Archive
THE PRISONER OF ZENDA – Alfred Newman, Conrad Salinger
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
With the onset of a new decade, MGM studio executives embarked on an ambitious plan to remake several popular black and white films in color. To that end, in 1951 they announced that they had purchased the film rights of “The Prisoner of Zenda” (1937) from David O. Selznick for $225,000. A creative decision was to use many of the same production elements as the 1937 film, including; the identical script, camera angles, setting and musical score. Pandro S. Berman was assigned production and provided a $1.708 million budget. Richard Thorpe was tasked with directing, and a stellar cast was assembled, which included; Stewart Granger as Rudolph Rassendyll, Deborah Kerr as Princess Flavia, James Mason as Rupert of Hentzau, Louis Calhern as Colonel Zapt, Robert Douglas as Michael, Duke of Strelsau, Jane Greer as Antionette de Mauban and Robert Coote as Fritz von Tarlenheim. Read more…
THE LIFE OF EMILE ZOLA – Max Steiner
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
In 1936 Warner Brothers Studio executives Hal B. Wallis and Henry Blanke received a proposal from Heinz Herald, a literary agent, that they consider a making a biopic film of Émile Zola and the infamous Dreyfus Affair. Wallis and Blanke were favorably disposed to the idea and hired Harold and Geza Herczeg to write the script. Their 200-page script was accepted, but underwent editing by Herczeg, Wallis, director William Dieterle and actor Paul Muni. The final script was approved in early 1937, and Blanke was assigned production with a budget of $699,000. William Dieterle was tasked with directing, and a fine staff was assembled, including Paul Muni as Émile Zola, Gloria Holden as Alexandrine Zola, Gale Sondergaard as Lucie Dreyfus, and Joseph Schildkraut as Captain Alfred Dreyfus. Read more…
SCARAMOUCHE – Victor Young
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
One of Hollywood’s most beloved authors was Rafael Sabatini, whose swashbuckling novels were highly prized and often brought to the big screen, including; Scaramouche (1923), Bardelys The Magnificent (1926), Captain Blood (1935), The Sea Hawk (1940), and The Black Swan (1942). In 1938 MGM decided to remake its 1923 silent version of Scaramouche. It would however take thirteen years for the project to finally go to production under Carey Wilson. Ronald Millar and George Froeschel were hired to adapt the novel for a fresh iteration, and a $3.0 million budget was provided. George Sidney was tasked with directing, and a stellar cast was hired, including; Stewart Granger as Andre Moreau, Eleanor Parker as Lenore, Janet Leigh as Aline de Gavrillac de Bourbon, Mel Ferrer as Noel, Marquis de Maynes, and Nina Foch as Marie Antionette. Read more…
THE MAGNIFICENT YANKEE – David Raksin
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
In 1949 MGM studio executives were seeking a biopic of a famous American for their next film. They decided that the 1946 play The Magnificent Yankee by Emmet Lavery, which had a Broadway theatrical run of 159 performances would be their choice. Armand Deutsch was placed in charge of production with a $1.03 million budget, Emmet Lavery was hired to adapt his play for the film, and John Sturges was tasked with directing. Veteran stage and screen actor Louis Calhern was cast as Oliver Wendell Holmes Jr. Joining him would be Ann Harding as Fanny Bowditch Holmes, Eduard Franz as Justice Louis Brandeis, and Philip Ober as Owen Wister. Read more…
THE SNOWS OF KILIMANJARO – Bernard Herrmann
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
In 1948 20th Century Studio executive Darryl F. Zanuck made the business decision to adapt another of Ernest Hemingway’s novels for the big screen, The Snows of Kilimanjaro from 1936. He purchased the film rights for a hefty $125,000 and personally took charge of production, allocating a budget of $3.0 million. Casey Robinson was hired to write the screenplay and veteran Henry King was tasked with directing. Zanuck had already decided that Gregory Peck would star as Harry Street, with Ava Gardner playing Cynthia Green. Joining them would be Susan Hayward as Helen, and Hildegard Knef as Countess Elizabeth. Read more…
THE MIRACLE OF OUR LADY OF FATIMA – Max Steiner
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
It had been eight years since the commercial and critical success of 20th Century Fox’s religious themed film The Song of Bernadette. Warner Brothers Studios executives decided that they wanted to explore the genre and decided that a similar tale, The Miracle of Our Lady of Fatima, would accomplish that end. Their resident producer Bryan Foy was assigned the project, James O’Hanlon and Crane Wilbur were hired to write the screenplay, and John Brahm was tasked with directing. A trio of children were hired to play the roles of the child witnesses of the vision; Susan Whitney as Lúcia dos Santos, Sherry Jackson as Jacinta Marto and Sammy Ogg as Francisco Marto. Joining them would be Gilbert Roland as Hugo de Silva, Angela Clarke as Maria Rosa de Silva, and Richard Hale as Father Ferreira. Read more…
SOMMERSBY – Danny Elfman
THROWBACK THIRTY
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Jonathan Broxton
Sommersby is an English-language adaptation of the 1982 French film Le Retour de Martin Guerre, which was itself based on a real-life event that happened in the 16th century. The film was written by Nicholas Meyer, Sarah Kernochan, and Anthony Shaffer, and was directed by Jon Amiel; it transposes the story from medieval France to post-Civil War Tennessee, and stars Richard Gere as Jack Sommersby, a man who returns home from the conflict, six years after he was presumed dead. Jack’s ‘widow’ Laurel (Jodie Foster) has already moved on, and is planning to marry farmer Orin Meacham (Bill Pullman), but Jack’s return home throws her life into turmoil – not least because Jack appears to be a changed man, and is no longer the unpleasant and abusive husband he was when he left. As time goes on, Jack proves to be a hugely positive force for the community, and Laurel begins to fall in love with him again, but something in the back of her mind keeps nagging at her, and she has doubts as to whether the new and improved Jack really is who he says he is – doubts which become stronger when men from Jack’s past appear, and accuse him of murder. Read more…
SINGIN’ IN THE RAIN – Lennie Hayton, Nacio Herb Brown, Arthur Freed
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
MGM Studios Director of Musicals Arthur Freed conceived of a new film that would be based on a catalogue of unused songs written by him and Nacio Herb Brown during the waning days of the Silent Film Age. The musical would be set during this time and feature dance legend Gene Kelly. Freed assumed control of production with a budget that eventually tapped out at $2.54 million. Gene Kelly was given creative control of the film and would not only direct and choreograph, but also star. Adolph Green and Betty Comden were hired to write the screenplay. The cast would consist with Gene Kelly as Don Lockwood, Debbie Reynolds as Kathy Selden, Donald O’Connor as Cosmo Brown, Jean Hagen as Lina Lamont, Millard Mitchell as R. F. Simpson and Cyd Charisse as the vamp. Read more…
DEATH OF A SALESMAN – Alex North
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Columbia Studio executives took notice of playwright Arthur Miller’s latest stage play “Death of a Salesman” that debuted on Broadway in February 1949, with a successful run of 742 performances. They believed its compelling narrative would translate well to the big screen, and so purchased the film rights. Stanley Kramer was assigned production, Stanley Roberts was hired to adapt the play, and László Benedek was tasked with directing. For the cast, most of the Broadway cast was hired with the addition of Fredric March as Willy Loman, and Kevin McCarthy from the London cast as Biff Loman. Joining them would be Mildred Dunnock as Linda Loman, Cameron Mitchell as Harold Loman, and Howard Smith as Charley. Read more…
AN AMERICAN IN PARIS – George Gershwin, Ira Gershwin, Saul Chaplin, Johnny Green
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Producer Arthur Freed took in a Hollywood Bowl performance of George Gershwin’s music from the Jazz Age and was inspired by the show’s “An American in Paris” number. For the next three years he sought support in bringing his film version to fruition. He found a partner in Gene Kelly who sold MGM executives on the concept of a dance film by screening the film “The Red Shoes” (1948). Arthur Freed was assigned production with a $2.7 million budget, Alan Jay Lerner was hired to write the screenplay, Gene Kelly would manage the choreography, and Vincente tasked with directing, with assistance from Gene Kelly. Kelly had seen Leslie Caron performing a ballet in Paris and he personally recruited her for the role of Lise Bouvier. Joining her would be Gene Kelly as Jerry Mulligan, Oscar Levant as Adam Cook, George Guétary as Hank Baurel, Nina Foch as Milo Roberts and Eugene Borden as Georges Mattieu. Read more…
DAVID AND BATHSHEBA – Alfred Newman
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Following the success of Paramount’s “Samson and Delilah” in 1949, 20th Century Fox executive Darryl F. Zanuck believed it was time for his studio to enter the Biblical Epic genre. He decided that the film would focus on the life of the legendary King David of Israel. Zanuck personally took control of production, provided a budget of $2.17 million, hired Philip Dunne to write the screenplay and tasked Henry King with directing. The initial screenplay was a biopic, which would if filmed, render a four-hour movie. As such Zanuck directed Dune to pare it down, focusing entirely on David’s illicit affair with Bathsheba. For casting, Zanuck insisted on having the popular, successful, and beautiful actors Gregory Peck and Susan Hayward star as David and Bathsheba. Joining them would be Raymond Massey as Nathan, Kieron Moore as Uriah, and James Robertson Justice as Abishai. Read more…
ALICE IN WONDERLAND – Oliver Wallace
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
As a young man Walt Disney was fond of the two Lewis Carroll novels “Alice’s Adventures in Wonderland and “Through The Looking Glass”. As early as 1933 he conceived of making a film adaptation, but it did not take form until 1945 and then would require six years to bring his dream to fruition. Disney personally managed production with a budget of $3 million, a team of thirteen writers were hired to craft a screenplay based on both of Carroll’s books, and a trio consisting of Clyde Geronini, Wilfred Jackson and Hamilton Luske were tasked with directing. A fine voice cast was assembled, including Katherine Beaumont as Alice, Ed Wynn as Mad Hatter, Richard Haydn as Caterpillar, Sterling Holloway as Cheshire Cat, Jerry Colonna as March Hare, Verna Felton as Queen of Hearts, J. Pat O’Malley as Tweedledum and Tweedledee, Bill Thompson as White Rabbit, Joseph Kearns as Doorknob, Sink Trout as King of Hearts, and James MacDonald as Dormouse. Read more…
ALEXANDER’S RAGTIME BAND – Irving Berlin, Alfred Newman
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
In 1937 composer Irving Berlin was solicited by 20th Century Fox studio executive Darryl F. Zanuck to write a biopic about his life to be called “Alexander’s Ragtime Band, which would showcase some of his greatest songs. Berlin balked, believing such a story would be too intrusive. Zanuck pivoted and asked him if he could instead write a story, which could feature his greatest songs. He agreed, collaborated with screen writer Richard Sherman, and their story was accepted. Zanuck took personal charge of production, hired Kathryn Scola and Lamar Trotti to write the screenplay, and tasked Henry King with directing. The cast would be anchored by singers Ethel Merman as Jerry Allen, and Alice Faye as Stella Kirby. Joining them would be Tyrone Power as Alexander, Don Ameche as Charlie Dwyer and Jack Haley as Davey Lane. Read more…
THE GARDEN OF ALLAH – Max Steiner
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
The Garden of Allah was the brainchild of David O. Selznick, who decided to embark on a third big screen retelling of Robert S. Hichens’s 1904 novel of the same name, following on from previous versions in 1916 and 1927. His own company, Selznick International, would finance the film and he would personally manage production with a budget that ballooned from $1.6 to 1.97 million. William P. Lipscomb and Lynn Riggs were hired to write the screenplay and Richard Boleslawski was tasked with directing. For this romantic drama, Selznick decided to cast the two most carnal actors of the day, Charles Boyer and Marlene Dietrich, as Boris Androvsky and Domini Enfilden. Ironic and mystifying in their choice is that he would be playing a celibate monk, and her, a devout girl raised in a convent! Joining them would be Basil Rathbone as Count Ferdinand Anteoni, C. Aubrey Smith as Father J. Roubier, Joseph Schidkraut as Batouch, John Carradine as “Sand Diviner”, Alan Marshall as Captain de Trevignac and Lucile Wilson as Mother Superior Josephine. Read more…
PETER IBBETSON – Ernst Toch
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
In early 1935 Paramount Pictures executives decided that they would adapt and bring to the big screen George du Maurier’s1891 romantic fantasy novel Peter Ibbetson. Louis D. Lighton was assigned production and provided a budget of $750,000. Henry Hathaway was tasked with directing, and a team of screenwriters lead by John Meehan were hired to write the screenplay. A fine cast was assembled, but not without controversy. Fredric March and Robert Donat were originally envisioned for the titular role, but in a dubious decision, Hathaway decided to cast against type, Gary Cooper, who had achieved fame in Westerns and heroic dramas. Joining him would be Ann Harding as Mary, Duchess of Towers, John Halliday as the Duke of Towers, and Ida Lupino as Agnes. Read more…
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