Classic Ross Amico

Tag: John Williams

Elmer Bernstein A Cinematic Promised Land

With Passover only days away, simply remembering Elmer Bernstein leads me back through a wilderness of mediocrity that today passes for film music, to a Promised Land of cinematic milk and honey.

Over the course of an enviable career that spanned some 50 years, Bernstein composed music for dozens of movies, many of them still much-beloved, including “The Ten Commandments” (1956), “The Magnificent Seven” (1960), “To Kill a Mockingbird” (1962), and “The Great Escape” (1963).

In addition, he was one of the first film composers to incorporate jazz elements into his work for dramatic purposes, in movies like “The Man with the Golden Arm” (1955), “Sweet Smell of Success” (1957), and “Walk on the Wild Side” (1962).

Coming out of the Swinging Sixties, when the industry clearly favored a more “popular” sound over purely orchestral scores (until John Williams changed everything), Bernstein kept right on working. Thanks to a generation of younger filmmakers who had grown up on his classics, he never lacked for opportunities. Suddenly he found himself much in demand as a comedy composer, providing the underscores for “Animal House” (1978), “The Blues Brothers” (1980), “Airplane!” (1980), “Stripes” (1981), and “Ghostbusters” (1984).

For Martin Scorsese, he composed music for “The Age of Innocence” (1993), “Bringing Out the Dead” (1999), and “The Gangs of New York” (2002), though his score for the latter was ultimately rejected. He also adapted Bernard Herrmann’s music for Scorsese’s remake of “Cape Fear” (1991).

Oh yeah, along the way, he also composed the iconic National Geographic theme – clearly by the same man who wrote “The Magnificent Seven.”

In all, Bernstein was nominated for 14 Academy Awards, but claimed the Oscar only once, fairly early on, for his work on “Thoroughly Modern Millie” (1967), of all things. His final nomination was for his very last score, for “Far from Heaven” (2002). Elmer Bernstein died on August 18, 2004 at the age of 82.

Here’s a suite from one of his best-loved scores.

Happy birthday, Elmer Bernstein.

April 4, 2020
Oscar Music Special Webcast

Can’t get enough of Oscar? A reminder that Friday’s “Picture Perfect” Oscar Party has been posted early as a special webcast for Academy Awards weekend. Enjoy three hours of classic film scores and all five of this year’s nominees for Best Original Score. There’s also an “in memoriam” for Kirk Douglas (more to come on February 21) and even a John Williams medley. It’s the very thing to while away a Sunday afternoon, as you await the big ceremony. Listen online at WWFM – The Classical Network. Follow the link and click on one of the three “Listen” buttons to begin the show!

https://www.wwfm.org/post/picture-perfect-february-7-oscar-party-2020

February 9, 2020
Happy 88th Birthday John Williams

John Williams is 88 today. Happy Birthday, Maestro, and thanks for everything. You, more than anyone else, introduced me to a wider world of music.

February 8, 2020
Dystopian Film Soundtracks

If you think the world is in rough shape now, consider tomorrow.

This week on “Picture Perfect,” gaze into the crystal ball for an hour of dystopian visions – glimpses of a bleak future rendered hopeful, in large part, through music.

“Fahrenheit 451” (1966), based on the Ray Bradbury novel, presents a society in which books are outlawed by the state and burned as a means to control the masses. The title refers to the alleged temperature at which paper will ignite. Oskar Werner and Julie Christie star in this Francois Truffaut-directed film. Composer Bernard Herrmann finds the heart at fire’s center.

A robot is left behind to clean up a long-abandoned Planet Earth, in “WALL-E” (2008), one of Pixar’s finely-crafted entertainments. This one has a serious subtext, about rampant consumerism and its impact on an earth made uninhabitable by the sheer volume of garbage. But there’s also a love story, as WALL-E pursues another robot into outer space, with fate-changing consequences. The inventive score is by Thomas Newman.

As dystopias go, Steven Spielberg’s “A.I.: Artificial Intelligence” (2001) is a little more unpleasant than most. “A.I.” grew out of an incomplete project of Stanley Kubrick. Based on Brian Aldiss’s short story, “Super-Toys Last All Summer Long,” the film stars Haley Joel Osment as a child-like android programmed to love, only to be rejected by his adopted family. Abrasive blood sport, unpleasant visions of a debauched city, and human extinction ensue. A great time is had by all!

Also, the film doesn’t know when to end. I hate this movie.

That said, John Williams gives it his usual best. The voice of soprano Barbara Bonney graces the admittedly gorgeous soundtrack.

One of the landmarks of silent cinema, Fritz Lang’s “Metropolis” (1927) is an eerily prescient vision of a world divided between the “haves” and “have-nots.” Once seen, the subterranean hell of the workers “hive” is not soon to be forgotten. So much of the film continues to resonate, even as its iconography is shamelessly recycled.

Gottfried Huppertz’s original score already adheres to the Straussian model of Golden Age film scores, with leitmotifs representing the characters and ideas. It’s a concept that became associated with Max Steiner and Erich Wolfgang Korngold, and which has had an enormous influence on film composers down through the decades, all the way to John Williams and beyond.

Learn more about the challenges of writing such a complex score – which was performed live, with orchestra, at showings of the movie, even as the film was still being edited right up until its premiere – when listening to tonight’s show.

In the meantime, hang on to your humanity! Join me for these cautionary tales about totalitarian government, corporate control, and technology gone awry, on “Picture Perfect,” this Friday evening at 6:00 EST, on WWFM – The Classical Network and wwfm.org.

January 17, 2020
Hitchcock’s Harpsichords Crime Scores

In trying to convey the tone he was looking for in his latest motion picture, director Alfred Hitchcock stated drolly to his composer, “Mr. Williams, murder can be fun.” With this in mind, John Williams, who had just won an Academy Award for his music to “Jaws,” turned to the harpsichord.

Because of its use in mysteries and thrillers, the harpsichord – in context, a fusty-sounding instrument – had taken on a certain mischievous quality.

This week on “Picture Perfect,” we’ll hear selections from “Family Plot” (1976), a neglected score from the dawn of Williams’ widespread popularity, alongside Ron Goodwin’s music for “Murder She Said” (1961), the first of Margaret Rutherford’s Miss Marple films; John Addison’s “Sleuth” (1972), an adaptation of Anthony Shaffer’s play, with Sir Laurence Olivier and Michael Caine engaged in a perilous battle of wits; and André Previn’s “Dead Ringer” (1964), starring a post-“Baby Jane” Bette Davis as dysfunctional twins whose fraught relationship leads to murder.

The order has been placed for ham on wry. Join me for an hour of wicked fun with arch harpsichords, on “Picture Perfect” – music for the movies – this Friday evening at 6:00 EST, on WWFM – The Classical Network and wwfm.org.

January 10, 2020

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