This week on “Picture Perfect,” I invite you to get lost. It’s all music from movies about lost worlds and forgotten civilizations.
While the concept of the “Lost World” dates at least as far back as Plato’s Atlantis, it wasn’t until the Victorian Era that the idea really blossomed in the public consciousness. At the time, of course, lost civilizations were genuinely being discovered – which might help explain, in part, the incredible of success of “King Solomon’s Mines.” The author, H. Rider Haggard, wrote the book on a bet that he could churn out an adventure story half as good as Robert Louis Stevenson’s “Treasure Island,” which had been published two years earlier.
“King Solomon’s Mines” became the literary sensation of 1885. Its protagonist, Allen Quatermain, is a direct ancestor of Indiana Jones. The book inspired reams of sequels and at least five film adaptations.
The two best known starred Stewart Granger, in 1950, and Paul Robeson, in 1937. Robeson, who played Umbopa, a king in disguise, received top billing. The score was by Mischa Spoliansky.
Haggard achieved another “Lost World” hit with “She,” first issued in book form in 1887 – another adventure about Europeans in Africa, who meet a seemingly immortal white queen known as the all-powerful “She,” or “She-Who-Must-Be-Obeyed.”
“She” has been adapted to film six times. The 1965 version starred Ursula Andress, Peter Cushing and Christopher Lee. The music was by Hammer Studios house composer, James Bernard. It’s nice to hear Bernard, who mostly wrote horror scores for the likes of Dracula and Frankenstein, provide something a little more nuanced for a change.
Rudyard Kipling’s “The Man Who Would Be King,” published in 1888, was clearly influenced by the writings of Haggard. In this case, two British adventurers in India strike out for a remote corner of Afghanistan to set themselves up as kings. The story was made into one of the great adventure films of the 1970s, directed by John Huston, and starring Sean Connery and Michael Caine. That Christopher Plummer appears as Kipling himself is only icing on the cake. Maurice Jarre wrote the rousing score.
Finally, James Hilton’s “Lost Horizon,” published in 1933, imagines Shangri-La, a Utopian society nestled in a sheltered valley somewhere in the mountains of Tibet. A British diplomat is one of a handful of passengers who survives a plane crash to be taken into the lamasery.
“Lost Horizon” was made into a film twice. The less said about the 1973 version, a musical with songs by Burt Bacharach, the better. Frank Capra directed the classic 1937 version, which starred Ronald Colman, Jane Wyatt, and outstanding character actors of the day, people like Edward Everett Horton, Thomas Mitchell, Sam Jaffe and H.B. Warner.
The score, Dimitri Tiomkin’s first major contribution, was also one of his most ambitious. Seldom was it so obvious that he had studied at the St. Petersburg Conservatory under Alexander Glazunov.
I hope you’ll lose yourself in music for lost civilizations this week, on “Picture Perfect” – music for the movies – this Friday evening at 6, with a repeat Saturday morning at 6; or that you’ll listen to it later as a webcast at wwfm.org.
PHOTO: Connery (right) with the man who would be Caine
