Category: Daily Dispatch

  • Viking Movie Music Swords Fjords and Soundtracks

    Viking Movie Music Swords Fjords and Soundtracks

    We’ve got the need for mead!

    This week on “Picture Perfect,” it’s an hour of swords and fjords, as we travel north for music from movies about the Norsemen.

    In “The Long Ships” (1963), two Viking brothers, played by the unlikely pair of Richard Widmark and Russ Tamblyn, make off with a king’s funeral ship – and the king’s daughter – as they set sail on a quest for the fabled “Mother of Voices,” an enormous solid gold bell – also coveted by a Moorish prince, played by the late Sidney Poitier. Needless to say, camp value is high. The music for this British-Yugoslavian production is by the Serbian composer Dusan Radic.

    “Prince Valiant” (1954), based on the enduring comic strip by Hal Foster, is set in the days of King Arthur, though Val himself is a Viking prince of the kingdom of Scandia. And indeed Vikings play an important role in the film. Victor McLaglen is Val’s Viking pal Boltar, Janet Leigh is Princess Aleta, James Mason the villainous Sir Brack, and Sterling Hayden a ridiculous Gawain. Robert Wagner dons the signature page-boy haircut.

    The score is every bit as vivid as the film’s Technicolor. We’ll hear selections from a very special recording, with the composer himself, Franz Waxman, conducting.

    Michael Crichton’s 1976 novel, “Eaters of the Dead,” presents an unlikely, fish-out-of-water alliance, between historic Persian ambassador of the 10th century, Ahmad ibn Fadlan, and a band of Vikings. They overcome their cultural differences to face off against the Wendol, humanoid creatures who periodically emerge from the mist to feed on human flesh.

    Crichton’s story was filmed in 1997 and ultimately released as “The 13th Warrior” (1999), with Antonio Banderas as Ibn Fadlan. The production was plagued by misfortune. The original director, John McTiernan, who found success with “Die Hard,” was fired for running over-budget, and Crichton himself was brought in to re-shoot a number of the scenes. Nevertheless, the film proved to be a box office failure. But any movie to feature a Jerry Goldsmith score – and Vikings! – can’t be all bad.

    The legendary Jack Cardiff, who actually directed “The Long Ships,” provided the stunning cinematography for “The Vikings” (1958). The film stars Kirk Douglas, Tony Curtis, Janet Leigh, and Ernest Borgnine. Although unintentionally amusing on several levels, “The Vikings” is highly regarded for its attention to detail and stabs at historical accuracy – particularly in regard to its Viking dragon boats.

    Also impressive is the haunting score by Mario Nascimbene, which we’ll hear in a digital re-recording, issued on the Prometheus Records label, featuring the City of Prague Philharmonic Orchestra and Chorus, conducted by Nic Raine. The recording is like mead from Valhalla.

    I hope you’ll join me for an hour of runes and tunes. It’s the definitive mix-tape for your dragonship, on “Picture Perfect, music for the movies, this Saturday evening at 6:00 EST, on WWFM – The Classical Network and wwfm.org.

  • Superman II & THX 1138 Movie Discussion

    Superman II & THX 1138 Movie Discussion

    It turns out that low blood sugar is my kryptonite, so I’m not sure if we ever came to a consensus on “Superman II: The Richard Donner Cut.” It sure was fun talking about all the behind-the-scenes drama, though. If you missed it, the show has been archived on a crystal at the Fortress of Solitude, but through the miracle of the internet, you can view it here:

    Next time, we’ll tackle George Lucas’ first feature film, “THX 1138” (1971). This sci-fi curio, produced by Francis Ford Coppola, features Robert Duvall, Donald Pleasence, and Don Pedro Colley as the future’s hungriest hologram. It’s been decades since either of us have last seen it, but I recall it being a rather chilly piece of dystopia, light years away from intergalactic exuberance of “Star Wars.”

    We’ll be reading off everyone’s license plate numbers during our discussion of “THX 1138,” on the next Roy’s Tie-Dye Sci-Fi Corner. Shave your heads in the comments section and maintain obedience to the state, when we livestream on Facebook, next Friday evening at 7:00 EST!

    https://www.facebook.com/roystiedyescificorner

  • Paris Blues Armstrong Newman Poitier & Racism

    Paris Blues Armstrong Newman Poitier & Racism

    Here’s a link to the “Battle Royal” scene from “Paris Blues” (1961). Louis Armstrong raises the roof of a subterranean jazz bar with Paul Newman and the late Sidney Poitier.

    Duke Ellington was nominated for an Academy Award in the category of “Best Music, Scoring of a Musical Picture,” but to no one’s surprise, lost to Saul Chaplin, Johnny Green, Sid Ramin, and Irwin Kostal for “West Side Story.” Poitier’s onscreen saxophone playing was recorded by Paul Gonsalves. Newman’s trombone part was recorded by Murray McEachern.

    The film contrasts American racism of the era with Paris’ comparative acceptance of Black people. “Here in Paris, I’m Eddie Cook, musician – period,” observes Poitier’s character, “not Eddie Cook, negro musician.”

    However, the interracial romance of Harold Flender’s 1957 novel was an extra mile United Artists was unwilling to go. Instead, the film version takes a more conservative route of pairing Poitier with Diahann Carroll. Poitier, disappointed with the change, later remarked that “cold feet… took the spark out of it.”

  • Poulenc Two Pianos Concerto Film Discovery

    Poulenc Two Pianos Concerto Film Discovery

    Neat discovery on Francis Poulenc’s birthday! The composer and Jacques Février play Poulenc’s Concerto for Two Pianos. The orchestra is conducted by Georges Prêtre, one of Poulenc’s most authoritative interpreters. Of course, this same team made a classic recording of the work for EMI. I’m just pumped that there’s a film, and that it’s so pristine! While it’s undeniably fun to watch the interplay between the two pianists in the fleeter passages, my favorite part of the piece has always been the second movement, clearly indebted to Mozart, but also touched by Poulenc’s characteristic wistfulness.

  • Superman Shattered: The Salkinds vs. Donner

    Superman Shattered: The Salkinds vs. Donner

    Father-son producers Alexander and Ilya Salkind trailblazed the superhero blockbuster with “Superman: The Movie” in 1978. Sadly, they also pointed the way on how to most efficiently destroy what should have been a bulletproof franchise.

    Greed, unscrupulous business practices, petty grievances, misplaced loyalties, and floundering morale did to Superman what Kryptonite could not. Practically everything that made the first movie great – the respectful tone, the epic scope, the loving craftsmanship, the closely-bonded cast and crew – was undermined in the making of “Superman II.”

    Of course, the Salkinds had already shown their true stripes a few years earlier, with “Three Musketeers” movies. That’s when they figured out that if they could lead everyone to believe they were shooting one long movie, they could then chop it in half and not pay anyone for the sequel.

    While they couldn’t exactly get away with that again with “Superman,” they did retain the business model of shooting two films at once. It hadn’t been the plan going in, but Mario Puzo’s crushingly epic screenplay led them to figure it out fairly quickly. Here, the intent was to pay everyone, but also to ruthlessly keep costs down, especially with Marlon Brando threatening to break the budget.

    Brando was in process of suing the Salkinds for his cut of 11 percent of the profits of the original film, on top of his nearly $4 million paycheck. This would become a common motif, as everyone started suing everyone.

    Counterintuitively, one would think, the Salkinds hired Richard Lester, director of “The Three Musketeers,” who still hadn’t been paid, to assist in the production of their second Superman movie. But what they really had in mind is something much more sinister.

    The whole thing is really a crazy story, and very involved, and Roy and I will get as much into it as we possibly can tomorrow night, when we discuss “Superman II” (1980). Only, at Roy’s suggestion, we’ll give it a further twist by doing so by way of THE DONNER CUT.

    More than anyone else, director Richard Donner had guided “Superman” to success. When he was summarily dismissed – and replaced by Lester – he had already shot 70 percent of the sequel. This would prove to be a heartbreaker for both director and Superman fans, as the series went downhill on banana peel faster than a speeding bullet.

    Over the years, numerous petitions were submitted to Warner Brothers for a second cut of the movie. Finally, in 2006, Donner was given the opportunity to go back and recut the film to the best of his ability, drawing on all the available footage, and bring it as close as possible to his original vision.

    The result is kind of rough, to be honest – what they really needed was for Superman to turn back time so that they could shoot additional material – but Donner did the best that he could with what he had, unavoidably using some of Lester’s material (but also deleting much of it), putting Brando back in the film, and even, for one scene, employing some screen test footage.

    Basically, it’s a curio for the hardcore fans, but there are those who swear by it. For the rest of us, we still sigh for what might been.

    I hope you’ll join us as we derive our powers from the yellow sun of Earth, on the next Roy’s Tie-Dye Sci-Fi Corner. We’ll send Richard Lester and the Salkinds to the Phantom Zone. Kneel before Zod in the comments section, as we livestream on Facebook, this Friday evening at 7:00 EST!

    https://www.facebook.com/roystiedyescificorner


    PHOTO: This cellophane “S” is NOT in the Donner cut.

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