Archive
THE WAY WE WERE – Marvin Hamlisch
MOVIE MUSIC UK CLASSICS
Original Review by Craig Lysy
Producer Ray Stark saw pay gold in the script and bought the film rights. He hired veteran director Sydney Pollack to direct. Casting the right principle actors was essential to the story’s success and so Barbara Streisand was cast as Katie, and Robert Redford as Hubble – a perfect pairing. The supporting ensemble included Bradford Dillman (J.J.), Lois Chiles (Carol Ann), Patrick O’Neal (George Bissinger) and Allyn Ann McLerie (Rhea Edwards). Writer Arthur Laurents created the screenplay based on his real life experiences as an undergraduate at Cornell in 1937. The story revolves around two people attracted in love by their differences, yet ultimately broken apart because of their inability to reconcile those differences. Katie is a strident and vocal Marxist Jew, while Hubble is carefree unaffected, apolitical WASP. They date and eventually marry, with her constantly pushing Hubble to excel and utilize his gift. He however settles for less, a Hollywood screenwriter where he becomes successful writing banal sitcoms. They are affluent, yet increasingly alienated. Her political activities begin to intrude into their lives as Studio executives pressure Hubble to rein her in, in light of the House Committee On Un-American Activities, which is targeting the Hollywood establishment. Well when an emotionally exhausted Hubble has an affair with his ex-girl friend while Katie is pregnant the relationship is ruptured. They divorce and years later re-encounter each other, she with militant flyers in her hand he insulated, but happy with a new wife. It is bittersweet as she relates that he was at his best as a writer when he was with her. They part, cherishing the memory of the way they were… Read more…
LIMELIGHT – Charles Chaplin, Raymond Rasch, and Larry Russell
MOVIE MUSIC UK CLASSICS
Original Review by Craig Lysy
Charles Chaplin produced, directed, wrote the screenplay and starred in Limelight, a story is set in London, 1914 on the eve of World War I. Calvero (Chaplin) is a famous stage clown who has fallen on bad times and descended into alcoholism. By chance he comes to rescue Terry (Claire Bloom) from herself, as she was poised to commit suicide. He shelters her and helps to heal her, and in so doing, heals himself, regaining his confidence and will to live. Terry falls in love with Calvero, but he believes the age difference is wrong, and that the younger Neville (Sydney Chaplin) would be a more appropriate match. And so Calvero sets off on his own, becoming a street entertainer. Terry rebounds and lands a leading role in a stage production. She is thankful for her new life and so invites Calvero to return to his first love, the stage. He agrees, and reunites with his old partner (Buster Keaton) and brings the house down with a magnificent performance. At this grand moment, tragedy strikes as he succumbs to a heart attack during the second act while Terry is performing. The film is a a truly remarkable achievement, with a stellar cast that supports his passion project. Noteworthy is the fact that in the final musical number we bear witness to the only time Chaplin and Keaton – two iconic actors – ever performed together. Read more…
SUMMER OF ‘42– Michel Legrand
MOVIE MUSIC UK CLASSICS
Original Review by Craig Lysy
Screenwriter Herman Raucher wrote his autobiographical script in 10 days as a tribute to his fallen comrade Oscy who lost his life in the Korean War. He was initially unable to sell the script to any studio, so it languished for many years until producer Robert Roth found a dusty copy lying in an agent’s office. He fell in love with it and resolved to bring this story to the big screen. He hired director Robert Mulligan (To Kill A Mockingbird) and decided to cast the parts of the boys with unknowns. Also, following in the steps of Love Story (1970) Raucher expanded the story into a book that was published as a prelude to the film. Well it became an instant hit and the film’s promotion had “Based on the national best seller” added to its advertisement. For the cast, Jennifer O’Neil was cast as Dorothy with the three boys Gary Grimes (Hermie), Jerry Houser (Oscy) and Oliver Conant (Benjie). Read more…
LOVE STORY – Francis Lai
MOVIE MUSIC UK CLASSICS
Original Review by Craig Lysy
Producer Howard Minsky and Paramount Studios saw opportunity when he read Erich Segal’s “Love Story” script and secured the film rights. They also asked him to publish a novel in advance for the film so as to cultivate public interest. This proved to be a masterstroke, as the Valentine’s Day publication lead to a national best seller. Arthur Hiller was hired to direct and he brought in a fine cast, which included Ryan O’Neal (Oliver Bartlet IV), Ali McGraw (Jenny Cavalleri), Ray Milland (Oliver Barrett III), Katherine Balfour (Mrs. Barrett), John Marley (Phil Cavalleri) and Tommy Lee Jones (Hank Simpson) in his film debut. Read more…
BUTCH CASSIDY AND THE SUNDANCE KID – Burt Bacharach
MOVIE MUSIC UK CLASSICS
Original Review by Craig Lysy
For screenplay writer William Goldman, “Butch Cassidy and the Sundance Kid” was a passion project. He first came upon the story of Cassidy and Longbaugh in the late 1950s, was fascinated by the men, and felt it was a story that needed to be brought to the big screen. Richard Zanuck of 20th Century Fox saw gold when he read the script and purchased the rights for an astounding $400,000! He tasked John Foreman to produce and George Roy Hill to direct. A stellar cast was brought in, which included; Paul Newman (Butch Cassidy), Robert Redford (The Sundance Kid), Katherine Ross (Etta Place), Jeff Corey (Sheriff Bledsoe, and Strother Martin (Percy Garris). Read more…
THE LION IN WINTER – John Barry
MOVIE MUSIC UK CLASSICS
Original Review by Craig Lysy
Producer Joe Levine had a contract with Peter O’Toole and was looking for a film to again showcase his talent. He found the vehicle in the Broadway play “The Lion In Winter” by James Goldman that offered dramatic dialogue, which would play to O’Toole’s thespian strengths. Anthony Harvey was brought in to direct the film and they hired an amazing cast to support Peter O’Toole (King Henry II), which included Katherine Hepburn (Queen Eleanor of Aquitaine), their three sons, Anthony Hopkins (Richard), John Castle (Geoffrey), and Nigel Terry (John). Also joining was Jane Morrow (Henry’s mistress Alais) and Timothy Dalton (King Philip II of France). Hopkins and Dalton were both making their screen acting debuts. Read more…
THOROUGHLY MODERN MILLIE – Elmer Bernstein
MOVIE MUSIC UK CLASSICS
Original Review by Craig Lysy
Julie Andrews was the toast of Hollywood in the 1960s and her success in Mary Poppins (1964) and The Sound of Music (1966) made her the most popular and highest paid actress of the day. Universal Studios and producer Ross Hunter sought to capitalize on her popularity and so decided to adapt the British musical “Chrysanthemum” (1956) for her next musical. Richard Morris was hired to write the screenplay and George Roy Hill tasked with directing the film. Hill brought in a fine ensemble to support Julie Andrews (Millie Dillmount), which included Mary Tyler Moore (Dorothy Brown), James Fox (Jimmy Smith), John Gavin (Trevor Graydon), Carol Channing (Muzzy van Hossmere) and Beatrice Lillie (Mrs. Meers). Read more…
BORN FREE – John Barry
MOVIE MUSIC UK CLASSICS
Original Review by Craig Lysy
Producers Carl Forman, Sam Jaffe and Paul Radin came across the book “Born Free: A Lioness of Two Worlds” (1960) by renowned naturalist Joy Adamson, and believed her heart-warming tale could be brought to the big screen. They purchased the film rights and hired screenwriter Lester Cole to forge the screenplay. For the cast, Director James Hill brought in veteran British actors Virginia McKenna (Joy Adamson) and Bill Travers (George Adamson) to lead an ensemble, which included Geoffrey Keen (John Kendall), Peter Lukoye (Nuru), Surya Patel (the Doctor) and Geoffrey Best as (Watson). Read more…
MARY POPPINS – Richard M. Sherman and Robert B. Sherman
MOVIE MUSIC UK CLASSICS
Original Review by Craig Lysy
Walt Disney had long kept the book Mary Poppins in his office and was determined to one day bring it to the big screen for his daughters. The book series authored by P. L. Travers offered a series of fantastic tales, which unfortunately lacked a cohesive story. Disney tasked the Sherman brothers and screenplay writer Don DaGradi to create a cogent narrative. Robert Stevenson was tasked with directing the film and he secured a fine cast, which included Julie Andrews making her acting debut as Mary Poppins, Dick Van Dyke as Bert, David Tomlinson as George Banks, Glynis Johns as Winifred Banks, and Karen Dotrice and Matthew Garber the Banks children Jane and Michael. The story tells the tale of a nanny who comes to the aid of a family in disarray. She uses her magical gifts to bring back joy into the lives of the children, but to also reconnect George with his family. The movie was both a critical and commercial success earning eight Academy Award nominations, winning five for Best Actress, Best Film Editing, Best Special Effects, Best Original Song and Best Film Score. Read more…
TOM JONES – John Addison
MOVIE MUSIC UK CLASSICS
Original Review by Craig Lysy
Producer and director Tony Richardson drew inspiration from an 18th century English novel “A History of Tom Jones, a Foundling”, by Henry Fielding. He hired John Osborne to adapt it to the big screen and cast the film audaciously, selecting rising star Albert Finney for the titular role. Rounding out the cast was Susannah York (Sophie Western), Edith Evans (Miss Western), Joan Greenwood (Lady Ballaston), Hugh Griffith (Squire Western) and making his film debut, David Warner as the villain Blifil. The story offers a classic period piece full of drama, treachery, seduction and intrigue. Squire Allworthy discovers an infant on his bed and chooses to raise little Tom Jones as if he were his own son. Tom’s grows up to become an attractive, dashing, and very popular young man with the ladies, It comes to pass that he falls madly in love with Sophie, who returns his affections. Yet there is an insurmountable impediment – Tom is stigmatized as a bastard, and Sophie’s father forbids her to wed a man below her station. Blifil who seeks Allworthy’s estate engineers Tom’s dishonor and dismissal by Squire Allworthy. An irrepressible Tom however is not to be denied, and he travels far and wide, all the time enjoying a multiplicity of women, fine food and drink along the way! As fate would have it he ultimately triumphs, overcoming all obstacles set against him, and earns Sophie’s hand in marriage when his true identity as Bridget’s Allworthy’s illegitimate son and Allworthy’s nephew is finally revealed. The film was both a commercial and critical success, earning an amazing ten Academy Award nominations, winning four, for Best Picture, Best Director, Best Screenplay and Best Score. Read more…
BREAKFAST AT TIFFANY’S – Henry Mancini
MOVIE MUSIC UK CLASSICS
Original Review by Craig Lysy
Hollywood producers Martin Jurow and Richard Shepherd saw opportunity beckoning with Truman Capote’s controversial 1958 novella Breakfast at Tiffany’s, and convinced Paramount Studios to purchase the film rights. They hired George Axelrod to write a screenplay that “softened” Capote’s edgy narrative, and Blake Edwards was given the director reigns. Edwards assembled a fine cast, which included Audrey Hepburn as Holly Golightly, George Peppard as Paul Varjak, Patricia Neal as Emily Eustace, Buddy Ebsen as Doc Golightly, Martin Balsam as O. J. Berman, and Mickey Rooney as Holly’s landlord Mr. Yunioshi. For the 1950’s, this truly sordid story broke all the sensibilities of the day – Holly was a foul-mouthed, bisexual, social-climbing and gold-digging prostitute, who has had an abortion and smokes marijuana! The fact that the story’s narrator was gay only added to the controversy. Jurow and Shepherd knew the story as written would never fly, so they chose not to make a modern and edgy social drama. They astutely recast the story’s narrative into a more conventional, and emotionally accessible direction – a romantic comedy. Well, Holly’s love affair with struggling writer Paul succeeded on all counts and won audience hearts worldwide. The film was also a critical success, earning five Academy Award Nominations, winning two for best Original Song and Best Score. Read more…
FIRST BLOOD – Jerry Goldsmith
MOVIE MUSIC UK CLASSICS
Original Review by Craig Lysy
First Blood was adapted from the David Morrell in 1972 novel of the same name, although an alternative ending was shot that preserved the story’s protagonist for future tales. Sylvester Stallone plays John J. Rambo, a Vietnam War veteran who gained honor and distinction serving as a member of the elite United States Special Forces, for which he was awarded the Congressional Medal of Honor. Yet all is not well as he is haunted by the horrors of war and cannot find inner peace as he tries to adapt to civilian life. As Rambo hikes through Hope, Washington, to visit a friend he arouses the interests of the xenophobic local Sheriff, William Teasel (Brian Dennehy), who promptly escorts him out of town. Outraged as his treatment as he has not done anything wrong, Rambo returns to the town; Teasel takes his return as a personal affront and promptly arrests him on false charges. When Rambo is further disrespected and physically abused by Teasel’s minions he snaps and switches into his special forces combat mode with predictable and devastating consequences for his abusers. After pummeling his abusers, he escapes the jail and then flees on a motorcycle to the safety of the woods. Teasel, of course, organizes a hunting party to bring Rambo in “to face justice.” What follows is a rampage of killing and destruction as Rambo brings Teasel and his city to the brink of defeat. Thanks to the timely intervention of his commanding officer Colonel Trautman (Richard Crenna), Rambo’s release and free passage is negotiated to save the town further carnage. The movie served as a potent commentary on the alienation and estrangement felt by many of our soldiers as they returned from a deeply unpopular war and attempted to re-assimilate into society. Read more…
STAR TREK III: THE SEARCH FOR SPOCK – James Horner
MOVIE MUSIC UK CLASSICS
Original Review by Craig Lysy
Star Trek II: The Wrath of Khan achieved tremendous critical and commercial success, and so Paramount quickly authorized the making of a third film. However, director Nicholas Meyer refused to return in protest over changes made to the prior film’s ending without his consent. When Nimoy was asked to reprise the role of Spock, he said yes, with the caveat that he wanted to direct the film. The studio hesitated, but ultimately agreed, and Harve Bennett was again hired to produce and write the script. The original crew ensemble returned including; William Shatner as Captain Kirk, Leonard Nimoy as Spock, DeForest Kelly as Dr. McCoy, James Doohan as Scott, George Takei as Sulu, Walter Koenig as Chekov and Nichelle Nichols as Uhura. Joining the cast was Christopher Llyod as the villain Captain Kruge, Robin Curtis replacing Kirstie Alley as Lieutenant Saavik, Mark Lenard as Sarek, Merritt Buttrick as Dr. David Marcus, and the renowned Dame Judith Anderson as the Vulcan high priestess T’Lar. Nimoy wanted the film to be operatic with a transpersonal exploration of the themes of life, death and rebirth. Yet he also wanted to explore on a more personal level, the deeper meaning of friendship. Nimoy relates: “What should a person do to help a friend? How deeply should a friendship commitment go? And what sacrifices, what obstacles, will these people endure?” Read more…
STAR TREK II: THE WRATH OF KHAN – James Horner
MOVIE MUSIC UK CLASSICS
Original Review by Craig Lysy
James Horner won my heart in 1982 with his score to Star Trek II: The Wrath of Khan and he quickly became my favorite composer. His tragic and untimely death was personally devastating to me and I to this day continue to mourn his passing. I realized that I was about to reach a milestone, my 100th review, and thought what could be more fitting than to use this special occasion to celebrate his legacy with a heart-felt homage to one of his greatest scores.
Although disappointed by the lukewarm reception of Star Trek: The Motion Picture in 1979, Paramount was committed to continuing with its enormous investment in resurrecting the franchise, albeit with different leadership. Gene Roddenberry was assigned blame for the lethargic and plodding Star Trek: The Motion Picture and ‘promoted’ to executive consultant. Harve Bennett was given creative control and tasked with writing a better and more memorable story, which recaptured the spirit of the TV series. Bennett quickly realized that he faced a serious challenge in developing the new Star Trek movie, as remarkably, he was unfamiliar with its history, having never seen the television show! He studiously watched all the episodes, and had an epiphany after viewing “Space Seed”. He correctly reasoned that what was needed to make Star Trek successful again, was a villain worthy to serve as Kirk’s foil. The fierce and indomitable Khan Noonian Singh fully embodied the coveted perfect adversary for the film. Read more…
ANTHONY ADVERSE – Erich Wolfgang Korngold
MOVIE MUSIC UK CLASSICS
Original Review by Craig Lysy
Warner Brothers Studio was in the market for a period piece romance and found its inspiration in Harvey Allen’s massive 1200 page novel “Anthony Adverse” (1933), paying an amazing $40,000 for the screen rights. Veteran director Mervyn LeRoy was hired to manage the project with Sheridan Gibney and Milton Krims tasked with adapting the mammoth novel for the big screen. The stellar cast included Frederic March as Anthony Adverse, Olivia de Havilland as Angela Giuseppe, Donald Woods as Vincent Nolte, Anita Louise as Maria Bonnyfeather, Edmund Gwenn as John Bonnyfeather and Claude Rains as Marquis Don Luis. Set in late 18th century Italy, the story offers a classic morality tale abounding with treachery, betrayal and misfortune. Maria is in an arranged marriage to the rich and cruel Marquis Don Luis, who is very much her senior. She however is in love with the man her dreams, a young and dashing French Calvary officer with who she becomes pregnant. When the Marquis discovers her dishonor, he kills her lover in a duel, and after she dies in childbirth, leaves her bastard son at a convent. When young Anthony reaches manhood he falls in love and marries his sweetheart Angela. By a twist of fate they become separated, tragically he is bereft at her disappearance while she feels he has abandoned her. As Anthony seeks his fortune overseas Angela rises to become an opera star. Years later when our lovers finally reunite, Anthony discovers that Angela has bore him a son, but she fails to disclose that she is now the famous opera star Mlle. Georges, mistress of Napoleon Bonaparte. When Anthony learns her secret, he is heart-broken and departs for America with his son in search of a better life. The film was a commercial and critical success, earning seven Academy Award nominations, winning four, including Best Original Score. Read more…
Shop at the Movie Music UK Store
Member of the
MOVIE MUSIC UK 