Archive
VIVA ZAPATA! – Alex North
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Director Elia Kazan and author John Steinbeck had long been friends and shared an interest in Mexican hero Emiliano Zapata, a champion of the peons who did what few men in history have done – achieved power and walked away from it, wary of its corrupting influence. In 1949 they decided to collaborate and bring the tale of this Mexican legend to the big screen. Steinbeck was tasked with writing the screenplay and he referenced Edgcomb Pinchon’s Zapata The Unconquerable (1941) as a guide. Kazan used his clout to obtain backing from Darryl F. Zanuck who agreed to produce the film for 20th Century Fox, providing a budget of $1.8 million. A fine cast was hired which included Marlon Brando in the titular role, Jean Peters as Josefa Zapata, Anthony Quinn as Eufemio Zapata, Alan Reed as Pancho Villa, and Fay Roope as Porfirio Diaz. Read more…
THE KEYS OF THE KINGDOM – Alfred Newman
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
After the critical success of translating two novels to the screen with Gone with the Wind in 1939 and Rebecca in 1940, producer David O. Selznick decided to roll the dice again with A. J. Cronin’s latest novel, The Keys of the Kingdom. He purchased the film rights for $100,000, with Cronin assisting with writing the screenplay. However, he could not secure the cast he desired and so sold the film rights to Darryl F. Zanuck of 20th Century Fox. Zanuck tasked director Joseph Mankiewicz with the project, providing a budget of $3 million. A new screenplay was provided by Nunnally Johnson and Mankiewicz, and a fine cast was assembled including Gregory Peck as Father Francis Chisholm, Thomas Mitchell as Dr. Willie Tulloch, Vincent Price as Angus Mealey, Rose Stradner as Reverend Mother Maria-Veronica, Edmund Gwenn as Reverend Hamish MacNabb, Benson Fong as Joseph, Roddy McDowell as Francis Chisholm as a boy, and Sir Cedric Hardwicke as Monsignor Sleeth. Read more…
SYMPHONY OF SIX MILLION – Max Steiner
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
In late 1931 legendary David O. Selznick became RKO Studio’s Production Chief. He decided that his inaugural film would be the melodrama “Night Bell”, which would be adapted from the story of the same name by Fannie Hurst. He first changed the film title to “Symphony of Six Million” – a reference to the population of New York City – and then rejected the first screenplay, demanding that it reclaim the cultural sensibilities offered in the original story. He wanted his film to offer a mirror to the life of Jewish immigrants in America and the challenges created by the cultural assimilation of their children. Selznick and Pandro S. Berman would produce the film, Gregory La Cava was hired to direct, and a budget of $270,000 was provided. The cast would include Ricardo Cortez as Dr. Felix Klauber, and his family, Gregory Ratoff as his father Meyer Klauber, Anna Appel as his mother Hannah Klauber, Noel Madison as his brother Magnus Klauber, and Lita Chevret as his sister Birdie Klauber. Irene Dunne would play love interest Jessica, and John St. Polis his colleague Dr. Schifflen. Read more…
THE INFORMER – Max Steiner
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Director John Ford came across a 1925 novel, The Informer by Liam O’Flaherty, which explored the dark underside of the Irish War of Independence. He felt that the story provided suspense, drama, betrayal, and tragedy, which would translate well to the big screen. RKO Studios however was reticent to proceed with the project due to its depressing subject matter and unsympathetic lead, but they relented following Ford’s great success with his prior film The Lost Patrol, which earned their trust and permission to proceed with a budget of $250,000. Dudley Nichols was hired to write the screenplay and a fine cast was assembled which included Victor McLaglen as Gypo Nolan, Heather Angel as Mary McPhillip, Preston Foster as Dan Gallagher, Margot Grahame as Katie Madden, Wallace Ford as Frankie McPhillip, and Una O’Connor as Mrs. McPhillip. Read more…
JUAREZ – Erich Wolfgang Korngold
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
In 1935 producer Hal Wallis sought out director Max Reinhardt’s assistance in his next project; bringing the tale of Maximilian and Juárez to the big screen. He believed that Bertita Harding’s 1934 novel The Phantom Crown was a tragic tale, which needed its story told. Jack L. Warner agreed and purchased the film rights to the novel, as well as the play “Juárez and Maximilian” by Franz Werfel. He tasked Aeneas McKenzie in writing the screenplay, and to ensure historical accuracy three hundred books were acquired on the subject and two historians were hired to assist with the script. The initial script was too massive to present in a single film, so John Huston and Wolfgang Reinhardt were hired to make the necessary edits. Progress was made and in 1938 the studio gave the green light for production with William Dieterle was given the director reins. A stellar cast was hired, with Paul Muni as Benito Juárez, Bette Davis as Carlotta of Mexico, Brian Aherne as Maximilian I of Mexico, Claude Rains as Emperor Napoleon III of France, and John Garfield as Porfirio Diaz. Read more…
THE QUIET MAN – Victor Young
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Director John Ford read the story “The Quiet Man” by Maurice Walsh in the Saturday Evening Post, liked it, and purchased the film rights for $6,260 In 1944 he approached actor John Wayne and made a gentlemen’s agreement to make a film, which would be set in Ireland. However, to their dismay, every studio turned them down saying their idea was “a silly Irish story that won’t make a penny”. Undeterred they went to Republic Pictures studio executive Herbert J. Yates and negotiated a deal; if he would fund the film Wayne and co-star Maureen O’Hara would agree to first make a Western for Republic. Yates agreed and they made the successful film “Rio Grande” in 1950. They got the green light to proceed and Ford would produce and direct the film with a generous $1. 75 million budget. John Wayne would star as Sean Thornton and Maureen O’Hara would play Mary Kate Danaher. Joining them would be Barry Fitzgerald as Michaleen “Óge” Flynn, Ward Bond as Father Peter Lonergan, and Victor McLaglen as Squire “Red” Will Danaher. Read more…
THE NUN’S STORY – Franz Waxman
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Director Fred Zinnemann was intrigued by Kathryn Hulme’s best-selling novel “The Nun’s Story (1956) and purchased the film rights. To his dismay, he could not obtain financial backing from any studio as they all felt that the lack of action would not resonate with audiences. All this changed dramatically when Audrey Hepburn decided she wanted to take on the role of Gaby Van der Mal. A bidding war ensued with Warner Brothers prevailing. Henry Blanke was hired to produce the film with a 3.5 million budget. Robert Anderson was tasked with adapting the novel and writing the screenplay. Zinnemann would direct and he assembled a fine cast. Joining Hepburn would be Peter Finch as Dr. Fortunati, Dame Edith Evans as Mother Emmanuel and Dame Peggy Ashcroft as Mother Mathilde. Read more…
FOR WHOM THE BELL TOLLS – Victor Young
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
American novelist Ernest Hemmingway’s latest novel “For Whom The Bell Tolls” (1940) offered a potent commentary on the Spanish Civil War, which many studios believed could be adapted to the big screen. However, Hemmingway’s demand of $100,000 for the film rights, and control of selecting the principal actors was a non-starter. Paramount however, thought differently having successfully produced his earlier novel “A Farewell to Arms” (1932), which agreed to pay an astounding $150,000 for the film rights and acceded to Hemmingway’s demand that he would choose the two leads – Gary Cooper and Ingrid Bergman. After Cecil B. DeMille dropped out of producing and directing the film, Sam Wood took over the reins, and would produce and direct the film with a budget of $3 million. He brought in Louis Bromfield to rework the existing script, with Dudley Nichols finally completing the screen play. An exceptional cast was assembled including Gary Cooper as Robert Jordan, Ingrid Bergman as Maria, Akim Tamiroff as Pablo, Katina Paxinou as Pilar, and Joseph Calleia as El Sordo. Read more…
RED RIVER – Dimitri Tiomkin
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Producer-Director Howard Hawks had long desired to make a Western and finally found his vehicle after reading “The Chisolm Trail” (1946) by Borden Chase in the Saturday Evening post. He secured Monterey Productions to fund the project, providing a generous budget of $2.7 million. This was a passion project, and so Hawks decided to both produce and direct the film. He tasked Chase to adapt his novel and Charles Schnee assisted in writing the screenplay. A stellar cast was hired, which included John Wayne as Thomas Dunson, Montgomery Clift making his acting debut as Matt Garth, Walter Brennan as Nadine Groot, Joane Dru as Tess Millay, and John Ireland as Cherry Valance. Read more…
MOBY DICK – Philip Sainton
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
For three years director John Huston had long sought to bring Herman Melville’s classic 1851 novel Moby Dick to the big screen. Studios were resistant because the story was depressing, had no female roles, nor romance, which they believed would not resonate with the public. Ever tenacious, Huston finally secured backing by United Artists, the Mirsch brothers and Moulin Productions with the caveat that a big-name actor had to play Captain Ahab. A budget of $2.0 million was provided, which would include shooting in the Irish Sea. Huston would direct and tasked Ray Bradbury with adapting the novel, with some edits provided by Huston. To fill the “Big-name stipulation, Huston cast Gregory Peck as Captain Ahab, a decision criticized as a miscast by critics and later, Peck himself. Joining him would be Richard Basehart as Ishmael, Leo Genn as Starbuck, Orson Welles as Father Mapple, and Friedrich von Ledebur as Queequeg. Read more…
ROMEO AND JULIET – Nino Rota
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Director Franco Zeffirelli’s first film was The Taming of the Shrew in 1967, which was adapted from the original Shakespearean play. It was a commercial success, and for his next project he conceived a new adaptation of another of Shakespeare’s famous plays, “Romeo and Juliet”. A lack of funding however drove him to pursue a television production. Yet his fortunes changed when Paramount Pictures agreed to join in partnership with BHE Films, Verona Produzione and Dino de Laurentis Cinematografia to finance a big screen release. A budget of $850,000 was provided and the British team of Anthony Havelock-Allan and John Brabourne would produce the film. For the screen play Zeffirelli collaborated with Masolino d’Amico and Franco Brusati. In an audacious casting move Zeffirelli decided to cast the lead roles as minors, assuring fidelity to Shakespeare’s original conception. Leonard Whiting, a 17-year-old, was cast as Romeo, and Olivia Hussey, a 15 year old, as Juliet. Joining them would be Milo O’Shea as Friar Laurence, Michael York as Tybalt, John McEnery as Mercutio, Natasha Parry as Lady Capulet, and Robert Stephens as the Prince of Verona. Read more…
IL GATTOPARDO – Nino Rota
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Studio executives of the Italian production company Titanus decided to bring to the big screen the popular 1958 best-selling novel Il Gattopardo (The Leopard) by Giuseppe Tomasi di Lampedusa. Collaboration with 20th Century Fox brought the necessary financing for a budget of $2 million. Titanus producer Goffredo Lombardo was tasked with the project, and Luchino Visconti brought in to direct. Controversy arose over casting the key role of Prince Don Fabrizio Corbera of Salina as Visconti desired Marlon Brando or Laurence Olivier but the 20th Century Fox leveraged their financing of $2 million to force Burt Lancaster into the role over Visconti’s objections. Joining him would be Claudia Cardinale as Angelica Sedera, Alain Delon as Prince Tancredi Falconeri, and Rina Morelli as Princess Maria Stella of Salina. Read more…
THE WIND AND THE LION – Jerry Goldsmith
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Director John Milius was a longtime admirer of President Theodore Roosevelt. By chance he came upon an article “Pedecaris Incident” by Barbara W. Tuchman in American Heritage magazine and found a fascinating story which involved President Roosevelt sending American troops to free an American citizen kidnapped in Morocco by a Berber warlord. He was intrigued by the tale and further investigatory reading of the 1924 biography Raisuli, The Sultan of the Mountains by Rosita Forbes inspired him to proceed with a film adaptation. He had always dreamed of filming a grand sprawling epic film and believed this story gave him his opportunity. Given that this was a passion project, Milius wrote the screenplay himself and related: “I consider ‘The Wind and the Lion’ my first real movie. I approached it as a David Lean film, to do it in that style, a large epic canvas, to see if I could pull off great movements of troops. The story is even written that way. Two guys, the Raisuli and Teddy Roosevelt, yelling at each other across oceans.” However, to get MGM Studios buy in, he had to romanticize the story by changing the kidnapped victim to a beautiful woman, and casting Raisuli as one of the dashing leading men of the day. Herb Jaffe was tasked with producing the film and a budget of $4.5 million was provided. Casting was problematic with Omar Sharif turning down the part of Raisuli and Faye Dunaway withdrawing due to illness. Eventually Sean Connery was cast as Sharif Mulai Ahmed Mohammed Raisuli joined by Candice Bergen as Eden Pedecaris. Joining them would be Brian Keith as President Theodore Roosevelt and John Huston as Secretary of State John Hay. Read more…
THE GADFLY – Dmitri Shostakovich
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
One day it dawned to director Aleksandr Faintsimmer that the popular 1897 novel Ovod – The Gadfly – by Ethel Voynich lent itself well for adaptation to the big screen. Its tale of revolutionary zeal, the excoriation of an anachronistic church and the unification of oppressed people in a modern egalitarian state had long been promoted by the Soviet Ministry of Culture. The book was also very popular with the populace, selling 2.5 million copies. He pitched his idea to the Ministry of Culture and secured backing after a review of the screenplay, which was written by Viktor Shklovsky. Lenfilm, a production unit of the Soviet Union, was formally authorized to produce the film. A fine cast was assembled, which included Oleg Strizhenov as Arthur Burton/Felice Rivarez, Marianna Strizhenova as Gemma, Nikolai Simonov as Cardinal Montanelli and Vladimir Etush as Cesare Martini. Read more…
THE COBWEB – Leonard Rosenman
GREATEST SCORES OF THE TWENTIETH CENTURY
Original Review by Craig Lysy
Director Vincent Minnelli was intrigued by the cinematic possibilities offered by William Gibson’s novel, The Cobweb (1954), which takes place in a psychiatric institution where both the patients and the professional staff suffer from neuroses. He sold his idea to Metro-Goldwyn-Mayer Studios, John Houseman was tasked to produce, and a budget of $1,976 million was provided. Casting foundered when Robert Taylor, Lana Turner and Grace Kelly were either unavailable or declined. Eventually a fine cast was assembled, which included Richard Widmark as Dr. Stewart McIver, Lauren Bacall as Meg Rinehart, Charles Boyer as Dr. Devanal, Gloria Grahame as Karen McIver, Lilian Gish as Victoria Inch and John Kerr as Stevie. Read more…
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