Archive
WILD ISLES – George Fenton
Original Review by Jonathan Broxton
For almost 70 years the BBC Natural History Unit has been, in my opinion, the world leader in making nature documentaries. Although it had been making smaller-scale programmes for quite some time, it was the groundbreaking 1979 series Life on Earth that truly cemented its reputation; further entries such as The Living Planet in 1984, The Trials of Life in 1990, and Life in the Freezer in 1993 built on this success, and then more recent things like Blue Planet, Planet Earth, Africa, Life, and their various sequels, have showcased the NHU’s spectacular wildlife footage to millions worldwide. However, despite how majestic and awe-inspiring these massive shows are – and they are tremendous – I have always enjoyed their smaller scale examinations of British nature and found them to be equally rewarding; Wild Isles is one of those. 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…
Academy Award Winners 2022
The Academy of Motion Picture Arts and Sciences (AMPAS) have announced the winners of the 95th Academy Awards, honoring the best in film in 2022.
In the Best Original Score category composer Volker Bertelmann won the award for his score for the new version of the classic anti-war story All Quiet on the Western Front, based on the all-time great novel by Erich Maria Remarque. In accepting his award, Bertelmann said:
“Well, thank you so much, thanks to the Academy for this huge recognition. When I was working on the film I was thinking a couple of times of my mom, because she was telling me, every now and then, when you want to change humanity and empathy in the world, you have to start by yourself and with your own surroundings, because you learn by that and you can show actually where we all – how we all can live together. So, you know, by working on a film like that you always are deeply touched and sometimes you have to make the screen very small because there are so much explosions happening. I want to say thank you to my wife, Elizabeth, and my kids up there, Lotte, Paulina, and Lucas. To Malthe Grunert and Edward Berger, and the whole cast and crew, for their amazing craftsmanship. To Netflix for their huge support. And to my fellow nominees, Carter, John, Justin, Son Lux, that I can be a part of such a unique, human, and diverse group of talented composers, that’s for me a big gift. And last but not least I want to thank all of you, for this wonderful evening. Thank you so much!
The other nominees were Carter Burwell for The Banshees of Inisherin, Justin Hurwitz for Babylon, Ryan Lott, Rafiq Bhatia, and Ian Chang (Son Lux) for Everything Everywhere All at Once, and John Williams or The Fabelmans.
In the Best Original Song category, the winners were M. M. Keeravani and Kanukuntla Subhash Chandrabose for “Naatu Naatu” from the smash hit Bollywood movie RRR.
The other nominees were Stephanie Germanotta (Lady Gaga) and Michael Tucker (Bloodpop) for “Hold My Hand” from Top Gun: Maverick, Ryan Lott, David Byrne, and Mituski Miyawaki (Mitski) for “This Is A Life” from Everything Everywhere All At Once, Temilade Openiyi (Tems), Robyn Rihanna Fenty, Ryan Coogler, and Ludwig Göransson for “Lift Me Up” from Black Panther: Wakanda Forever, and Diane Warren for “Applause” from Tell It Like A Woman.
ARMY OF DARKNESS – Joseph Lo Duca
THROWBACK THIRTY
Original Review by Jonathan Broxton
Army of Darkness is the third instalment of director Sam Raimi’s Evil Dead series, and is a direct continuation of the story of 1987’s Evil Dead II. The plot of that film saw its protagonist, Ash, inadvertently summon a demon after reading passages from an ancient ‘book of the dead’. His girlfriend Linda is possessed by the demon, and attacks him, and in the ensuing battle he has his hand severed at the wrist with a chainsaw. Eventually Ash is able to defeat the demon, but in doing so he accidentally opens a temporal vortex to the Middle Ages, through which he and his car are transported. Army of Darkness follows the story from that point on, as Ash enlists the help of a medieval lord, falls in love with the lord’s daughter, and has to search for another version of the ‘book of the dead’ that will allow him to return home – all while battling more demonic ‘deadites’. The film starred Bruce Campbell, Embeth Davidtz, and Marcus Gilbert, and was a moderate commercial success, but unfortunately was not well-liked by critics, many of whom were disappointed with its campier, less horrific tone. It ultimately ended the Evil Dead franchise for more than 20 years, until it was resurrected and rebooted by director Fede Álvarez in 2013. Read more…
Under-the-Radar Round Up 2023, Part 1
I’m pleased to present the latest instalment in my on-going series of articles looking at the best under-the-radar scores from around the world. This article, the first of 2023, covers five scores for projects from all around the world that especially impressed me during the opening months of the year. The scores include a trio from France – two children’s adventures and a broad comedy – plus another children’s adventure from Finland, and a serious historical epic from Japan. 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
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…
ALL QUIET ON THE WESTERN FRONT – Volker Bertelmann
Original Review by Jonathan Broxton
The 1929 German-language novel Im Westen Nichts Neues – known in English as All Quiet on the Western Front – by Erich Maria Remarque is one of the most important anti-war novels ever written. It tells the semi-autobiographical story of Remarque’s own experiences fighting in the trenches of western Europe during World War I, and follows a young soldier named Paul Bäumer, who over the course of the book is transformed from an eager and enthusiastic patriot fighting for the glory of the vaterland, into a bitter, broken shell of a man, utterly devastated by the physical and mental anguish of war. It touches on several important themes, ranging from explorations of nationalism and blind patriotism, to the futility of war itself, especially the trench warfare of WWI where literally millions of soldiers, on both sides of the conflict, were slaughtered while trying to gain little more than a few yards of ground. The book was banned and burned in Nazi Germany, naturally, but has since become regarded as a modern classic, and is now one of the most revered pieces of German-language literature. Read more…
SINGIN’ IN THE RAIN – Lennie Hayton, Nacio Herb Brown, and 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…
GROUNDHOG DAY – George Fenton
THROWBACK THIRTY
Original Review by Jonathan Broxton
One of the best – and, with the benefit of hindsight, most influential and enduring – comedies of the early 1990s was Groundhog Day. Written by Danny Rubin and directed by Harold Ramis, the film stars Bill Murray as cynical television weatherman Phil Connors. Phil is sent to the small town of Punxsutawney, Pennsylvania, to cover the local Groundhog Day festivities, along with his producer Rita Hanson (Andie MacDowell) and cameraman Larry (Chris Elliott); however, after completing a perfunctory report, the crew is stranded in town by an unexpected blizzard, and is forced to spend the night in a local inn. The following morning, when Phil wakes up, he soon realizes that it is Groundhog Day again – he has somehow become trapped in a time loop, and is forced to relive the same day over, and over, and over, and over, and over, and over… Read more…
ANT-MAN AND THE WASP: QUANTUMANIA – Christophe Beck
Original Review by Jonathan Broxton
Ant-Man and the Wasp: Quantumania is the first of the three planned Marvel films for 2023, is the second sequel to 2015’s Ant-Man, and is the 31st film overall in the Marvel Cinematic Universe. It builds on events from both Avengers: Endgame and Ant-Man and the Wasp, as well as the TV series Loki, and sees the titular characters Scott Lang (Ant-Man) and Hope Van Dyne (The Wasp) being accidentally drawn back into the so-called quantum realm – a sub-atomic universe that exists beneath our ‘real world’ – where they encounter an entire civilization of humans and aliens. This civilization is under the despotic control of Kang the Conqueror, a multi-dimensional being who can travel between parallel universes and across different timelines, but who has been trapped in the quantum realm, and is desperate to escape its confines. Before long Scott and Hope are drawn into a rebellion against Kang, with the fate of not only the quantum realm, but the universe as a whole, at stake. The film is again directed by Peyton Reed, and stars Paul Rudd and Evangeline Lilly as the titular duo, with Jonathan Majors as Kang, plus Michael Douglas, Michelle Pfeiffer, and Kathryn Newton. 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…
THE OFFERING – Christopher Young
Original Review by Jonathan Broxton
One of the most frustrating things to have happened over the last few years in film music is the apparent slow decline of Christopher Young’s career. This remarkable composer – the man behind such stellar works as Hellraiser, Murder in the First, Drag Me to Hell, The Monkey King, and so many others – has scored just a handful of major theatrical films in the United States in the last decade, with the last true box office successes being the remake of Pet Sematary in 2019, and then Sinister back in 2012. Seemingly the only people who remain loyal to him are independent horror directors, who regularly hire him to bring his unique sound to their films. Many of them likely grew up listening to Young’s earliest works from the 1980s – experimental efforts like The Dorm that Dripped Blood, The Power, and A Nightmare on Elm Street 2 – and so in many ways one could say he has returned to his roots. The latest director to do this is Oliver Park, who hired him for his film The Offering. Read more…
RICH IN LOVE – Georges Delerue
THROWBACK THIRTY
Original Review by Jonathan Broxton
On March 18th, 1992, as composer Georges Delerue was packing up and preparing to leave Scoring Stage 1 on the Warner Brothers lot in Burbank, California, having just finished recording the final cue for his latest film, Rich in Love, he suffered a stroke. He was rushed to the nearby St. Joseph’s Medical Center but never recovered, and he died there two days later at the age of 67. In the days and weeks after his death his friends and colleagues mourned one of the giants of film music; the director of Rich in Love, Bruce Beresford, summed it up by saying that Delerue’s scores “were never trite. They were so melodic and effortless. It was like turning on a tap. The music just flowed.” Of course, it’s impossible to know whether Delerue had any inkling about what was about to happen to him, but Varese Sarabande producer Robert Townson – who knew Delerue well – mused on this very idea in the liner notes for this soundtrack album, and wondered whether Rich in Love represented him writing a good-bye to each of his friends. Read more…
AN AMERICAN IN PARIS – George Gershwin, Ira Gershwin, Saul Chaplin, and 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…
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