Tag: Aaron Copland

The inclusion of “The Cummington Story” (1945) on this week’s “Picture Perfect” made me reflect on current events. The short semi-documentary, made for the Office of War Information, relates the gradual acceptance of European war refugees into a cautious but fundamentally decent New England community. I try to stay off politics if I can help it, but I couldn’t help but notice a parallel with what’s going on in the news today, with everyone concerned about Syrian refugees.

My first thought was to put together a Thanksgiving show of music from films that highlight generosity and the gradual acceptance of strangers from different backgrounds. However, it would have required some finesse so as not to come across as preachy, and I was too overburdened this week to guarantee that lightness of touch. So I opted for an easier topic and one less likely to stir controversy.

Therefore, we have four films set in New England. I open with the aforementioned short, with music by Aaron Copland, which is far less well-known than his other New England film, “Our Town.” The score is pure Americana, with some of the material later finding its way into the composer’s Clarinet Concerto and “Down a Country Lane.”

Then we take a decidedly un-Thanksgiving turn (unless we count Jabez Stone’s eventual thanks for salvation), with “The Devil and Daniel Webster” (1941). An expanded treatment of Stephen Vincent Benet’s popular short story, it starred Edward Arnold as Webster, and Walter Huston in one of his most memorable roles as the diabolical Mr. Scratch. The film also features Bernard Herrmann’s second film score, written hot on the heels of “Citizen Kane.” It would earn the composer his only Academy Award.

“The Devil and Daniel Webster” was originally issued as “All That Money Can Buy,” in an attempt to avoid confusion with the contemporaneous “The Devil and Miss Jones.” I remember being disappointed with the adaptation the first time I saw it, having been such a fan of the original short story. Now I recognize its brilliance. Huston’s scenery-chewing (and pie-eating) performance aside, the director, William Dieterle, applies some nice Expressionistic touches. It’s an ingenious blend of eerie diabolism and homespun Americana.

I can’t find anything particularly “Thanksgiving” about “Peyton Place” (1957), about a fictional New England town whose residents have more than their share of skeletons in the closet. But Franz Waxman’s music sure is nice.

Finally, we’ll hear some of Miklós Rózsa’s score for “Plymouth Adventure” (1952). Spencer Tracy plays the cynical captain of The Mayflower. Gene Tierney is his forbidden love. Van Johnson appears as John Alden, and Lloyd Bridges is the first mate.

Rózsa, already at this stage of his career, was MGM’s go-to composer for historical drama. Seven years later, he would take home his third Academy Award for his classic score to “Ben-Hur.”

Curiously, this film about the Pilgrims sidesteps the actual first Thanksgiving. It does, however, include among its characters William Bradford, John Alden and Priscilla Mullins.

I hope you’ll join me for music from movies set in New England this week, on “Picture Perfect,” tonight at 6 ET, with a repeat tomorrow morning at 6; or that you’ll enjoy it later as a webcast at wwfm.org.

NOTE: Turner Classic Movies: TCM will air “Plymouth Adventure” this Sunday at 6 p.m. ET

You can watch “The Cummington Story” here: