to go to bed, saying he will be right back after her drops Chris off. A tender and fleeting quote of her theme supports, but as the car drives away a plaintive rendering of Auld Lang Syne joins as she slowly heads in. 43:17 “Gossip” reveals George delivering a boxed donation to the Annual Relief Drive Headquarters. Duning supports with gentility as he delivers the clothing to Mary and the gals. Afterwards Mary walks in on Freda gossiping to Mona about how Brad and Chris spend so much time together. Mary makes a pointed rebuttal and walks away, while Mona admonishes Freda. Later Mary asks Mona if there is truth to the rumors and she counsels patience, saying it will burn itself out. At 45:15 the Death Theme supports Mary having a dizzy spell and usher in a tragic rendering of her theme as Mona fetches a glass of water. Mary regains composure as Mona returns and she takes a pain killer. Her plaintive and beleaguered theme supports Mona suggesting she buy a new dress and resume her daily walks with Brad.

46:15 “Brad and Chris” reveal them out surveying in the river gorge and Duning supports with an idyllic pastorale joined at 46:57 with twinkling effervescence as he points out a deer nearby. As he looks through the telescope to take a measurement, we see him focused not on the measurement stick, but on her with her theme joining on a clarinet tenero. When she returns, he gifts her a flower and says he intends to keep her for his next project as she is an excellent worker. She then asks if that is the only reason he wants her to stay on and at 48:21 a sad rendering of Mary’s Theme joins as he replies, what other reason would there be? She replies that it is important for her to know. He adds that the reason he gave is all the reason that is needed. She is visibly disappointed, takes the tape measure and her now plaintive theme carries her walk away. We flow seamlessly at 48:45 into “San Francisco” carried by Mary’s plaintive Theme as Brad returns home. The music warms as he ascends the stairs and enters the bedroom where she is resting in bed. She asks about the project and he is terse, but when she asks how Chris is working out her becomes defensive. She then startles him by saying she want to visit her father in San Francisco for two weeks. When he asks why she cannot wait a few weeks so he can join, and the Death Theme joins at 50:31 when she says “I want to see him before long”. He asks her if anything is wrong, and she convinces him no. As he apologizes for being tense lately at 50:46, a clarinet voices Chris’s Theme revealing his internal conflict. She consoles him warmly supported by her theme and asks what is troubling him? He deflects, kisses her, and promises to take her on a vacation to Mexico as soon as he completes the project.

51:35 “Returning Home” reveals a train taking Mary to San Francisco to visit her father carried gently by her theme. The theme becomes wistful as we see her with her dad and looking at a photo of her mother. She is reminiscing, sets a lunch date with him, as he relates that in the last three days, she has visited all the old familiar places. She is dancing around revealing her situation, but when he replies at 53:20 that she is a little young to be so philosophical, a solo cello triste leads her theme. She asks about her former boyfriend Lee Corbett and is told his wife died. She then asks how long it takes a man to get over such a loss, and he says that it all depends, and that some never do. She kisses him and says he has always been there for me, and then departs carried by her aching theme, full of longing. 54:30 “Lunch Date” reveals Mary arriving at an upscale restaurant for a lunch date with her father. Lee Corbett sees her, and they reacquaint. He relates his struggle adjust to life without his wife Ellen. Doris, his girlfriend arrives and she is introduced. Doris is domineering, demanding and Mary tries her best to hold back her sympathy for Lee. Her father arrives, and she turns down a dinner invitation saying she is going home soon, and departs his table. At their table, Mary informs her father that she will be leaving this week instead of next as she misses Brad and Polly. Duning chose to use a graceful and extended rendering of Mary’s Theme as a valzer elegante to support the scene.

57:32 “The Letter” reveals Mary writing a letter to Brad informing him of her condition, apologizing for withholding it so long, and her desire that he not suffer the fate of Lee Corbett, and instead find someone who could truly love him and Polly. Duning supports the pathos of the scene with a sad, poignant, and extended rendering of her theme with violins and two flutes in their low register. In “Mary Returns Home”, later that week she arrives home only to find Brad not waiting for her at the train station. She boards a taxi and Flora greets her arrival home. Mary finds out that Flora has only seen Brad twice since she left, a revelation supported at 1:00:30 by a foreboding rendering of her theme, which descends into sadness as she finds the unopened letter. At 1:01:54 her theme warms with happiness as Polly runs down the stairs to greet her, yet as they hug, we end with trepidation as we see her thinking of Brad. Later as they finish dinner the phone rings and it’s Brad. He apologizes for not being there, admits it is not work, and that he needs to talk to her in person. He returns to Chris at a restaurant table and requests his check. At 1:02:51 in “Despair”, her theme, now bearing strains of trepidation supports Mary grabbing her coat and departing. As she drives on a winding road at night her theme becomes distressed, swelling on a dire crescendo as she presses the accelerator driving ever faster past a sign, which says “Bridge Washed Out – DANGER” followed by “Slow, Detour Ahead”. She crashes through the barrier only to have the car stall out, as she sees the gas tank meter on empty. We close atop her anguished theme as she weeps and we flow into a diminuendo of despair as a guard approaches. He advises her to read the warning signs and agrees to gift her some gas.

1:05:24 “Brad Is Frantic” reveals him on the telephone frustrated that he cannot locate Mary. A distressed variant of Mary’s Theme supports the scene as he continues to try to locate her. At 1:05:55 he greets Mary at the door with a hugging embrace supported by her yearning theme and asks where had she been, saying he was going crazy. She apologizes, saying that she ran out of gas. Later at 1:06:10 as she sits on his lap in the bedroom, the Brahms Adagio plays on their phonograph. He confesses that it was more than a flirtation with Chris, but adds he hopes she finds what she wants, and that you and Polly are all that I want. He says they agreed to call it off and that she would be departing soon. At 1:08:05 the symphony’s famous and hopeful strolling theme supports Mary advising that Chris need not go. We close with his promise that after a two-day trip to drop off the plans in Sacramento, he will take her on the trip to Mexico, for which they always dreamed. 1:08:32 “Mary Visits Chris” reveals her visiting Chris’ apartment. As she rings the building’s entry doorbell their two themes entwine. She is buzzed in and Mary’s tentative theme carrying her up the stairs to the apartment door. She enters and the music becomes tense as Chris turns to see Mary. They drop all pretenses with Chris confessing her undying love for Brad and Mary pleading with her to stay. Mary then departs and we see Chris clearly conflicted and confused.

1:12:15 “Chris Visits Mary” reveals her arriving at the Scott home and Polly escorting her in. Duning supports the scene once again with the Brahms Adagio emanating from her phonograph. Mary discovers that Chris loves children, their mutual love for the Brahms Adagio, and that Chris lost her husband in WWII. Chris confesses her despair after his death and at 1:14:56 the Adagio’s hopeful strolling melody support her revelation of how love was reborn when she met Brad. Mary asks her to stay while they are on vacation for Brad’s sake and because they are friends. Dr. Frene arrives and Mary turns off the recording. Chris asks Polly to see her kittens to give the two time alone. When he opens her empty pain killer box, he tells her that it is time to tell Brad, to which she replies, not yet. In an unscored scene we see Chris helping out Mary and the gals at the Relief Drive. In “Chris and Polly”, the next day she drops Polly off at Brad’s Surveyor office in Chris’ care so she can go out shopping. Music enters at 1:17:53 on Mary’s Theme, woven within a musical narrative of happiness as she looks through the window and sees Chris and Polly enjoying each other’s company.

1:18:24 “Brad’s Discovery” offers her theme being is sustained later at home, as she lay in bed, Brad comes home and she rises to put on lipstick and freshen up for him. Her theme is buoyant as he runs up the stairs, yet it dissipates as he sees Chris descending, his surprise, overt. As he gives Mary a loving embrace, her theme blossoms, full of happiness. Brad asks why Chris is here, and at 1:19:40 the Brahms Adagio joins as she says that she is filling in while the piano teacher is on vacation. Brad acquiesces, but the music shifts to her sad theme as he notices she is not dressed. She deflects that she was just resting for their trip, and goes into the bathroom to change. At 1:50:28 her theme becomes foreboding and entwines with the Death Theme as he discovers on her night stand, an open pill box. He sets it down, and then Duning sow suspense as he goes downstairs and telephones Dr. Frene. He says something is wrong with Mary, and that he thinks she is hiding something from her. Dr. Frene invites him to his office and once there, he reveals to him, her terminal illness. Brad is devastated and angry for not being told, but Dr. Frene advises him, that it is her life, and her choice. He demands every effort be made to save her, and Dr. Frene shatters him with dire musical punctuation, by saying that all the experts agree – the cancer is too advanced to treat. An anguished rendering of her theme supports Brad’s despair as he sobs and says, too advanced to treat. At 1:22:54 as Brad states what good are doctors if they can’t save Mary, the nobility of the Brahms Adagio joins to support Dr. Frene decrying a society that invests more in killing people, than saving them. As he tells Brad that he still has a few weeks while Mary is on her feet, Mary’s Theme reprises warmly offering a kernel of hope, joined by Brahms’ Adagio as Dr. Frene advises him to savor and enjoy little time together that remains.

1:23:45 “Mexico” reveals a plane landing in Mexico supported by a sumptuous, romantic rendering of her theme. At 1:23:55 we see them slow dancing as a trio bathe them with soft Mexican auras on guitar and vihuela. Afterwards at their table they reminisce about their wonderful ten years together. A woman arrives and offers to read her hands. Brad declines, but Mary takes off her glove and offers her hand. She says while the life line is long, there is a break in it, while the heart lines suggest she is very lucky. As Mary turns to Brad and answers, very lucky at 1:25:46, we flow into “Mary Passes”, a beautiful score highlight . The scene shifts to a phone ringing at the Scott residence as a Polly plays a piano rendering of the Brahms Adagio. When Brad informs Chris of Mary’s Death, she is devastated, and says she has to go. She goes to Polly, corrects her saying the note should be F#, and then agrees to her request to play the piece together. The strolling melody of the Adagio unfolds as Chris asks if Polly recalls her mother’s last words. She says no, as she only smiled, and with that the orchestra joins as Chris realizes, and is thankful for Mary’s grand design, that she, Brad and Polly continue on as a family. We conclude with a grand declaration of the Brahms fanfare as the film ends with a flourish.

It is a sad state of affairs that this Academy Award nominated score lacks a commercial CD release; the only commercial release of this score is a vinyl LP released by Web Records in 1982, which combines the score for No Sad Songs For Me with excerpts from three other Duning scores Last Angry Man, Full of Life, and Count Three and Pray. George Duning astutely perceived that Mary was the nexus of the film’s narrative and to support her journey, he created one of the most beautiful themes in his canon. He manages to join nobility, romanticism and sadness in with this string borne, and long lined melody, which embodied the very essence of Mary’s character. Her theme serves as idée fixe, and is pervasive supporting not only her presence in the scene, but also thoughts of her by Brad. Chris, the other woman, also has a well-conceived theme. Borne by a solo clarinet tenero with strings delicato adornment we discern a tinge of sadness and loneliness that belies her confident affect. However, what makes this score transcendent is the theme that links the two women, the horn call and strolling melody drawn from Johannes Brahms’ Adagio from his Symphony #1 in C minor. Both women love the Adagio, and its warmth and nobility bonds them. Indeed, in the finale with Polly and Chris playing on the piano the strolling melody of the Adagio, Chris perceives that the circle has closed, and is thankful for Mary’s grand design, that she, Brad and Polly continue on as a family. Folks, this is a wonderful Golden Age score with a main theme, which gains George Duning, immortality. Until such time as we get a rerecording, I highly recommend you take in the film on one of the streaming services to fully appreciate this beautiful score.

Buy the No Sad Songs for Me soundtrack from the Movie Music UK Store

Track Listing:

• Mary’s Theme (1:51)
• Chris Radna’s Theme (2:59)
• Bad News For Mary (0:36)
• What To Do? (3:01)
• Mary’s Decision (1:54)
• Mary Hears Voices (3:13)
• Brads Discovery (4:17)
• Marriage Torment (2:23)
• Confusion For Brad (1:42)

Web Records ST-108 (1950/1982)

Running Time: 21 minutes 56 seconds

Music composed by George Duning. Conducted by Morris Stoloff. Orchestrations by Arthur Morton. Recorded and mixed by XXXX. Score produced by George Duning and Morris Stoloff.