Classic Ross Amico

Tag: Miklos Rozsa

Film Noir Shadows and Moral Ambiguity

This week on “Picture Perfect,” as the shadows lengthen, we revisit the world of film noir, a genre notoriously slippery to define, but easy to know when you see it – with its long shadows and moral ambiguities; cock-eyed camera angles and snappy repartee; isolation and innuendo. It’s a genre where a pair of gams is an invitation to the gallows; where a man’s best friend – and sometimes his worst enemy – is his Colt .38; where only cigarettes and bourbon can ease the pain.

The labyrinthine mystery at the heart of “The Big Sleep” (1946) is so disorienting, even the book’s author, Raymond Chandler, couldn’t tell whodunit. Who cares? Humphrey Bogart and Lauren Bacall get some more steamy dialogue to satisfy fans of “To Have and Have Not,” and there’s plenty of Bogey pounding the pavement and tossing off tart one-liners in pursuit of the truth. But my favorite scene involves Dorothy Malone, who runs the hottest bookstore in town.

https://www.youtube.com/watch?v=AO9Q-81w6KQ

Whenever there are gallows to be built or gangsters to be beaten, Warner Brothers could be counted on to assign Max Steiner.

“Chinatown” (1974) is one of the best of the neo-noirs of the 1970s. This time, Jack Nicholson plays private dick J.J. Gittes, who takes on a seemingly routine case that begins to spiral out of control. When producer Robert Evans rejected Philip Lambro’s original score, Jerry Goldsmith stepped in as a last-minute replacement. The composer was hired with the understanding that he had only ten days to write and record new music. For his effort, Goldsmith received an Academy Award nomination.

The Coen Brothers clearly love noir, from their first feature, “Blood Simple,” to their Academy Award winners, “Fargo” and “No Country for Old Men,” to their absurdly entertaining reimagining of “The Big Sleep,” “The Big Lebowski.” “Miller’s Crossing” (1990) was one of the more underappreciated of these. The film follows the well-worn device of an anti-hero playing two sides off of one another, until he is the last one standing – shades of Dashiell Hammett’s “Red Harvest,” with a healthy dose of “The Glass Key” thrown in, for good measure. The Irish-inflected score is by Coen regular Carter Burwell.

Before he became stereotyped as a composer for epic films like “Ben-Hur,” “King of Kings” and “El Cid,” Miklos Rozsa was the king of noir, providing scores for genre classics such as “Double Indemnity” and “The Strange Love of Martha Ivers.” We’ll hear a suite assembled from three such projects: “Brute Force” (1947), a hard-hitting prison drama, starring Burt Lancaster as a desperate inmate and a contemptible Hume Cronyn as a sadistic guard; “The Killers” (1946), also starring Lancaster as a marked boxer; and “The Naked City” (1948), with Barry Fitzgerald leading a police investigation into the murder of a young model. The suite is titled “Background to Violence.”

Put on your rumpled linen suit, draw the Venetian blinds, and play the sap for nobody this week. It’s film noir in the gritty city, on “Picture Perfect,” music for the movies, this Friday evening at 6:00 EST, on WWFM – The Classical Network and at wwfm.org.

The theatrical trailer for “Brute Force”:

PHOTO: Bogart discusses literature with Dorothy Malone

November 11, 2016
Sherlock Holmes Movie Music on WWFM

The game’s afoot! It’s an afternoon of mystery and imagination.

This week on “Picture Perfect,” the focus will be on films inspired by the world’s greatest detective, including “Sherlock Holmes” (2009), with music by Hans Zimmer, “The Private Life of Sherlock Holmes” (1970), with music by Miklos Rozsa, “Without a Clue” (1988), with music by Henry Mancini, and “Young Sherlock Holmes” (1985), with music by Bruce Broughton. That’s all coming up at 6:00 EDT.

To get you in the mood, I’ll be playing Rozsa’s Violin Concerto in the 4:00 hour, a work director Billy Wilder listened to incessantly while writing his screenplay for “The Private Life” and upon which he requested the composer base his film score.

Then in the 5:00 hour, we’ll have the Sherlock Holmes ballet, in all-but-name, “The Great Detective,” by English composer Richard Arnell.

In the words of Holmes himself, “Once you eliminate the impossible, whatever remains, no matter how improbable, must be the truth.” Join me for an afternoon of improbably good music, from 4 to 7:00 EDT, on WWFM – The Classical Network and at wwfm.org.

November 4, 2016
Bernstein Conducts Rózsa Rare 1943 Broadcast

Leonard Bernstein conducts Miklós Rózsa? No way. YES, WAY!

On November 14, 1943, a 25 year-old Bernstein strode onto the podium to replace an ailing Bruno Walter – without rehearsal – for what became his New York Philharmonic debut. The rest, as they say, is history. On the program was Robert Schumann’s “Manfred Overture,” Richard Strauss’ “Don Quixote” and Miklós Rózsa’s “Theme, Variations and Finale.” The concert was broadcast nationwide. The New York Philharmonic issued the CBS transmission on CD in 1996. To my knowledge, this is the only document of Bernstein conducting Rózsa, who is best known for his film scores – especially that for “Ben-Hur,” but in 1943, Rózsa was chin-deep in his film noir phase.

You’ll be able to enjoy this historic concert broadcast and much more, as I salute Bernstein on his birthday anniversary, tomorrow morning from 6 to 11 EDT, on WPRB 103.3 FM and at wprb.com. We’ll go loony for Lenny, on Classic Ross Amico.

August 24, 2016
Hungarian Music on “The Lost Chord”

Have you a hunger for Hungarian music?

This Sunday night on “The Lost Chord,” I’ll be joined by Mariusz Smolij for the first of a two-part series, in which we sample from his recording projects for the Naxos label, focusing on Eastern European composers.

Smolij is known in the Greater Delaware Valley as the Music Director of the Riverside Symphonia, based in Lambertville, NJ, which he has directed for over 20 years. He is also music director of the Acadiana Symphony Orchestra and Conservatory of Music in Lafayette, LA, and formerly associated with the Houston Symphony Orchestra and the New Jersey Symphony Orchestra. He has taught conducting at the music school of Northwestern University in Chicago and was a founding violinist of the internationally acclaimed Penderecki String Quartet.

We’ll hear selections from a concert work by celebrated film composer Miklós Rózsa (he of “Ben-Hur” fame), as well as several by his lesser-known friend and colleague Eugene Zador.

That’s “Famished for Hungary” – Mariusz Smolij’s recordings of Hungarian music for the Naxos label – this Sunday night at 10 EDT, with a repeat Wednesday evening at 6, on WWFM – The Classical Network; or listen to it later as a webcast at wwfm.org.

PHOTO: Mariusz Smolij (right), Ross Amico (left), conspicuous product placement (center)

June 12, 2016
WWII Film Scores for Memorial Day

While you’re sitting in traffic heading into your three-day weekend, take a moment to consider that you’ve got it easy compared to what Allied soldiers went through in Europe, the Pacific and North Africa to keep the world free from tyranny.

This week on “Picture Perfect,” we’ll have music from two films of the World War II era that exemplify Hollywood’s morale-boosting approach. “Sahara” (1943) pits Humphrey Bogart as a tank commander who defends a watering hole against a superior force of parched Nazis. “Objective: Burma!” (1945) drops Errol Flynn behind enemy lines to take out a Japanese radar station.

Neither film shuns the reality that war is hell (with some particularly suggestive gruesomeness in the latter), yet the filmmakers rose above the kind of nihilistic edge that underscores so many movies made today. When all was said and done, war movies in the 1940s sold America on hope and sacrifice and the promise of final victory.

The conflict cast a long shadow, and in the 1950s and ‘60s Hollywood continued to churn out WWII films at an impressive rate, selling tickets to the generation that had “been there.” “The Guns of Navarone” (1961) features Gregory Peck (exempt from service during the actual war because Martha Graham injured his back), David Niven (Lieutenant Colonel in the British Commandos at Normandy) and Anthony Quinn (born in Mexico and not naturalized until 1947) as a special unit of Allied military specialists on a mission to blow up some big Nazi guns trained over the Aegean Sea.

Efforts to get “Patton” (1970) off the ground had been in motion since 1953! The filmmakers wanted access to Patton’s diaries, but displayed horrible timing in approaching the late general’s family the day after the death of his widow. Not surprisingly, the family was completely turned off and withheld its cooperation. In the end Franklin J. Schaffner directed from a script by Francis Ford Coppola and Edmund H. North. Patton’s colleague, Omar Bradley, served as an advisor on the film. (He’s played on screen by Karl Malden.)

“Patton” likely would have been a knockout on any level (Rod Steiger turned down the lead, much to his later regret), but it is really George C. Scott that pushes it over the top. And how much more over the top can it get than that opening monologue, assembled from Patton’s speech to the Third Army, delivered in front of an enormous American flag? Only a larger-than-life actor such as Scott could have done it justice and not been dwarfed by both the subject and the iconography. Scott won a much-deserved Academy Award for his performance – which he famously refused to accept.

I hope you can join me for equally outsized music by Miklós Rózsa (“Sahara”), Franz Waxman (“Objective: Burma!”), Dimitri Tiomkin (“The Guns of Navarone”) and Jerry Goldsmith (“Patton”), as we look forward to Memorial Day with classic films set during World War II, this Friday evening at 6 EDT, with a repeat Saturday morning at 6; or that you’ll listen to it later as a webcast at wwfm.org.

May 27, 2016

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