“I coulda had class. I coulda been a contender. I coulda been somebody – instead of a bum, which is what I am.”
We’ve all had those kinds of days, haven’t we?
Yet Leonard Bernstein’s score for “On the Waterfront” (1954) was always a contender, even if at times the composer found himself on the ropes.
“On the Waterfront” was the only original film score composed by Bernstein (the screen adaptations of his stage musicals were adapted by other hands). Narrative film, of course, is a collaborative effort, in which music is usually the last to the table and the first to go. Bernstein’s score was edited and dialed down to suit the overall needs of the film.
Unused to such rough treatment, Bernstein found his brush with Hollywood to be dispiriting, to say the least. He arranged his music into a concert suite, over which he had complete control, and the work has gone on to become one of his better-known pieces. That said, what can be heard in the film remains a powerful statement, and one of the great film scores.
The original recordings, as they appear in the film, were long believed to have been lost. However, in the course of restoration of “On the Waterfront” for release on BluRay, it was discovered that audio had been preserved on acetate discs used for playback during the original recording sessions. Material from these were issued for the first time in 2014, on the Intrada label.
Bernstein’s music would be nominated for an Academy Award, one of twelve total nominations for the film. “On the Waterfront” would win in eight categories, including Best Picture, Best Actor (Marlon Brando), and Best Director (Elia Kazan). Bernstein may have lost out to Dimitri Tiomkin for his work on “The High and the Mighty.” However, like Brando’s Terry Malloy, his score to “On the Waterfront” proves itself a champion.
We’ll hear selections, alongside some of Aaron Copland’s music for “The Red Pony” (1949), once again, from the film’s original elements; dances from the only film score ever to be awarded the Pulitzer Prize for Music, “Louisiana Story” (1948), by Virgil Thomson; and the music that lends “Picture Perfect” its signature tune, “They Came to Cordura” (1959), by Elie Siegmeister.
It’s an hour of New York composers in Hollywood this week, on “Picture Perfect,” music for the movies, now in syndication on KWAX, the radio station of the University of Oregon!
Clip and save the start times for all three of my recorded shows:
PICTURE PERFECT, the movie music show – Friday at 8:00 PM EDT/5:00 PM PDT
SWEETNESS AND LIGHT, the light music program – Saturday at 11:00 AM EDT/8:00 AM PDT
THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EDT/4:00 PM PDT
Stream them, wherever you are, at the link!
Leave a Reply