MOVIE MUSIC UK

GREATEST SCORES OF THE TWENTIETH CENTURY

Original Review by Craig Lysy

In 1941 20th Century Fox Studio Director Darryl F. Zanuck was seeking a new film to showcase his star, Tyrone Power. He came across the 1941 novel Benjamin Blake by Edison Marshall and purchased the film rights for $50,000 one month prior to its publication. Zanuck would manage production with a $2 million budget, John Cromwell would direct, and Philip Dunne was tasked with writing the screenplay. Tyrone Power would star in the titular role, joined by Gene Tierney as Eve, George Sanders a Sir Arthur Blake, Kay Johnson as Lady Helena Blake, Dudley Diggs as Pratt, Frances Farmer as Isabel, and Roddy McDowell as Benjamin as a boy.

The film is set in England circa 1770 during the reign of King George III, and follows the fortunes of Benjamin Blake. He is the son of a deceased Baronet who is living with his commoner grandfather Amos Kidder. One day he is taken and forced into servitude by his malevolent uncle Sir Arthur Blake, who usurped title of the family estate from his brother Godfrey, Benjamin’s father. He is fearful that Benjamin may one day assert his claim to his father’s estate and so brutalizes him mercilessly. Life worsens when Sir Arthur discovers that Benjamin has fallen in love with his daughter Isabel. After a brutal fight, Benjamin flees for his safety to the South Seas where he seeks to earn a fortune in pearls, and then return to assert his claim. He becomes wealthy, falls in love with a native girl Eve, and returns to England to reclaim his birthright. After much intrigue he prevails, gifts the manor house to his grandfather, and then returns to the South Seas to forge a new life with his wife Eve. The film was not a commercial success, losing $400,000. Critical reception was also unfavorable and the film received no Academy Award Nominations.

As Director of Music at 20th Century Fox, Alfred Newman made it his practice to personally score his boss Darryl F. Zanuck passion projects. He developed a love for the South Seas having visited them on two occasions, and captured their pristine beauty eloquently on three prior films: “Mr. Robinson Crusoe” in 1932, “The Hurricane” in 1937, and “Trade Winds” in 1938. To augment his scoring efforts, he hired musicians Augie Goupil and Thurston Knudson, who were experts in Polynesian chants and rhythms. They scored songs and dances in the film, including writing the lyrics to “The Farewell Song”, which became the Love Theme for Ben and Eve, and later became a commercial hit song with a renamed title “Blue Tahitian Moon”.

For his soundscape Newman composed eight themes. Foremost is Ben’s Theme, which supports our protagonist hero. The full theme along with its opening fanfare declarations are pervasive during the film, serving as its Main Theme. The theme is major modal, indomitable, soaring, and heroic. Yet when rendered softly and more intimately, one finds great beauty and tenderness in the notes. Early in the film Ben has a different musical identity, “Young Ben’s Theme”. It is carried delicately by strings and woodwinds, and offers boyishness, sweetness and tenderness in the notes, which bonds us immediately with the boy. Eve’s Theme offers an idyllic, languorous and dreamy romanticism, which reflects her South Sea nature. It often wafts like a soft ocean breeze, which allows her to captivate and ultimately win Ben’s heart. As their relationship develops, the theme slowly transforms into a more sumptuous a romantic iteration. Lady Helena’s Theme speaks to the sadness of her long-suffering life, trapped in a loveless marriage with the cold and brutal Sir Arthur. Her theme, which emotes with repeating 12 note phrasing, offers maternal warm, borne by woodwinds di simpatia and strings tenero. Topsey’s Theme speaks to this bar maid’s carrying heart as she rescues Ben from the police. She is a simple, uneducated woman, smitten with Ben, and Newman supports he good nature forthrightly with a warm piece for oboe delicato and strings tenero. We have two villains, Sir Arthur and his alluring femme fatale daughter Isabel. Sir Arthur, the brutal usurper of Ben’s birthright is empowered by dire muted trumpets sinistri, which support a harsh and malevolent musical identity that fits him like a glove. Isabel’s Theme supports the duplicitous seductress who is only interested in her own needs and satisfaction. Newman emotes her allure with a solo violin appassionato, kindred strings, and harp adornment. Lastly, we have the Breetholm Theme, which supports external views of the Blake grand estate. Strings and woodwinds maestoso infuse the requisite aristocratic status.

“Logo” opens the film with the iconic Alfred Newman 20th Century Fox fanfare. We flow into “Main Title” atop a soaring bravado rendering of Ben’s Theme, which supports the opening credits set against shifting painted backgrounds of London. At 0:24 we segue into a passionate rendering of Isabel’s Theme”. At 0:50 the credits end and narrative script where Ben reveals his intention to tell his life story. Trumpet led British heraldry concludes the credits with a flourish. At 1:05 we enter the film proper with narrative script; “The Port of Bristol in England”. Newman offers a string borne sea shanty as we view the bustling port. The camera takes on shore and we view “Bristol Sporting and Fencing Club”. Newman, as usual perfectly sets the tone of the film. In an unscored scene we see Sir Arthur engaged inside in a fisticuffs bout. He wins decisively and is congratulated by his friends. His servant arrives and advises that they have at last found him, working in the gunsmith shop of Amos Kidder. Sir Arthur offers a menacing glare and orders him to ready his carriage.

“Why Do They Say I Have No Name?” reveals Amos working in his shop with young Ben in attendance. Newman introduces Young Ben’s Theme, which enters as he asks his father ““Why Do They Say I Have No Name?” There is a boyishness, sweetness and tenderness in the notes, which bonds us immediately with the boy. When he asks who, Ben says the other boys at school taunt him and so he has to fight. He asks where are his mother and father, and Amos replies that they both died in India. He adds that when you are older, you will understand. Amos says you must learn this trade making fine pistols for nobles as I will not live forever. He says he will, but that he too will use them. At 0:59 trumpets sinistri voice Sir Arthur’s menacing Theme as Ben points a pistol at the door as Sir Arthur enters. He asserts that the boy is his nephew, which Amos denies. They argue, but we see that Amos’ efforts to retain Ben are futile and Newman supports with a grieving musical narrative of loss. At 1:28 Young Ben’s Theme, resumes as Sir Arthur again declares that the boy is his nephew and produces a court writ awarding him guardianship and orders him to get the boy’s clothes. At 2:32 a florid Ben’s Theme swells and is joined by the stately Breetholm Theme as a carriage carries him through the gates to the imposing Breetholm Estate, ancestral home of the Blakes. They arrive and at 2:55 muted trumpets sinistri declare Sir Arthur’s theme as he assigns Ben to supervision by his ‘mistress’ (Lady Helena), with work in the stables his new job. He boasts that he will bring the boy to heel yet at 3:25 an oboe tenero voices Young Ben’s Theme as he declares that he will take nothing that is not mine. We close at 3:35 as Sir Arthur’s malevolent Theme resumes after he orders stable boy Paddy to train Ben in servicing the stables.

“Stable Boy” opens with a tender and tentative Young Ben’s Theme as we see Paddy taking him into the stables for instruction. He places three heavy horse saddle pads on him and warns him not to get them dirty. He falls, soils himself and the pads, which elicits ire. At 0:33 the music darkens as Paddy beats him, which arouses Ben’s rage as we surge on a crescendo irato, which unleashes as torrent as the two fights. Paddy is much bigger, and keeps pummeling Ben, who will not stand down. Mr. Purdy, the stable master breaks up the fight, admonishes Paddy, and sends him on his way as he tends to Ben. Interplay of Ben’s Theme with dire quotes of Sir Arthur’s trumpets supports Purdy saying he worked for his father, but now we are both servants to Sir Arthur. An exquisite and very moving extended exposition of Young Ben’s Theme unfolds as the two bonds, Purdy invites him over for dinner after his chores are finished. He counsels that to survive here you must submit, yet Ben declares, never. After Purdy departs, Ben runs away, returning to Amos. Ben relates why he left and Amos says they will pack up and flee to find a new life elsewhere, yet when Ben asks what will happen to him if they are caught, he recoils at how harshly Amos says he would be treated. At 4:25 Ben’s Theme becomes forthright and cloaked with noble purpose as he resolves to return to Breetholm and will work hard to regain what is rightfully his. As he hugs Amos and says goodbye, warm, sentimental strings full of paternal love crown the moment as both realize this will may be the last time, that they see each other. Ben’s Theme, tinged with sadness carries him back to Breetholm. At 5:43 a confident Ben’s Theme supports narrative script relating that Ben had grown to manhood, suffering ten years of servitude, where he was not allowed to use his family name.

“Shoeing Horses” reveals Sir Arthur and guests ready for a fox hunt. Ben is late and Isabel runs to the stable to inquire as to why a guest’s horse is late. She finds Ben intently shoeing a horse supported by a vibrant quote of his theme. They engage in repartee with she being imperious and condescending, and he being aloof and uninterested. Newman supports with a playful rendering of Ben’s Theme. At 1:00 her theme borne by strings seducenti reveal that she is attracted to him and is using her feminine wiles to ensnare him, yet he is decidedly uninterested, which makes her try even harder. Her date arrives, and she feigns a headache, telling him to go on with out her, which he does. Her efforts to elicit an amorous response from him intensify at 1:40 with a crescendo romantico. After she grabs him, he pushes her aside and she tries to strike him with her horse crop. He grabs her wrist, forces her to drop it, and then her theme blossoms at 2:20 with rapturous harp adornment as he pulls her into a kissing embrace. He then fervently expresses his jealousy and love for her and pulls her back for another passionate kiss supported by an exquisite string borne romanza rendering of her theme. At 2:48 the music darkens as Ben brings the horse to Sir Arthur’s guest, explaining why there was a delay. Newman sow tension as Ben’s efforts to assist the man with his mount fail and he falls in the mud. He is outraged and Sir Arthur strikes Ben with his riding crop empowered by his malevolent theme as Purdy restrains Ben.

“Estate Dance” offers a romantic score highlight with exquisite writing for solo violin d’amore. It reveals a costume ball held at the Blake estate. Orchestrator Herbert Spencer sets the ambiance by adapting “Amaryllis”, a 19th century piece for piano by Henri Ghys for a small ensemble led by strings. A masked Ben shows up immaculately dressed and lovingly gazes at Isabel as she dances. He enters the dance floor, and as the dance requires rotating partners, he eventually reaches Isabel. His greeting shocks her as she fears his audacity if discovered by her father will be severely punished. She is terrified and orders him to follow her outside to the garden. Sir Arthur observes the exit with an expression of puzzlement. She admonishes him for taking such risk and he responds at 2:03 taking her into a kissing embrace as her theme blossoms with love. An exquisite violin led romanza unfolds as he professes his love and solicits her to finally say it. She says I love you, and he is contented as he tells her that he departs tonight, adding that he wants his birth right, Breetholm and having what is mine near you. He asks her to wait for him to return, and to consent to being his wife to which she consents with a kiss. At 4:00 the romantic moment is shattered direly with their discovery by Sir Arthur. He orders her to go, and French horns sound Ben’s Theme as Sir Arthur orders Ben to follow him. Newman sow unease with foreboding harp strumming joined with Sir Arthur’s Theme on muted trumpet malevole as they walk to the stable and Sir Arthur orders him to light the lantern.

“Teaching Ben a Lesson” reveals Sir Arthur saying he was going to give him a lesson in pugilism supported by a violin tremolo. At 0:05 he orders Ben to take his coat off, and as he does Sir Arthur throws a sucker punch, punctuated with a string slash, which knocks him to the ground. A torrent of strings furioso erupts as the two trade blows. Sir Arthur’s pummels Ben unconscious and at 0:18 a wounded Ben’s Theme writhes and a crescendo orribile swells as Sir Arthur begins whipping Ben mercilessly with a riding crop. The guests eventually batter down the door and a diminuendo follows as they forcibly stop his brutality. At 0:50 a novachord evokes a wavering, dreamlike effect as Sir Arthur is visibly been shaken by the ordeal. “Nursing His Wounds” reveals Lady Helena rubbing a medicinal salve on Ben’s wounds supported by his sad and beleaguered theme. He asks why she is tending to him, and a bridge of weeping strings, full of regret, usher in at 0:46 her woodwind borne theme draped with stings tenero. She relates that she is in a loveless marriage with Sir Arthur and that he rightful heir of Breetholm. She says that she will help him when the time is right. When Ben asks why? She says, that in another life he could have been the son she always wanted. At 1:29 the next day, warm French horns sound Ben’s Theme, which supports with hopefulness as we see him concluding a deal that will give him passage on a ship bound for the South Seas. At 2:32 Newman sow tension as Ben makes a stealth approach to Sir Arthur’s bed chamber. At 2:42 Lady Helena opens her door, grabs him and pulls him into her room. She pleads for him no to give in to violence and throw his whole life away. Yet, he will not relent, so she informs him of the night stand where Sir Arthur keeps his pistol. At 3:36 abyssal bass grave supports his entry into the bedroom joined by a foreboding muted trumpet and pizzicato strings as he makes his way to the nightstand to retrieve the pistol. He finds a lit pipe, turns and his theme sounds as Sir Arthur points the pistol at him and asks, is this what you were seeking?

In “Escape From Breetholm” Ben challenges him to a fair fight, but Sir Arthur declines and summons his servants, adding that he will be going to prison. The servants bang on the door as it is locked, which distracts Sir Arthur. Ben tosses a vase and runs out and through a window to escape, with Sir Arthur ordering a pursuit. Newman unleashes ferocious flight and pursuit music with Ben propelled by his theme. He eludes capture and makes his way to see Amos. (*) “Ambush” opening with a galloping motif and a menacing Sir Arthur’s Theme as Sir Arthur and four men arriving at the gun shop and push Amos into a corner as they lay and wait to ambush Ben. Newman sow a foreboding tension as the men take up positions and spot Ben approaching in the distance carried by a muted variant of his theme. Amos surreptitiously loads a pistol with soft woodwinds emoting Ben’s Theme, with pizzicato accents. Ben approaches and Amos fires his pistol to sound the alarm. Strings furioso propel Ben’s flight with the four men firing and in hot pursuit. Ben sees the “Bull’s Head” pub where Topsey (Isabel), a bar maid, takes a liking to him and hides him in her room at the back of the pub. She bluffs the police at the door saying she has a client, that they are disturbing him, and to wait their turn.

“A Message For the Old Man” offers a score highlight with beautiful thematic interplay. It reveals Ben gifting her money for saving him. He then tasks her with a mission to deliver a message to the gunsmith Amos Kidder. Sh is to tell him that he loves him and that he will see him again when he returns from the Indies. We open with a warm and loving rendering of Ben’s Theme by strings delicato, at 01:18 Topsey’s Theme borne by a solo oboe tenero draped with strings join and we are graced with beautiful interplay. She departs to deliver the message and Ben goes to get some well needed sleep. She returns and advises that Amos has been arrested and taken to jail. He decides to stay, and she says no and gives him a message from Amos to go to the Indies, come back rich with gold as gold opens all doors. She adds if you remain, you will be caught and executed. His decision to go is affirmed by French horns nobile and at 2:21 joined by languorous woodwinds esotica, which evoke the islands of the South Seas. As he dresses, she looks at him with desire and asks his lordship’s name. He says just Ben as his warm theme supports him grasping her hands with thankfulness. He asks her name, and when she says Isabel, he is startled and a quote of Isabel Blake’s Theme informs us of his still amorous feelings for her. At 3:19 he thanks her and asks why she helped him, and her tender oboe led theme advises that he was a nice gentleman, and she has never had a nice gentleman before. The tender musical narrative blossoms when he accepts her request to walk with him and he offers his arm. After a block he bids her farewell and departs carried by his fanfare by French horns nobile. “Reward For Capture” opens with dire, dissonant horn declarations embedded with Sir Arthur’s Theme as ‘Reward’ signs are posted in town offering £50 for information leading to the capture of Ben, bonded servant to Sir Arthur Blake.

“Stowaway” opens with a shot of a three-mast sailing ship sailing on the high seas supported boldly with a nautical rendering of Ben’s Theme, offering one of the finest presentations of the score. At 0:09 Ben is dragged up to the bridge to face charges of being a stowaway. The captain decides he can use another hand and orders him trained. He then slaps Ben for not addressing him as Sir. At 0:29 a crescendo irato erupts as Ben is enraged, charges the captain, but is bludgeoned unconscious. A dousing of water wakens Ben and we resume his nautical theme as a map reveals the ship’s passage through the Azores Islands southward past the coast of Brazil. At 1:19 Newman creates an aquatic effect to support a pod of whales swimming alongside. The Nautical Theme resumes as the map shows them passing through the Straits of Magellan into the South Pacific Ocean. At 0:41 a nocturne with undercurrents of tension, and quotes of Ben’s muted fanfare supports the ship sailing at night with Ben at the helm. Seaman Caleb joins and asks his course. He says NW, and Caleb places magnets, which alter the course of the ship. The next day the music brightens on a shimmering Nautical Theme as a large pod of dolphin’s swim alongside in a dazzling jumping display. At 3:35 the music softens and plays under the dialogue as Ben demands to know why Caleb altered the ship’s course. A grim musical narrative unfolds as he reveals his criminal branding and his escape from prison. He relates of a treasure trove of pearls on islands of the southwest. Quotes of Ben’s fanfare and a dreamlike Island Motif join as the two men bond and Ben decides to join him deserting the ship to seek their fortune. At 5:34 the Nautical Theme soars as the ship sails on the high seas and the first mate yells “Land Ho!” The men rush to the side to view it and an enticing Island Theme captures their imagination as it entwines with the Nautical Theme. The captain sees that the island is inhabited and decides to find a wayward part of the island to lay anchor. It is night and a nocturne with undercurrents of tension drapes the ship. At 7:12 Ben’s muted fanfare supports his and Caleb’s stealth ascent to the deck. They crawl down the side into the water and make a swim to the island as we are bathed in shimmering ethereal wonder. As they swim to the island Ben’s Theme becomes dreamlike and assumes the languorousness of the island. They collapse on shore and we end with dire chords as they look up and see them surrounded by native warriors gazing at them.

“Brothers Of the Lash” offers a wonderful score highlight with extended dreamy and romantic interplay of Eve and Ben’s Themes. It reveals their capture followed by an audience with the chief. The Spanish brutalized his people and he reveals the whip lashes on the back of his son. He orders them executed, but Ben yells stop! He hands the chief their pistols, and then strips and turns to reveal lash scars on his back. Music enters as the king declares them kindred, hands back their pistols and bestows his official welcome by rubbing cheeks with each man. Newman offers a wordless nativist chorale esotica to support the ceremony. At 0:20 Ben’s Fanfare sounds to support narrative script that describes their bountiful efforts diving for pearls. A vibrant extended rendering of Ben’s Theme supports a montage of the two men’s diving for pearls. At 1:27 we behold a beautiful native woman sitting on a ledge overlooking them and Newman introduces Eve’s Theme rendered cantabile by languorous strings romantico. Ben makes an introduction and the two begin to bond as she joins him swimming and retrieving oysters. A vibrant musical narrative unfolds as her theme joins with his, and happily and playfully carries the scene.

“Native Dance” reveals Ben and Caleb attending a ceremonial dance empowered with nativist drums. The women dance first surrounded by the men who chant in their native tongue. At 1:42 an accelerando of the drum cadence supports the exit of the women and the men taking center stage. The music from 1:43 – 2:55 was evidently excised with an editing of the scene. In “Ben Claims His Woman”, we are graced by an extended romanza empowered by Eve’s Theme, now transformed into a Love Theme. As the women run by Ben, he grabs Eve and tells her this time you will not get away so easily, and pulls her into a kissing embrace. She is delighted, giggles and runs away. The next day Ben returns to his hut to find Caleb has moved out as Eve has moved in. Caleb counsels him that in her tribe’s culture, they are now bonded and he better make the best of it because it may be many years before another ship arrives. Ben tries to explain to Eve, is unable to overcome the language barriers, and so surrenders to the inevitable as he takes her into a kissing embrace and an implied night of love making. The next day at 2:16 her theme resumes with more exotic orchestration as he etches words in the sand and tries to teach her English. At 3:51 she becomes flustered and a scurrying rendering of her theme carries her run away with Ben in pursuit.

“A Fortune In Pearls” reveals narrative script, which relates their acceptance as part of the tribe and the enormous pearl wealth they have accumulated supported by Ben’s muted fanfare. At 0:11 the fanfare resounds on trumpets as we see Ben putting dozens of pearls into a pull bag. At 0:17 a crescendo energico commences with a celebratory rendering of Ben’s Theme as he is alerted by villagers of a ship. He races full of hope, which is dashed at 0:51 with despair as he sees it is a derelict ship crashed upon the shoal. Eve joins and sees that he is sad and Caleb explains that Ben misses him homeland. As Eve comforts him, her theme becomes comforting and she assuages him by saying a ship will come as she asked the sea god to send one, a gesture which moves him deeply. At 2:18 a spritely rendering of his theme reveals him hard at work smelting metal from the ship in a furnace to fashion silverware, a knives, hatchets, hoes and other tools to improve life of the tribe. At 2:48 the theme shifts to a more lyrical string borne form as the tribesmen marvel at his creations. At 3:10 the melody becomes playful with comedic accents as Ben and Eve return home to eat and she struggles to master eating with a fork and knife.

“A Ship At Last” opens with canon fire, which heralds the arrival of a ship. Ben and Eve run out and see a ship as Ben’s Theme resounds with celebratory joy. Yet we shift into a tender Love Theme as Eve insists, he must return home, and not stay out of pity. At 0:28 Ben’s Fanfare resounds as he returns from the ship and informs the chief that he has negotiated terms; the Dutch will not come ashore and will give him safe passage in exchange for fresh meat and provisions. At 1:16 we come to the parting of ways and Newman supports with tenderness and sentimentality as Caleb gifts his half of the fortune to Ben so he may regain his inheritance and clear his name. At 1:52 south sea auras join as Caleb relates that he has found the idyllic life he always sought, and will be spending the remainder of his days here. Ben is thankful and as he packs, the Love Theme joins as his thoughts turn to Eve. “Farewell To the Island” reveals the tribe offering a farewell feast for Ben. He sits with Eve, but is clearly sad and conflicted. The ship fires three canons, a signal of departure and the mixed chorus begin singing the heartfelt song “E Maururu A-van” (Farewell For Just Awhile) farewell, as the chief and Eve bid Ben Farewell. She places a lei over him and he takes her in a passionate kissing embrace. As he departs, she takes a flower from her hair and drops it into the sea as she believes she will never see him again.

“London” opens proudly with declarations of Ben’s fanfare as we see the bustling streets of London. Ben visits the premier barrister of England Bartholomew Pratt to retain him and manage his efforts to reclaim his title and Breetholm. Although initially refused a meeting, his gift of a pearl secures a meeting. “The Dungeon” offers a score highlight where Newman graces us with what I believe to be the score’s most tender and emotion exposition of Ben’s Theme. It reveals Ben visiting Amos in prison under the guise of a former customer. Newman supports the passage into the dungeon with a grim and oppressive musical narrative. Ben’s muted fanfare supports his entry into a large cell shared by a dozen men. The Dungeon Motif and Ben’s muted fanfare interplay as he searches the cell for Amos. At 0:38 Ben’s theme shifts tenderly to oboe and strings as he finds Amos. His eyesight has failed and he does not recognize Ben until he at last reveals himself. Amos is overwhelmed with love and relief and Newman supports the intimate moment of their reunion with sublimity, offering a tear evoking exposition of Ben’s Theme. Ben offers money to liberate him, but Amos says he will remain here until such time that he has reclaimed his title. At 2:52 the oppressive Dungeon Motif resumes as the turn-key returns. As he departs, we close on a diminuendo of uncertainty.

“Home To Claim His Heritage” opens with the stately Breetholm Theme joined by Ben’s Theme as he returns. His theme emotes with happy anticipation as he sets off to see Isabel. At 0:29 Newman sow suspense with a pizzicato effect as he moves surreptitiously across the grounds. He sees Sir Arthur with a guest, punctuated at 0:49 with a quote of Sir Arthur’s muted trumpet. The Suspense Motif resumes as Ben sneaks through the house. At 1:33 he opens Isabel’s door and sees her sitting at her make-up table, with her beautiful reflection in the mirror. Her theme supports and when he makes his presence know, it blossoms as they join in a kissing embrace. A romantic musical narrative unfolds as they reacquaint and he affirms that his love is steadfast as he gifts her a pearl necklace. The moment is lost as they hear Sir Arthur ascending the stairs caried by his theme. Ben departs out her window advising that he is staying at the George and Crown Inn. At 3:10 Sir Arthur’s muted trumpets sound and are joined by the Suspense Motif as a carriage full of police arrive and surround the George and Crown Inn. At 3:30 a tense Ben’s Theme joins as he sees the carriage below and becomes suspicious as he blows out his candles. The suspense intensifies as he pushes a table against the door and we see the door latch being turned. At 4:15 all Hell breaks loose as Newman unleashes a fierce torrent joined by defiant quotes of Ben’s Theme as he pummels one man, and escapes out a window jumping to the street below. He secures the coach and prepares to bolt when Sir Arthur, who is sitting in the coach, forces him to surrender at gun point.

In (*) “Bartholomew Pratt” Ben’s aggrieved fanfare supports narrative script, which says that a fair trial awaits, is futile, and his only hope lay in the expertise of Bartholomew Pratt. In an extended unscored scene, Amos visits Ben in his cell and advises that he contacted Pratt, but he denied ever knowing a Benjamin Blake. Ben is bitter and we see him resigned to his fate. In court Ben is found guilty, and gives an impassioned speech, which graphically details the atrocities and cruelty of Arthur Blake, and the injustice of placing men in servitude. As the judge begins to declare the verdict, Mr. Pratt arrives, asks for the court’s indulgence, and given his stature, is permitted to advocate for the defense. He stuns the court by declaring that there was no assault on the Lord of Breetholm, as Sir Arthur was not it’s legitimate Lord. He offers written evidence of Sir Geoffrey Blake’s marriage to Bessie Kidder from the captain’s log of the East India ship. It affirms their marriage with signed witnesses of four people. As the true Lord of Breetholm, Benjamin Blake is exonerated.

“Desperate” reveals Sir Arthur’s desperate ride to Breetholm propelled by a furious galloping motif. An agitato supports his frantic search of the house for Isabel. He finds her and tells her that Benjamin won, and that they are ruined. At 0:54 a sly rendering of her theme supports her tart response, that he is ruined, but she is not. At 1:12 Ben’s Theme joins softly when she relates that Ben came to her that night and gifted her these pearls, and that he wants to marry her. The gears in his head begin churning as he sees opportunity to exploit this. Her theme becomes aggrieved when he says he will expect her to see to his needs lest he reveal a most unpleasant secret – that it was her that betrayed him by revealing that he was staying at the inn. At 2:37 a crescendo appassionato commences as she says she will deny it. She adds that he came back because he loved her, that he has for his entire life worshipped her, and that he will do anything she asks him. She declares that he will believe anything she tells him. At 2:53 a stabbing string tremelo supports Isabel looking up and behold Ben standing with a grim expression, obviously now aware of her betrayal. Newman sow tension as she pleads it is not true, but he pushes her out and locks the door. An agitato joined by Ben’s Theme rises as Ben challenges Sir Arthur to fisticups, which he accepts with great satisfaction. Newman unleashes a raucous musical narrative to support the brutal fight with Ben’s Theme transformed into an anthem. At 4:41 a diminuendo ensues as a devastating punch pummels Sir Arthur to the floor. He is apparently unconscious, yet as Ben walks out the door carried by his weary theme, a vase shatters on the door at 4:55 and the maelstrom of violence is renewed as Sir Arthur jumps him. Ben’s Theme becomes ascendant and he once again devastates Sir Arthur with a punch, which knocks him senseless to the floor. We close with a vanquished Sir Arthur’s Theme, shorn of diabolical power.

In an unscored scene Sir Pratt reads a bequeathal document, in which Ben bequeaths the Manor and estate to his grandfather Amos Kidder and his friends. We segue into “Finale” empowered by Ben’s Nautical Theme as we see him sailing back to his beloved island. We flow into the Love Theme as the islanders all gather for the greeting. At 0:22 mixed chorus sings a heartfelt, and welcoming song version of the Love Theme, “Blue Tahitian Moon”. Ben warmly greets the chief, his son, and Caleb, and then turns to see Eve on the beach. A crescendo glorioso supports as he runs to her and they join is a passionate kissing embrace, reunited now forever in love. We close with a coda of a triumphant Ben’s Theme to end the film. In “End Cast” the Love Theme supports and we conclude with a final proud declaration of Ben’s Theme.

I wish to thank Ray Faiola, Nick Redman, and Craig Spaulding for this premiere release of Alfred Newman’s wonderful score to “Son of Fury: The Story of Benjamin Blake”. The technical team remastered the original nitrate optical sources, and the album offers good archival monaural audio. Alfred Newman correctly perceived that the nexus of the film was Benjamin Blake’s efforts to reclaim his name, heritage and ancestral home Breetholm from his uncle, the vile usurper Sir Arthur Blake. In a master stroke he captured lightning in a bottle in conceiving Ben’s Theme, a bright, major modal identity, which embodied his perseverance, heroism, and indomitable spirit. Since Ben was present in almost every scene, so too was his theme in a myriad of expressions, as well as its truncated form as inspired fanfare eroica. Juxtaposed is the sinister and malevolence of our villainous Sir Arthur’s Theme. An amazing four love themes are offered; the seductive, passionate, yet duplicitous Isabel’s Theme, Eve’s Theme, which offers an idyllic, languorous and dreamy romanticism, which reflects her South Sea nature, the bar maid Topsey’s Theme, which is unrequited and borne warmly by oboe delicatio and strings tenero, and lastly, Lady Helena’s Theme, which expresses maternal love with woodwinds di simpatia and strings tenero. Folks, the film has almost wall to wall music and I believe Newman masterfully enhanced every scene of the film, and propelled its narrative. If you like adventure, heroism, romance and the allure of the South Seas, this is a score for you. I highly recommend the album and that you take in the film to see how music can elevate a film.

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=LNekGonxgbs

Buy the Son of Fury soundtrack from the Movie Music UK Store

Track Listing:

• Main Title (1:19)
• Why Do They Say I Have No Name? (3:54)
• Stable Boy (5:57)
• Shoeing Horses (3:30)
• Estate Dance (5:26)
• Teaching Ben a Lesson (1:05)
• Nursing His Wounds (4:42)
• Escape From Breetholm (2:07)
• A Message For the Old Man (5:00)
• Reward For Capture (0:14)
• Stowaway (8:55)
• Brothers Of the Lash (4:03)
• Native Dance (2:55)
• Ben Claims His Woman (4:02)
• A Fortune In Pearls (5:06)
• A Ship At Last (2:56)
• Farewell To the Island (1:45)
• London (0:18)
• The Dungeon (3:14)
• Home To Claim His Heritage (4:56)
• Desperate (5:43)
• Finale (1:38)
• End Cast (0:45)

Screen Archives Entertainment SAE/CRS013 (1942/2005)

Running Time: 79 minutes 30 seconds

Music composed and conducted by Alfred Newman. Orchestrations by Edward Powell. Additional music by Augie Goupil, Thurston Knudson and David Buttolph. Recorded and mixed by XXX. Edited by XXX. Score produced by Alfred Newman. Album produced by Ray Faiola, Nick Redman, and Craig Spaulding.