MOVIE MUSIC UK

GREATEST SCORES OF THE TWENTIETH CENTURY

Original Review by Craig Lysy

The genesis of Battle Cry lay with Leon Uris, author of the 1953 novel on which the film is based. He served in World War II as a radio man in the 2nd Battalion, 6th Marines, during the Guadalcanal and Tarawa campaigns, being evacuated with malaria. The novel was a Top Ten seller and by 1954 was already in its sixth printing. Warner Brothers saw opportunity for an epic WWII drama in cinemascope and so bought the film rights. Jack L. Warner and Raoul Walsh oversaw production, with Walsh also directing and Uris adapting his novel for the screenplay. A huge stellar cast was assembled, including Van Heflin as Major Sam “High Pockets” Huxley, Aldo Ray and Private First Class Andy Hookens, Nancy Olsen as Pat Rogers, James Whitmore as Master Technical Sergeant Mac, Tab Hunter as Private First Class Danny Forrester, Mona Freeman as Kathy, Dorothy Malone as Mrs. Elaine Yarborough, Ray Massey as Major General Snipes and Ann Frances as Rae.

The film was set in 1942 during WWII, and follows the fortunes of a group of young men who for patriotism joined the Marines, leaving loved ones behind. Eager for battle, they are frustrated by sluggish preparations and many non-combat assignments. Several romances develop during this time of waiting for assignment, and the film follows these wartime romances, through 1944 when the men finally ship out to fight in the Guadalcanal and Tarawa campaigns. The film was a commercial success. Critical reception was a net negative as many felt there was too much of a focus on romance instead of battles. Never the less, the film did receive one Academy Award Nomination for Best Scoring of a Dramatic Picture.

Director Raoul Walsh had collaborated with Max Steiner on eight prior films, and had no second thoughts selecting him for the scoring assignment. Steiner was excited by the film, which he believed was epic, but also because he could cultivate several romances, weaving sub-narratives within the film’s massive tapestry of war. Yet pressure was exerted by Walsh, who wrote the following to Jack Warner; “If Steiner can write a good hit tune similar to “Charmain’s Theme I had in “What Price Glory”, it would be a great help. Give him a bottle of Manischewitz wine and maybe he can come through with one”.

For his soundscape, Steiner decided to infuse his score with the requisite Americana to evoke patriotic pride, as well as anumber of military motifs and fanfafres. To that end he chose to interpolate the song “Honey Babe”, which was derived from the Appalachian folk song “The Crawdad Song” as his primary theme. In a masterstroke, Steiner transforms it into a rousing marcia patriottica, with lyrics by Paul Francis Webster. The Marine Hymn by Jacques Offenbach from “Geneviève de Brabant”, with lyrics attributed to L.Z. Phillips was also used, again to empower the film’s narrative with patriotic pride and energy. Military fanfares and drum empowered motif abound and are used to supplement and assist the primary themes in patriotic storytelling. For the Japanese, there is no specific theme, instead Steiner juxtaposes the western identities by using the pentatonic scale to provide classic fanfare orientale.

There are four romances in the film, and Steiner provided Love Themes for each. The Love Theme for Rae and Marion is borne by warm French horns and strings gentile. Since their rendezvous always occurs on a ferry trip from San Diego to Coronado, Steiner infuses it with a nautical air. It is aspirational, lacking passion and fervor as Rae chooses to keep him at arm’s length. The second Love Theme involves Danny and Elaine, with whom he has an affair. This reveals Steiner at his best as he offers a beautiful valzer romantico. When he shifts the melody to a solo violin d’amore, it becomes sublime. The third Love Theme involves Danny and Kathy. Steiner once again decides to support with the sensibilities of a dance, offering a beautiful and modern valzer romantico, which just sweeps us away. The fourth Love Theme involves Pat and Andy, and we bear witness to Steiner’s romantic eloquence as he interpolates a tender song melody, which is so full of longing, from “I’ll String Along with You” by Harry Warren. He makes the melody his, and masterfully shifts its articulation from solo violin d’amore with harp adornment, to woodwinds, celeste, and then to strings romantico. For me this is the most romantic of the four.

Lastly, many folk songs and classical pieces are infused to provide a contemporaneous, and familiar cultural sensibility for the audience, including; “Home on the Range by Daniel E. Kelley, “Semper Fidelis” by John Philip Sousa, “Fiddle Dee Dee” by Jule Styne, “Danny Boy” from “Londonderry Air” attributed to Rory Dall O’Cahan, “You Go to My Head” by J. Fred Coots, “Silent Night, Holy Night” by Franz Xaver Gruber, “Put ’em in a Box, Tie ’em with a Ribbon, and Throw ’em in the Deep Blue Sea” by Jule Styne, “God Defend New Zealand” by Thomas Bracken and John J. Woods, “Wedding March” from A Midsummer Night’s Dream by Felix Mendelssohn, “It’s a Great Feeling” by Jule Styne, “Don’t Cry Baby” by James P. Johnson, “I’m in a Jam with Baby” by Ray Heindorf and M.K. Jerome, “Bless ’em All” by Fred Godfrey, “I Guess I’ll Have to Change My Plan” by Arthur Schwartz, “Don’t Take Your Love from Me” by Henry Nemo, “Can’t We Talk It Over?” by Victor Young and Ned Washington, “Misterioso Pizzicato” by J. Bodewalt Lampe, and “Honey-Babe” by Steiner with lyrics by Paul Francis Webster.

“Main Title” offers a score highlight brimming with American patriotic fervor. It opens grandly with Steiner’s Warner Brothers fanfare (1937). At 0:11 the roll of the opening credits commences propelled by a rousing exposition of the Honey Babe march. At 1:08 we flow into the Marine Hymn, which sustains the patriotic energy. A diminuendo takes us into the film proper where narration informs us of a nation at war seeking new Marine recruits to stem the tide. We see the Baltimore train station where Danny says goodbye to his family. Kathy, his girl runs to him, they promise to remain true and kiss, which they affirm means they are engaged. At a Philadelphia train station Ski says goodbye to his girl Sue, promising to bring her out to California to escape her father who hates him. Steiner supports with a guitar rendering of the folk song “Home on the Range” as the men travel by train and get to know each other.

“Boot Camp” reveals the new recruits arriving at the San Diego Marine base. Steiner’s fanfare declaring the Marine anthem was dialed out of the film. “Drilling” reveals the men precision marching empowered by a repeating drums cadence. At 0:31 we segue into “Writing Letters” where Danny writes a letter to Kathy, while his buddies complain about Marine Corp training. Steiner again supports with “Home on the Range”. “Gyrenes At Last” reveals the recruits, now Marines, marching at their graduation ceremony supported by the Marine anthem Semper Fidelis rendered as a marcia patriottica. At 0:55 we segue into “Troop Trucks” that will take the men to 2nd Battalion Camp Elliot supported by the rousing Honey Babe march. At 1:27 we segue into “Inspection” where upon arrival the men are reviewed by Major Wellman and their commanding officer, Major Huxley. Steiner shifts Honey Babe to a marcia maestoso to support and play under narration.

“It’s A Great Feeling” reveals Mac and others going into the Asian Dragon Cave bar looking for Ski who is devastated by a “Dear John” letter from Sue. When the bar owner refuses to disclose where Ski is, Mac pummels him and a brawl breaks out supported by the high energy swing tune. They find Ski ready to shack up with a broad, slap some sense into him, retrieve his $400 from her, and take him sobbing back to base. “San Diego-Coronado Ferry” reveals Marion meeting Rae on a ferry. She takes the ferry every night and wonders why he does too. He replies that it is quiet and allows him to think. She discovers him to be a thoughtful and genuine guy, and we see a nascent attraction form between the two. Steiner composed the languorous Love Theme for the scene; however, the music is dialed out from 0:18 – 2:08 with only the opening and closing bars supporting.

“Fiddle Dee Dee” reveals Danny going into McCorkle’s Tavern. The tune, played on the jukebox offers another upbeat Swing tune, which energetically supplies the bar’s ambiance. He orders whiskey and we see he is unaccustomed to drinking. Later in the night we flow into the jazzy slow dance ambiance of “Don’t Cry Baby” as we see a drunk Danny complaining to the bar tender about the marine corp. He passes out and he wakes later in a USO office in “Danny And Mrs. Yarbrough”. He meets Mrs. Yarbrough (Elaine) who offers him some coffee. He is thankful and asks if she would walk with him to the bus station as he has not talked to a woman in six months. She agrees, and she relates how rarely she sees her husband, with music entering as he lights her cigarette. Steiner offers a beautiful string borne valzer romantico, which informs us their mutual attraction. He succumbs to passion and kisses her. The music sours at 1:30 as she is taken aback, and makes a discreet return to he USO as he calls out “I’ll see you Friday”.

“Back On The San Diego Ferry” was edited out of the film. How sad is this as the romanza achieves a perfect confluence with the scene. What was the director thinking? In the scene, Marion and Rae continue their rendezvous aboard the ferry. He opens up and discloses that she is his muse as a writer and asks that for his next liberty they meet in San Diego and have dinner. She says he is a sweet boy, but she can’t, and would prefer to keep meeting on the ferry. He is disappointed, yet agrees to her request to meet again his next liberty. Steiner chose to support their growing attraction with a romantic rendering of his Love Theme. “After The Hayride” reveals Danny and Elaine returning to her apartment after a hay ride. She invites him in and then steps out to freshen up. He removes his shirt as some hay was itching him. Steiner offers a spirited danza felice, yet at 1:03 sexual tension mounts after she offers him a drink with an inviting pose. Steiner shifts to a romanza as he takes her and they kiss passionately. Both enjoyed it, and at 2:46 the music becomes unsettled as he is tentative to continue until she tosses him some swim trunks and invites him for a swim. The romantic pool scene was cut, so music after 3:23 was also cut. Sad, because on the album, a solo violin d’amore usher in their Love Theme, the valzer romantico heard during their first encounter – Steiner at his best.

“Danny’s Call From Home” reveals Mac dressing down Danny for his poor performance and affair. To set the kid straight, Major Huxley has arranged for a leave home, as well as a phone call home so Danny may talk with his family and Kathy. Steiner offers sentimentality by supporting the phone call with a yearning rendering of “Londonderry Air” AKA as the song “Danny Boy”. When his father passes the phone to Kathy and she reaffirms her love for him, he is shamed, realizes he must change course, and voices his love for her. In “You Go To My Head” Danny meets Elaine at a restaurant and she senses immediately that “We are washed up”. She asks it is because of his girl back home, Kathy, and he answers yes. She is bitter and asks if he thinks she is a tramp. He is genuine in his denial of why he is breaking it off. She blames herself and says that maybe she can find another marine to take pity on her. He stands, caresses her shoulder and then walks away head down. Steiner’s use of the melody of the yearning unrequited love ballad, “You Go To My Head” perfectly supported the moment.

For “Danny At Home” the cue was bookended, with its mid portion dialed out of the film, which is a shame as Steiner offers his trademark romanticism. It reveals him finishing dinner with his family supported by a reprise of Londonderry Air. His father gives him the keys to the car so he can go see Kathy. At 0:43 we shift to them making out in a covetable under the stars, with Steiner introducing their Love Theme rendered as a valzer romantico. The go for a swim, and later after a kissing embrace, she relates that she knows about the girl in San Diego. She says it does not matter as she has him now. He is shocked by the revelation, and declares his undying love. We close with a reprise of the heartfelt Love Theme as they depart to return home. In an unscored scene her father is raging, threatening legal action as it is very late and Danny and Kathy have not returned. When they finally return, Kathy drops a bombshell – that they got married in Upton, which silences her father who collapses into a chair in disbelief.

“I’m In A Jam With Baby” Reveals the boys in town getting drunk and celebrating as they have at last received orders to ship out. Joe makes a phone call and tells his girl to bring some friends and join them at the club. Joe selects the sad, slow jazz, trumpet led song melody for “I’m In A Jam With Baby” on the jukebox when Rae and the girls show up at McCorkle’s Bar. Joe proudly announces that Rae is his gal, as Marion turns and he and Rae lock eyes. He runs out devastated, chased by Joe and Andy. They find him sobbing on the street and Andy shouts; “See what happens when you fall for one dame!” The song choice was well-conceived.

In “Wellington Bay” it is November 1942 and we see a fleet of marine transport ships sailing to Wellington Harbor, the capital of New Zealand, supported by the country’s solemn national anthem, “God Defend New Zealand”. Narration reveals that most of their armed forces were in the Middle East fighting Rommel, and that the country was poorly defended and threatened by a Japanese invasion. At 0:26 we flow into the marine anthem “Semper Fideis” rendered as a marcia bravura, and embellished with piccolo runs as the marines disembark and march on the docks to Camp McKay, which lay 30 miles away. Huxley schedules daily 25-mile walks, and cancels all leave to whip his men into shape after the three-week long voyage. After many days, they are whipped into shape, given leave and we see Andy and Danny enter the Wellington Canteen. Lighttower and Joe are there, with Joe already drunk, unable to get over Rae’s betrayal. Steiner speaks to Joe’s heartbreak using the sad song “I Guess I’ll Have To Change My Plan”.

Andy meets Pat, who works there, and immediately makes repeated efforts to get a date, even though a fellow marine advises that she is married. She rebuffs him repeatedly, and as he departs with his buddies, she offers a wry smile. We sense that she is intrigued, and when Andy notices, he returns for another attempt. We flow into “After The Movie” where we see Pat and Andy running to her apartment door. Carried by a delightful skipping melody of happiness as she thanks him for taking her to the movies. He asks to come in for a cup of coffee and she declines. He presses and at 0:22 we gain energy on a crescendo romantico as he forces a kiss, which culminates at 0:44 with rejection and grievance. Andy’s response is boorish, as he levels accusations questioning her relations with other marines. He is thunderstruck by her reply that her husband died at El Alemein. He realizes that he crossed the line, and was an ass. Back at the base he asks Danny if he ever apologized to a broad, and he says, yes, many times, which makes an impression with Andy. The next night in “Andy Apologizes” he convinces her to please listen to what he had to say. She agrees, and he offers a sincere, and heartfelt apology. He says he understands that she will no longer wish to see him, and wishes her well. She sees that his apology was genuine, and asks if he would take her out for another movie. The music for this scene was inexplicably dialed out, which is unfortunate as it offered Steiner’s romantic eloquence with the introduction of their Love Theme, derived from the tender song melody so full of longing, “I’ll String Along with You”. At 0:57 the music sparkles with elation, reflecting his happiness when she sees that his apology is genuine and accepts it. At 1:11 a rousing reprise of the “Honey Babe” anthem takes us back to battalion headquarters

Huxley grants Mac’s request to dismiss the troops so they may catch the train to Wellington, agreeing to chaperone. In the bar a man at the piano plays the aspirational romantic ballad, “Don’t Take Your Love From Me” as Mac joins Marion who is sitting alone. He shows Mac a letter from Rae and solicits his advice. Mac is paternal and says only he can make that call, as women like Rae can be difficult, yet rewarding, if the guy is big enough to accept their past. The song choice again is just spot on. “Can’t We Talk It Over?” reveals Mac leaving and Marion writing back to Rae. The bar’s piano supports with the melody of this romantic ballad. Its lyrics, well known to the audience, perfectly voice Marion’s feeling.

“Pat Rogers’ Home” reveals Andy on a three day pass visiting Pat’s family farm for Thanksgiving. Music from 0:00 – 1:12 was dialed out of the film and it’s a shame as Steiner reprises the romantic eloquence of their Love Theme, derived from the tender song melody so full of longing, “I’ll String Along with You”. Music enters at 1:13 atop a variant of his Love Theme to support Andy freeing an embedded axe left by Pat’s brother Timmy. Andy frees it, and to the amazement of Papa Rogers, uses his lumberjack strength and skills to fell the tree as Pat watches. Sadly, the music from 1:40, which again graces us with the Love Theme as Andy spends time with Pat and her parents, was dialed out of the film. “After Dinner” was sadly dialed out of the film. Andy announces that he is shipping out, that he enjoyed and thankful of Pat’s family’s hospitality. Steiner supports the intimate moment with a woodwind led offering of the Love Theme, which shifts to solo violin d’amore and kindred strings with warm French horn tones. In “Andy Kisses Pat”, Pat frets that he may never return to New Zealand, or that he may suffer the same fate as Timmy and her husband. He reassures her that he will return and asks her to write. Andy asks for a kiss, she consents, but as it progresses to lovemaking, she pulls away, and apologizes. He is understanding and she heads off to bed. Later she hears the house door open and close, gets out of bed, and sees Andy walking away. Steiner offers a score highlight of exquisite beauty with and extended rendering of their yearning Love Theme, which he shifts through the orchestra; at 0:26 solo violin d’amore with harp adornment, shifting to woodwinds, then celeste, then to strings romantico. Sadly, much of the cue was dialed out.

“Christmas Eve” reveals narration stating that Christmas services in 1942 were held at a warehouse in Wellington Harbor. The scene is supported by a men’s chorus singing with reverence, the traditional carol “Silent Night, Holy Night”. “The Unholy Four” reveals the battalion boarding the four transport ships nicknamed the “Unholy Four”, which take them to Guadalcanal as a relief force. Steiner supports with a grim marcia militare that sow tension. At 0:20 narration informs of a grave disappointment – Huxley’s Harlots would not be storming the beach, but instead performing a mop-up campaign to pacify residual pockets of Japanese resistance. At 0:44 as their landing craft approach a secured beach, we have interplay with the rousing Main Theme March and the Marine Corp Anthem. “Beachhead” offers a cue of 9:22 minutes, with only the first 0:22 minutes surviving as the rest lay on the editing room floor. Originally it was intended to support a protracted campaign to overcome Japanese resistance, which ends with the 2nd Battalion securing the island. We open with a determined marcia militare as narration relates that malaria, mosquitos, land crabs and the oppressive jungle heat and humidity took a greater toll on the men than the Japanese. The rest of the cue is worthy of a listen with Steiner offering dynamic bursts of action, suspense, orientalism, and the “Honey Babe” march ever propelling the men forward.

“Back To Wellington” reveals the 2nd Battalion returning to Wellington having completed their mission to secure Guadalcanal. Steiner supports with an aggrieved rendering of the “Main Theme” as the men’s pride was wounded by not having fought on the front lines. Yet the narrative slowly brightens with anticipation as narration informs that the men look forward to renewing old friendships. “Malaria” is masterfully conceived and executed. It reveals Andy visiting Pat and collapsing in a malaria induced delirium. He wakes three days later thanks to Pat’s care. We open with Steiner masterfully sowing a steadily escalating tension with increasing dissonance, and fragments of the Main Theme, as the music, like Andy descends into delirium plagued by onscreen flashbacks. Three days later at 1:39, strings d’amore with flute and French horn adornment support a gentle and caring musical narrative as Andy regains his wits, and he expresses his thankfulness. The Love Theme joins at 2:22 as she expresses her fear of losing yet another loved one to the war, and he comforts her with a kissing embrace.

In an unscored scene, Major Huxley receives his Lieutenant Colonel Silver Oak Leaf insignia from General Snipes. “Put ‘Em In A Box Tie ‘Em With A Ribbon” reveals a company dance supported by phonograph playing the lively Swing dance song. “Andy Proposes” reveals Pat confessing to Huxley her insecurities regarding her romance with Andy with her husband only recently deceased. Huxley counsels that she must make a decision and live with her conscience. Later at home she blind sides Andy when she announces that she is calling it off with him as she does not believe she can survive the death of yet another loved one. Music enters with a shimmering exposition of their Love Theme when he declares that he is steadfast in love, and then unexpectedly proposes. It blossoms at 0:47 when she is overcome, and confesses that she is carrying his child, asking if she could name him Timmy after her brother. He is very happy and takes her in a loving embrace. Regretfully, once again, the music is dialed out after 0:46, which I believe was a creative error.

“10,000 Blisters” offers another tragic score evisceration with most of the 5:51 minute cue deleted. The lack of music detracted, and robbed the hike of both energy and drama! It was written to support the 2nd Battalion’s forced sixty-mile hike to Foxton and back in full gear, and Steiner propels the torturous hike scene with one of the score’s finest moments, a rousing horn and drum empowered extended exposition of the Honey Babe march. “Defiantly On To Camp McKay” reveals Huxley unsatisfied with breaking the hiking time record to Foxton. Instead of accepting truck transport back to base, he orders a return march at a pace that will break the record they just established. Executive officer Major Maxwell protests as the battalion is exhausted and hobbled with bleeding feet, but he is pointedly rebuffed by Huxley and told to transfer out if he cannot take it. He accepts the order and commands the company chiefs to prepare the men for a forced march return. As the exhausted men finally arrive at Camp McKay, they celebrate with an a Capella rendering of “Honey Babe”.

(*) “Andy and Pat Get Married” reveals our two lovers getting married supported by Mendelssohn’s Wedding March, which is barely audible in the film. In “Like A Million Other Women” offers a beautiful romantic score highlight. Danny calls out Andy for going AWOL saying they all miss their gals, but he is rebuffed. Later Huxley visits Pat and insists that she send him back, saying he’ll forego arrest if he comes back on his own. Despite her fear of losing him, she realizes that he must go back or they will never be able to have a normal life. An aggrieved Love Theme enters as Huxley departs saying, like every other woman you know what you have to do. At 0:39 horns grave sound when she meets Andy at a view point overlooking the harbor and asks him to hug her. As she struggles to convince Andy to do his duty their Love Theme struggles to coalesce. Weeping strings and woodwinds tristi portend a life on the run if he deserts as a subtle and dissonant “Honey Babe” Theme entwines. At 1:33 an crescendo appassionato surges as Andy becomes combative until strings romantico usher in the woodwind borne Love Theme at 2:37, shifting to strings romantico, and then solo violin d’amore as he realizes that for her sake, and his son, he must do his duty. They kiss and Andy departs to do his duty as Pat watches with trepidation. Sadly, the music after 3:48, which offers a wondrous crescendo romantico, was dialed out of the film.

“Tawara” reveals yet another mop up campaign, which results in the death of Marion supported by a dire dirge-like rendering of the Main Theme. In 1944 they are transferred to Hawaii, Huxley persuades General Snipes to assign his battalion to a front-line assault, instead of another mop up mission. It is a tense confrontation with Huxley risking loss of his command for insubordination, but his patriotic fervor persuades General Snipes to reassign him to the dangerous left flank of the beach landing. At 0:59 the Main Theme gains vitality and energy as narration informs us of the 2nd Battalion en route to Saipan. The music after 1:07, which offers a suspense diminuendo was dialed out of the film. “Saipan” was dialed out of the film. It reveals Huxley and his men landing on Saipan’s Red Beach and disembarking from amphibious assault craft as part of the first wave attack. They are met with heavy Japanese artillery fire and take casualties in a withering attack. Steiner’s approach was to use a grave, rendering of the Marine Anthem, joined at 0:22 with a determined Honey Babe March.

“Huxley Gets It” reveals the 2nd Battalion advancing inland towards the Japanese line. They come under fierce fire, yet push forward behind the canons of their amphibious assault tanks. Huxley and some men become pinned down by a Japanese machine gun nest. He orders a flanking maneuver and the men use grenades and flamethrowers take out the Japanese. Later Japanese mortars stall the advance. Music enters with dire rumbling chords as Huxley is mortally wounded in a mortar attack. A dirge follows as he dispatches Andy with orders for Major Wellman to assume command. At 1:05 trumpets of death resound as Huxley expires. At 1:30 elegiac trumpets voice the Marine Hymn with drums as Huxley’s body is brought to camp on a liter and the men weep. A crescendo irato emotes the men’s fury for revenge and at 2:11 Steiner launches a marcia bravura as they advance. Music after 2:30 was lost with its scene on the editing room floor, which again is sad as it offered some excellent writing, which I describe; at 2:31 a celebratory Honey Babe March swells, challenged at 2:48 by repeating declarations of defiance by Japanese fanfare orientale. At 3:20 dire chords herald an aggressive attack, launched ferociously at 3:48, and challenged by defiant Japanese fanfare oreintale declarations.

In “Victory”, the music consisting of resounding trumpets militare and drums from 0:00 – 0:14 was dialed out of the film. At 0:15 a dire chord supports Andy falling with a leg wound, unable to walk. Music after 0:26 was dialed out of the film. Danny goes down following a mortar explosion and Kathy wakes up screaming “He’s Dead! I know he’s dead!” as her mother attempts to comfort her. Steiner offers their aggrieved Love Theme, with the music concluding on a radiant, harp drape crescendo of hope. In an unscored scene, Saipan is secured and Mac announces that they are being sent home. He declares he is off to visit Andy, but the men say forget it, as he just throws everyone out, refusing to read the letter from Pat they brought. Mac takes the letter and heads out. In “Sneak Thief” Mac enters the hospital tent and Charlie complains that someone stole his watch. Mac walks to Spanish Joe’s bed, and uncovers his cache of stolen souvenirs. Steiner supports by interpolating Lampe’s “Misterioso Pizzicato” with a Mexican flare, which ends with a sardonic twist.

“Despondent Andy” reveals his refusal to return to Pat with only one leg. Mac lays into his cowardess, and challenges his manhood and guts. Andy tells him to go, and Mac reads the letter; “Dearest, you have a son. She describes him, and says she counts every minute until you return to us.” Music enters tenderly on their yearning Love Theme as the letter is read. Mac departs and Andy grabs the letter and sobs. At 1:45 the music becomes refulgent, full of shimmering wonderment of their now joyous Love Theme as Pat sees a car approaching the farm. At 2:05 unease enters as he opens the door and steps out. At 2:12 he walks to her stiffly with his wooden, carried by a crescendo glorioso. He takes her into a kissing embrace, crowned with a heartfelt exposition of their Love Theme. He then walks over and holds his son for the first time. At 2:53 we shift to a railway car where Mac relates his unpleasant task of informing loved ones of the loss of their sons; Pedro’s mother, Ski’s family, and Marion’s family. In his thoughts, Mac recalls the journey of making these boys marines with pride. As they arrive at Baltimore, he wakes up the wounded Danny. They disembark, bid each other farewell and Kathy runs to hug Danny. New recruits prepare to board the train as a newspaper seller announces the battle of Iwo Jima. The album producer decided to merge the first theatrical trailer with the film’s end title. I review them separately. “End Title” begins ay 1:00 of the merged cue 17. We end the film with Mac boarding the train. He says for Danny, the war is over, but for old timers like me there is always a new batch of recruits to train. We close with patriotic pride as the full orchestra declares the Marine Anthem, joined by a men’s chorus.

“Trailer Part One” opens the merged cue 17 with a bold chord joined by fanfare dramatico from which resounds the Marine Anthem. A patriotic bridge launches at 0:38, the Honey Babe March, which joins with the Marine Hymn with patriotic fervor. A diminuendo shifts us to the End Title at 1:00, which I discussed above. “Honey Babe” offers a continuation of the Trailer Part 1, with a rousing Honey Babe March empowered by men’s chorus.

I commend James d’Arc for Brigham Young University for this restoration effort of the complete score to Max Steiner’s Academy Award nominated “Battle Cry”. The original 35mm magnetic monaural film sources had degraded, and were meticulously repaired, mixed and mastered by Ray Faiola to provide good monaural sound. I believe Max Steiner demonstrated mastery of his craft with his score by empowering its patriotic fervor with his transformation of the song “Honey Babe” into a rousing marcia patriottica, along with the prominent use of the Marine Hymn “Semper Fidelis”. Sub-narratives involving four love affairs were each beautifully supported by separate Love Themes, every one perfectly attenuated to each couple. In scene after scene Steiner understood the character dynamics and demands of the setting, delivering a masterfully conceived and executed score. Unfortunately, the film was extensively edited down from 195 to 149 minutes, for financial reasons so as to allow one additional theater showing per day. Scenes which offered primary themes were deleted, others were truncated or completely stripped of their music, resulting in musical carnage. In my judgement, the score for “Battle Cry” sadly joins Bernard Herrmann’s “The Magnificent Ambersons” (1942) and Dimitri Tiomkin’s “It’s A Wonderful Life” (1946) as three of the most egregious eviscerations in film score history. Most curious is that while I believe that the original, uncut score was worthy of an Academy Award nomination, the fact that the eviscerated version, which lost many of the score’s finest moments still obtained a nomination, is perplexing. Folks, I am very thankful that the album offers a two CD version of Max Steiner’s original score. I believe it to be a fine example of the successful interpolation and transformation of popular music in a score. Steiner like Alfred Newman were masterful in taking song melodies and making them their own. If you like patriotic scores with rousing marches, four love themes, and classic Swing music, then I highly recommend you pick this one up.

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

Buy the Battle Cry soundtrack from the Movie Music UK Store

Track Listing:

• Main Title (1:46)
• Boot Camp (0:12)
• Drilling/Writing Letters (1:39)
• Gyrenes At Last/Troop Trucks/Inspection (2:06)
• It’s A Great Feeling (1:33)
• San Diego-Coronado Ferry (2:17)
• Fiddle Dee Dee (1:40)
• Don’t Cry Baby (2:00)
• Danny And Mrs. Yarbrough (1:52)
• After The Hayride (4:06)
• Back On The San Diego Ferry (2:03)
• Danny’s Call From Home (3:43)
• You Go To My Head (3:34)
• Danny At Home (3:43)
• I’m In A Jam With Baby (1:42)
• Wellington Bay (1:30)
• I Guess I’ll Have To Change My Plan (2:14)
• After The Movie (1:09)
• Andy Apologizes (1:34)
• Don’t Take Your Love From Me (2:45)
• Can’t We Talk It Over? (0:42)
• Pat Roger’s Home (2:17)
• After Dinner (1:52)
• Andy Kisses Pat (1:53)
• Christmas Tree (0:56)
• The Unholy Four (1:30)
• Beachhead (9:22)
• Back To Wellington (0:41)
• Malaria (1:22)
• Put ‘Em In A Box Tie ‘Em With A Ribbon (1:22)
• Andy Proposes (1:27)
• 10,000 Blisters (5:50)
• Defiantly On To Camp McKay (1:00)
• Like A Million Other Women (4:15)
• Tawara (1:31)
• Saipan (0:59)
• Huxley Gets It (4:20)
• Victory (1:02)
• Sneak Thief (0:51)
• Despondent Andy (4:09)
• Trailer Part One/End Title (1:48)
• Honey Babe Trailer Performance (1:26)

Brigham Young Film Music Archives FMA-MS113 (1955/2004)

Running Time: 93 minutes 05 seconds

Music composed and conducted by Max Steiner. Orchestrations by Murray Cutter. Recorded and mixed by XXXX. Score produced by Max Steiner. Album produced by James d’Arc and Ray Faiola.