MOVIE MUSIC UK

GREATEST SCORES OF THE TWENTIETH CENTURY

Original Review by Craig Lysy

The escalation in persecuting Jews, and Josef Goebbels banning his latest film “The Testament of Dr. Mabuse” elicited director Fritz Lang to flee Nazi Germany (he was half-Jewish) for Paris in 1933. He was warmly received by fellow émigré, producer Erich Pommer of Fox-Europa. Pommer was a legend of the German film industry who produced Lang’s film “Metropolis” (1927), and so he offered him to direct “Liliom”, a film that would adapt Ferenc Molnár’s 1909 stage play. Lang was renowned for his dark and futuristic epics, relished a departure to making a romantic fantasy and happily agreed. It would be the only French language film of his career, as he soon would depart for Hollywood. Pommer would personally manage production and Robert Liebmann and Bernard Zimmer would adapt the play, and write the screenplay. For the cast, Madeleine Ozeray would star as Juli/Her daughter with Liliom, Charles Boyer would join as Liliom, Pierre Alcover as Alfred, Maximillienne as Madame Menoux and Florelle as Madame Moscat.

The tale follows the misfortunes of Liliom, a brash but charismatic carousel barker. He falls in love with Julie, a chambermaid, they marry, and set-up a home together. However, Liliom is lazy, likes to loaf, and is unable to maintain employment, which leads to arguments and discord with Julie who is now pregnant. Now desperate for money, Liliom plans a robbery, but inadvertently kills himself in a botched attempt. He then faces a heavenly tribunal to earn his redemption. He is given one final chance at redemption: return to Earth for one day, years later, to perform one good deed. He does so, showing remorse for his life actions and is granted passage to Heaven. The film was controversial, earned a rebuke from the Catholic church for his whimsical portrayal of Heaven, and was poorly received by critics. As such, it was also a commercial failure, and not nominated for any awards.

Producer Erich Pommer had enjoyed a friendly and productive working relationship with Franz Wachsmann in Germany. He was extremely pleased with his work on “Der Blaue Engel (1931). When he discovered that Wachsmann (now Waxman) had fled the Nazi’s to Paris after a severe beating, he called and hired him and French songwriter Jean Lenoir for Liliom. This would be Waxman’s first film score and upon viewing the film, he decided on an audacious approach, tried modestly only once before by Shostakovich in Odna (1931) – he would use electronic instrumentation to create his celestial soundscape. While Shostakovich chose to utilize the Theremin, Waxman moved three Ondes Martenot to the forefront of the orchestra. Invented in 1919, the Ondes Martenot produces a haunting, ethereal, and otherworldly sound often described as a hybrid of a soaring human voice, the warmth of a cello, and a hovering Theremin. Its wave-like oscillation is highly expressive, and it can easily shift from weeping to tremolo strings, bowed glass or a sharp, reedy edge.

For his soundscape, Waxman understood that he had to support two realms of existence; the natural world and the celestial. He decided that he would solely manage the supernatural realm, and the film’s narrative of death, judgement and psychological conflict. For the celestial realm he would establish its otherworldliness with three ethereal Ondes Martenot, a large chorus of voices, harps, and tremolo flutes. For the recording of Liliom’s ascent after death to the celestial realm, Waxman strategically placed microphones high up in the dome of the Théâtre des Champs-Élysées. This ingenuity was brilliantly conceived, as such placement captures the natural reverberation of the hall, giving the film audience the auditory illusion that the music was descending directly from the heavens. For the Earthly realm, he and Lenoir would share duties. Lenoir would manage the songs and derived Love Theme, which anchors the film in reality. Waxman would support the daily working-class routine, amusement park, and daily life reality of the characters. Lenoir decided that instead of using a recurring instrumental Love Theme for Liliom and Julie that he would instead use his original song “Viens, Gosse de Gosse” (“Come, Child’s of Child”) to embody the film’s romantic core. The poignant song is performed on-screen by Liliom (played by Charles Boyer) and is a perfect fit for the actor. Boyer’s rugged, bittersweet vocal delivery firmly roots the film in the working-class cabaret aesthetic of 1930s Paris. Lenoir’s cabaret-style music masterfully captures Liliom’s carousel-barker charm and underlying sadness of his earthly life. Lastly, the ethereal, otherworldly music Waxman created for the film’s “heaven” sequence later caught the attention of Hollywood director James Whale during a screening of the film. He was so moved by the score, that he hired Waxman to compose his renowned masterpiece soundtrack for The Bride of Frankenstein in 1935, thus initiating Waxman’s Hollywood career.

The score has no commercial release. As such, I will use film scene descriptors, and film time indices to provide film context. The first 39 seconds of the film offers credits for classic film restoration, which is unscored. 0:40 “Main Title” opens with credits for Charles Boyer, followed by the film title. The opening credits unfold in white script against an intricate montage of carnival imagery, which includes circus acts, amusement park rides, and men trying to win prizes for their sweethearts at various games. Waxman masterfully sets the tone of the film a carnivalesque musical narrative, with ever-shifting tempi and melodies which reflect the montage. We enter the film proper at 2:22 “Another Night” as we see the Amusement Park owner Madame Moscot selling tickets for her carousel. Soon Liliom, the carousel barker begins his nightly act to induce patrons to buy tickets for the carousel, which elicits a gaze and smile from her. Lilio is very charismatic, charms the women and amuses the men. Waxman sustains the carousel musical narrative, but it retreats into the background. Liliom earns the ire of a rival carnival game worker trying to lure a drunken seaman to his game, after Liliom’s compliments and charisma causes him to ride the carousel. 6:43 “Liliom Sings For Julie” offers a wonderful musical highlight. It reveals Liliom seeing a beautiful girl (Julie) and her friend Marie who has ridden the carousel four times in a row. He tells her that she has earned a song for him to sing. We see that his intoxicating charm has rendered her completely spellbound by his charismatic and larger-than-life presence. She asks for “Come, Child’s Child”, which delights him.

Liliom is having fun and teases Julie with a flower, which he then gifts. The drunk sailor covets and steals Julie’s flower, and then falls off. Liliom just gifts Julie another flower and the continue the ride. Outwardly, when Boyer’s character waves his hands and gets the carousel riders and onlookers to sing along to the waltz theme, it creates an immediate sense of shared joy exhilaration, and camaraderie among strangers. The swirling motion of the carousel and the communal singing represent a hopeful grab for a carefree, fairytale-like innocence. Yet inwardly I discern irony in a narrative undercurrent. This spirited waltz reveals that while Liliom seems in to be in control as the king of the fairground, he in reality a man, trapped by poverty, and his own violent and misogynist impulses, in a dead end, loser job. Lastly, the symbology of the carousel’s physical rotation serves as a haunting structural metaphor for the inescapable wheel of fate. Lang presages that no matter how high Liliom lifts the crowd’s spirits, he and Julie will soon be fatefully locked into a tragic, cyclical trajectory that will ultimately lead to crime, suicide, and the judgment of Heaven. The carnivalesque musical narrative is sustained as the drunk become belligerent after he loses his peony. Liliom, full of good cheer, pacifies him with a replacement peony and escorts him out. The rival arcade barker, who is spoiling for a fight confronts Liliom, only to have the sailor deck him with a punch. The man is furious as the crowd is laughing at him. He runs after the drunk, and Liliom trips him, causing the crowd to again laugh. Now enraged, the man pulls out a knife and confronts Liliom. He kicks the knife out of the man’s hand and then pummels him on the ground. Meanwhile, Liliom’s boss Moscot, who is secretly having an affair with Liliom, angrily confronts Julie and Marie, accusing them of being hussies. She orders them off the carousel, they refuse and challenge her to throw them off. She calls to Liliom whom she tells to throw out these two hussies. He refuses, she says do it or you are fired, and he says, well I guess I am leaving as you fired me. He tells the two girls to join him as he is leaving this Hippo Palace, which elicits a scathing diatribe by Moscot, until she realizes, that she has just fired her money-maker and lover.

18:35 “Liliom Departs” reveals his departure with the girls being propelled by the William Tell Overture by (1829) by Gioachina Rossini. Moscot begs him to come back, and he turns and yells; “Out of Commission!” He tells them to join him for drinks, but they do not have enough cash. He tells them to wait while he clears out his sleeping wagon. He directs them to wait at a bench in the park and the two set off. In the background, the carnivalesque music wafts in on the breeze. At 19:57, um-pah-pah circus music supports Liliom leaving his sleeping wagon. Liliom arrives at the park and rudely asks them why there are two of you when I only invited one? Marie makes her move and says Julie will be fired if she arrives home after midnight. Yet he walks past her and stares at Julie. Marie gets the hint and departs saying, good night. As he places his hand on her shoulder, the tuba led circus music resumes. He coaxes her to the bench, becomes amorous, but she recoils. He asks if she wants to drink, or dance, and she says no to both. He puts his arm around her, caresses her, and asks, what does she want? He then asks if she has a sweetheart and she says, no. As he caresses her breast, police whistles sound and they are surrounded by an inspector and five officers who demand Liliom’s papers. They warn Julie that he is a scoundrel, who will marry you and then run off with your money. They offer her an escort home, but she declines, and so they leave, adding that she was warned. He asks her does she still want to see him, and she answers yes. He realizes that she is a pure soul and we can see him deterred from his lechery.

In 28:42 “Loafer!” we see carved on the park bench two hearts entwined “Julie and Liliom, supported by an echo of the Love Theme. We shift to a photography Art Studio owned by Julie’s aunt Madame Menoux, where Julie and Liliom have moved in. The ambiance is supported by an idyllic woodwind pastorale. We see a Menoux preparing the studio as Liliom, who is sipping coffee, watches from his floor cot, where he slept last night. Menoux unloads, castigating Liliom for being a loafer and refusing offers to work. He drinks the last of the coffee, and when he finds none left for her, he blames Julie! He has a temper fit, says she always blames him, and smashes the coffee pot and glass. He slaps her, storms out, and she yells that she will not speak to him for a week. Liliom returns while Julie is away, steals her money, and finds a note ordering him to report to the police station today at 10 am. The first customer arrives and Julie prepares him for the shot. It is clear the man, who is a wealthy carpenter, is seeking her affection, yet she remains aloof and professional. They take a photo and we shift to the police station where Liliom submits a required form as requested. He meets his friend Alfred who is also down on his luck. He proposes robbing the payroll courier for the leather factory, but Liliom will have no part of it. 43:25 “Isle d’Amour” offers a saloon supported by sexy clad women servers. A French danza spensierato supports the ambiance as we see Liliom and Alfred arrive. A waitress greets him amorously and slips him a coin, enticing him to see her after her shift. Liliom goes to a bagatelle and deftly wins a dozen coins, He then tells Alfred, let’s find a drunk man. As they hunt for a victim, the music shifts to a danza festosa. Liliom orders drinks, sets up cards and we shift to later in the evening with a dozen people surrounding their table. He is winning big, while a shift home reveals Julie being told by Menoux that he will not come home again tonight. She tells Julie that the carpenter is a nice man, a wealthy man, and would like to marry you. She says take him rather than a hooligan loafer who beats you. Julie is lovestruck and impervious to Menoux’s assessment.

The next day, Moscot visits as Liliom washes up with Julie. She induces him to send Julie away, which he does. She tries to entice him by displaying her leg, and he brushes her away. She offers him a raise if he comes back. He asks, do I have to drop Julie? 53:11 Moscot’s Pitch” begins singing a whimsical and romantic song abounding with nostalgia in an effort to win Liliom back. Julie has listened through an open window to everything. As she brings him soup and bread for lunch, Liliom agrees to come back and Moscot is ecstatic. She says she has something important to say, he says he is busy. She persists, he prepares to slap her, and Moscot says, she will step aside. She tells him that she is pregnant and runs away. He is very happy and runs to follow only to be intercepted by Moscot. She offers him an advance of 200 francs, but he stupidly refuses and rudely dismisses her even though he needs the income to support a baby that is coming. For Moscot, this the final straw and she leaves enraged. Later that night, Liliom wakes Alfred an inquires about the job, which Alfred says is a sure thing. They discuss that they split the 60,000 francs and Alfred says it is best if we kill him, and the split for America. Alfred steals a knife from Menoux and gives it to Liliom, who takes it reluctantly. They wait at the ambush point, and as they wait a man pushing a knifegrinder cart arrives (Liliom’s Guardian Angel) and offers his services, which Liliom declines after Alfred insists. Soon after the courier arrives, and Liliom stops him to ask a question. Alfred rushed from behind but is easily taken down as the man draws a pistol. Police arrive, and Alfred bolts with the courier chasing and firing his gun. Liliom flees in the opposite direction, pursued by police. He is cornered, refuses to surrender and calls out Julie as he stabs himself in the heart. 1:13:58 “Liliom Dies” offers a score highlight. It reveals Moscot collecting money at the ticket boot supported by the carnivalesque musical narrative. Alfred asks for 200 francs to save Liliom, but she rejects him. The police deliver Liliom to Julie as the doctor says he will not survive a journey to hospital. At 1:14:55 the carnivalesque musical narrative wafts in as Julie stands transfixed, unable to speak. She kneels by him and holds his hand. He is remorseful saying he is a rotten bastard. He asks that she hold his hand, and she does. At 1:19:13 we shift back to Moscot at the amusement park with the carnival musical narrative moving to the forefront. Alfred returns, tells her Liliom is dead, and she weeps. She goes to the engineer and orders him to shut down the entire park, which he does. As we see all the park rides and devices slowing, so too does the music. She announces 3 minutes of silence in honor of Liliom, the carnival barker who just died. Back at bedside, Julie relates to Liliom that the carnival has gone silent. At 1:21:15, the carnival music resumes, and she says the party goes on. Sleep in peace. She kisses his hand as he passes, and Menoux tells her to come in. She places two candles, and then takes Julie inside. Alfred arrives and tries to rouse him to no avail.

1:23:48 “Liliom’s Ascension” offers a brilliantly conceived and executed score highlight. It opens with the otherworldly resonance of odes martenots joined by grim declarations of horns dramatico as two stylized angels appear dressed in black suits and hats, which cause Alfred to flee in terror. They tell Liliom to “Arise” and he sits up supported by the ethereal odes martinot and bell tones. They say;

“Arise and follow. It is time to give an account. It would be too convenient if death resolved everything. Liliom, you must follow us. We are God’s policemen. To stab yourself when you do not know what to do anymore, leaving behind a woman with a child in her womb. Where would justice be if death wiped the slate clean? Being a man would be very convenient if that was the case.”

At 1:24:52 Liliom with the two angels ascend to the celestial realm. Waxman demonstrates brilliance and innovation in creating an ethereal and surreal aural ambiance. By strategically placed microphones high up in the dome of the Théâtre des Champs-Élysées. Such placement captured the natural reverberation of the hall, giving the film audience the auditory illusion that the music was descending directly from the heavens. Harp glissandi empower their launch draped by celestial ondes martenot auras, replete with ethereal violins. The camera focuses on the body left below as Liliom’s soul ascends. As he passes up through the earth realm, carnivalesque music is heard, but it slowly dissipates as he enters the celestial realm. At 1:25:43 a slow, twinkling motif joins, which intensifies on an accelerando as a star field emerges. At 1:26:25 we are immersed in ethereal wonderment, draped by harp glissandi tresses and horns nobile as we move ever upwards beyond the planets. At 1:27 15 we see Liliom arm in arm with the two angels and a grandiose musical narrative swelling with ethereal wordless women’s choir as we see angels seated on clouds, some of which play drums. Heraldic trumpets resound as a star shaped entrance appears. A diminuendo of the ethereal music brings Liliom’s journey to an end as he arrives at the Commissariat”.

In 1:29:26 “Judgment Pronounced”, an officious Commissar is advised of the latest arrival and directs Liliom to wait. The musical narrative offers sardonic aggrievement as Liliom recalls his three hours wait at the Commissar office on earth. Liliom is advised that this court is for people who commit suicide. At 1:29:51 a twinkling effervescence joins as the knife grinder again pushes his cart past Liliom. Liliom calls out, but the man says; “Too late” (too late to repent). A grim and foreboding march follows as Liliom asks if he was also here for suicide, and the angel replies, no Liliom, he was you guardian angel. The Commissar shouts “Silence!” and goes back to reading his paper punctuated with a sardonic retort. At 1:31:20 Liliom is called supported by foreboding descent by ondes martenot. The angel points to the entrance and an unsettling ethereal narrative unfolds, slowly intensifying as he step by step approaches the Commissar desk. Waxman supports the proceedings in a musical narrative, which blends a majestic, austere tone with an unsettling edge. Muted horns support Liliom being asked his name, age and status. He answers Liliom Zadowski, age 28. The Commissar says that Liliom, because of his suicide death, he is provided one day back on earth for; something left unsaid, unfinished business, to make amends, or settle matters. He declines, and is found guilty as charged. As the typist types the judgment, each keystroke is supported with a twinkling ondes martenot effects. A playful musical narrative unfolds as Liliom flirts with the typist. But this is short-lived as Mr. Emilio arrives, and returns the paperwork for lacking an official stamp. Buffoonery follows as the ink pad is dry. Liliom ends his plight by alerting him that a spare pad is in the right upper desk drawer (as it was on Earth at the police station). Success is punctuated by fanfare as Emilio departs with the document. 1:36:17 “Liliom’s Lies Exposed” organ religioso joins with plaintive strings as the commissar asks a series of tough questions, beginning with; Liliom did you killed himself? Liliom shrugs. The commissar says you abandoned your pregnant wife to a deep misery. He shows no remorse, and asks to be left alone. He asks if he regrets be a bad husband? Again, he denies. When he asks if he loved her, Liliom says, of course! To which the commissar replies, if you loved her, why did you beat her? He answers, because she got on my nerves. The judge says, you lie. Liliom counters, that they always argued, and he would get frustrated and hit her. The judge again says, you lie and orders film footage to prove his point. At 1:38:42 his order to play in punctuated by an ondes martenot. A silent film of his coffee argument with her, is denied. So, the judge again plays the film with a soundtrack of his thoughts. He realizes that he beat Julie because he hated himself so much for his cruelty and selfishness. The film ends, and the Commissar says “lights” at 1:41:40 punctuated by ondes martenot tones.

1:41:46 “Liliom is Sentenced” reveals the commissar again asking if Liliom has any remorse. Ondes martenot joins with soft strings to support the dialogue. Liliom does not answer, and so the Commissar asks him if he feels sad? At 1:42:05 the music erupts with righteous anger when Liliom answers who, me? This infuriates the Commissar who shouts that it is impossible to help him. The music softens on ondes martenot when Liliom asks if he had a boy or girl? The Commissar sentences Liliom to burn sixteen years in Purgatory, so that he will be cleansed of his pride and violence. Ascending chords dramatico support as the Commissar states that he will be allowed one day back on Earth to visit his child, and his behavior on that day will determine where he shall spend eternity. At 1:43:08 bell chimes joined by portentous horns dramatico support Liliom’s joy that he will get to see his child. At 1:43:23 the music embraces a warm, and hopeful romanticism as the Commissar tells Liliom that he will return in 16 years and one day. You will then be tested and he counsels, Liliom to seek and find something beautiful, something splendid in your child. He warns Liliom, that everything depends on this. We close at 1:43:52 as the Commissar says go, Liliom, and points to the Purgatory door. Grim music carries his walk. The music become mocking as Liliom tries to delay the inevitable by asking the operator for a cigarette. He refuses, but in the end relents, supported by playful woodwinds of delight. A valzer tenero carries his walk to the elevator with him quipping that he will not have to worry about a light for 16 years. The 1:45:02 A grim Main Theme supports the door opening, which reveals a conflagration. Liliom enters, and the door’s closure in punctuated dramatically.

1:45:08 “16 Years Later” offers a score highlight. It opens with a minimalist misterioso of uncertainty empowered by ondes martenot as the guard checks the clock. He opens the door and yells to Liliom that he had a girl. The scene shifts to a country house on earth where we see Julie. She walks to A shrine for Liliom and lights two heart-shaped candles of remembrance over his photo as the clock chimes 6 o’clock. She says; “Sixteen years”. At 1:46:32 ethereal ondes martenot draped with harp glissandi support the arrival of two angels, arm in arm with a spectral Liliom. A misterioso unfolds as Liliom opens his eyes. At 1:46:51 offers musical pleasantries, which support the walk of Liliom’s daughter Louise. The angels intone, Liliom, something beautiful, and splendid comes. Liliom is mesmerized and walks towards her, however fanciful woodwind impressionism carries her walk past him. She stops, opens her purse to remove a coin, and the Love Theme supports he walk back to Liliom. She offers a coin, and says please take it. Liliom thanks her. He says he wishes that he could give her something, beautiful, something splendid. She tells him that he does not even know her. He answers, but I do know you. She says you must be mistaken, but he nods his head, no. At 148:18 Julie places a record on a phonograph and the song “Viens, gosse de gosse” plays. She is sad and clearly withdraws into her memories of Liliom. Outside father and daughter sit as Louise says her mother Julie is a seamstress, and she sells her dresses to customers. The music assumes a contour of sadness and regret when he asks about her father, and she says he died a long time ago. She says he went to America to find work and died in a hospital there. He is surprised. She asks if he knew him and grabs his arm. He answers, that I knew him as well as I know myself. She expresses happiness, and says he was a good man, a sweet man. Adding that mother often says that. Things begin to sour when he says that he was not sweet at all, but he did know how to sing songs. She says she knows because her mother plays “Viens, gosse de gosse” all the time as she recites the lyrics to him. Liliom becomes wistful, saying. He did love to sing the song, but in the end, he couldn’t stand it anymore. The music becomes unsettled and agitated as things go south when he raises his voice and says your father was a hooligan. He’d beat your mother for no reason. A real animal. She is stunned and outraged. He pours fuel on the fire when he says that all he cared about was playing cards, drinking, and chasing skirts. He adds that he was a filthy, selfish man who let his wife wait on him. At 1:52:20 the music sours and become sardonic as we see a large Scale of Justice in heaven with Emilio placing weights on the Ώ (Condemnation) weighing pan. Julie become angry and says be quiet! Adding that her mother told her a thousand times what he was like and that it is awful to tarnish his memory this way. She storms off, he grabs her and the music softens when he says there is something he wants to give her, something beautiful, something splendid. He says it is a most unusual gift.

1:51:03 “Liliom’s Gift” offers a score highlight. It reveals Liliom reaching into his pocket. Ondes martenot draped with harp glissandi supports him pulling out a cloth. He opens it and refulgent, ethereal wonderment reveals a glistening star he secretly plucked from the celestial realm. He rewraps it and asks her to take it, however she says she will never accept anything from a man who disparages her father. She runs away, he gives up, and throws the star atop a drain grid, only to have an angel retrieve it. At 1:51:50 we return to the celestial realm supported by the ethereal ondes martenot and find Liliom’s Guardian Angel walking past the empty Ά (Mercy) weighing pan. He tosses in the star and a stepped descent motif supports it lowering and restoring balance to the scales. Back on earth the two angels flank Liliom and he asks them if he can see Julie before he goes. We shift inside atop a wistful Love Theme, finding her deep with her memories. At 1:51:52 she looks up and see Liliom staring in from the window, and closes her eyes as she clutches her heart. When she opens her eyes, he is gone. She smiles and shakes her head, no. As he departs, he meets Louise at the gate. She is angry and asks how did he get in. She says go away, but he says he has come from very far away. She turns away, he follows and pleas for her to allow him to do something beautiful and splendid. She orders him to leave immediately pointing her hand, which he slaps in anger. At 1:53:46 a descent motif supports Emilio placing another weight in the Ώ (Condemnation) balance pan, which shifts down the scales. A violin triste supports a shot of the angels staring in disbelief. Ondes martenot join as he again looks at Louis, shrugs his shoulders in sad resignation, and departs. Otherworldly textures with a solo violin triste support Louise looking up and see an empty yard, with the music dissipating into nothingness.

1:54:31 “Final Judgment” offers a score highlight. It reveals Liliom standing before the Commissar supported by ethereal plaintive textures of the ondes martenot. The scales of Justice reveal a heavier Ώ (Condemnation) balance pan. He states that 16 years in Purgatory was not enough to burn away your pride and fury. He yells; “Incorrigible! Absolutely, incorrigible!” He chastises Liliom for tormenting a child who had deep love for you. He asks, do you have anything to say in your defense. Liliom says you have to love me as I am. Why try to make me better than I am? Before he can sentence, the secretary tells the Commissar to listen, and we shift to earth. Louise asks her mother if she was ever slapped hard, and yet never felt it? She says yes, assumes a wistful gaze, and says there was a time someone would hit me, but I did not feel a thing. 1:56:06 Julie begins crying and as her tears land on Louise’s hand, each one is punctuated by a piano key strike. We shift to Liliom who is also lost in a wistful gaze with the scale of Justice superimposed behind him. At 1:56:16 the metallic cadence strikes join with a soaring ethereal wordless women’s chorus, and we see the Ά scale pan descending past balance to achieve a verdict of Mercy. The film culminates in refulgent ethereal wonderment against a glistening star field as “The End” closes the film.

Franz Waxman fled Germany after a brutal beating by Nazi thugs due to his Jewish heritage. From this life nadir, he and his wife emigrated to Paris, where he achieved a life milestone – composing his first film score. I believe that Franz Waxman’s original dramatic score was a groundbreaking milestone that pioneered electronic music in cinema. The otherworldly sound of the Ondes Martenot served as the direct catalyst for its deployment during the Golden Age of Hollywood horror genre. Indeed, Waxman’s utilization established a precedent for using electronic textures to represent the supernatural and psychological. Waxman also push the boundaries of early sound-era recording engineering for the film’s famous sequence where the main character dies and ascends to Heaven. Waxman had the recording microphones placed at the very top of the dome inside the Théâtre des Champs-Élysées, this served to create a highly unusual, expansive acoustic reverberation to simulate celestial space. Musicologists point to this as an early masterpiece of spatial audio mixing in early sound cinema. Regarding Jean Lenoir’s contribution, I believe it to be an excellent early example of the “hybrid” sound design that was characteristic of 1930s European cinema; blending gritty, popular Parisian Street songs with avant-garde orchestral expressionism. Folks, in many ways, I believe that Liliom should be considered the musical bridge that brought Waxman to America, a crossing that permanently altered the trajectory of American film music.

For those of you unfamiliar with the score, I have embedded a YouTube link to the Opening Credits: https://www.youtube.com/watch?v=xEVtg4d6_cM

Track Listing:

• NOT AVAILABLE

Music composed and conducted by Franz Waxman. Orchestrations by Franz Waxman. Songs composed by Jean Lenoir. Recorded and mixed by XXX. Edited by XXX. Score produced by Franz Waxman.