Classic Ross Amico

Tag: Western Film Scores

Elmer Bernstein’s Magnificent Western Film Scores

Elmer Bernstein scored films in just about every genre – from “The Man with the Golden Arm” (1955) to “The Ten Commandments” (1956) to “To Kill a Mockingbird” (1962) to “The Great Escape” (1963) to “Animal House” (1978) to “The Age of Innocence” (1993) to his final project, the Oscar-nominated “Far from Heaven” (2002) – but he had a particular knack for the western.

His swaggering theme for “The Magnificent Seven” (1960) is just about synonymous with most people’s idea of western adventure. (It also sold a heck of a lot of cigarettes when it was licensed by Marlboro.)

Not surprisingly, “The Magnificent Seven” put Bernstein much in demand as a western composer, and he wrote scores for many, including most of the films of John Wayne’s final decade. What’s striking is just how much he was able to vary them. His work for “The Comancheros” (1961) is very different from that for “True Grit” (1969), for instance, and “The Shootist” (1976), Wayne’s final film, is different still.

You’ll be able to sample some of them, when we saddle up for seven magnificent western scores of Elmer Bernstein, for the composer’s birthday, on “Picture Perfect” – music for the movies – now in syndication on KWAX, the radio station of the University of Oregon!

Clip and save the start times for all three of my recorded shows:

PICTURE PERFECT, the movie music show – Friday at 8:00 PM EDT/5:00 PM PDT

SWEETNESS AND LIGHT, the light music program – Saturday at 11:00 AM EDT/8:00 AM PDT

THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EDT/4:00 PM PDT

Stream them, wherever you are, at the link!

https://kwax.uoregon.edu/

April 4, 2025
John Williams’ Western Film Scores

Looking back on the cinematic western, by the mid-1970s it was definitely time to water the horses. For much of the preceding decade, most of the important statements in the genre had gone elegiac, revisionist, spaghetti, or some combination of the three.

With the release of “Star Wars” in 1977, elements of the western survived, but beyond a handful of exceptions, the western, like the swashbuckler, had moved to outer space.

Though John Williams became inextricably linked with the intergalactic spectacle, it is little known that he, in common with most of his contemporaries, scored a number of actual, old school westerns. This week on “Picture Perfect,” we’ll listen to music from four of them.

Westerns don’t get much more primal than when revenge becomes a motivator. Mark Rydell’s “The Cowboys” (1972), one of the better of John Wayne’s later films, draws blood when Bruce Dern commits an unspeakable crime against the American West. If you’re a collector of Boston Pops records, you may be familiar with the rousing overture Williams assembled from his score.

Before he slipped into a lazy pattern of inviting his celebrity friends to goof off in front of the camera and then cashing the paycheck, Burt Reynolds made a number of effective dramatic films. In “The Man Who Loved Cat Dancing” (1973), Reynolds plays a laconic train robber haunted by a secret in his past, who finds a second chance with Sarah Miles, the wife of one of his pursuers, who rides along with his gang. Williams provided a really groovy opening number for this one.

Despite the how-could-it-possibly-miss teaming of Marlon Brando and Jack Nicholson – with “Bonnie and Clyde” director Arthur Penn at the helm – “The Missouri Breaks” (1976) bombed with both critics and audiences. (If you ever wanted to see Brando in drag, then this is the film for you.) Williams took a different approach with this one, providing a more intimate, if off-kilter score, tinged with jazz and pop elements, and featuring guitar, banjo, harmonica, honky tonk piano, electric harpsichord, etc.

“The Rare Breed” (1966), on the other hand, is straight-down-the-middle, with James Stewart and Maureen O’Hara introducing Hereford cattle to the American west. Brian Keith, as Stewart’s rival, sports a red beard and a Scottish burr, for some reason. Williams, however, is wholly himself, providing an uplifting, wide-open main theme. Would that film composers still wrote like this.

Saddle up for selections from John Williams westerns this week, on “Picture Perfect,” music for the movies, now in syndication on KWAX, the radio station of the University of Oregon!

Clip and save the start times for all three of my recorded shows:

PICTURE PERFECT, the movie music show – Friday at 8:00 PM EDT/5:00 PM PDT

SWEETNESS AND LIGHT, the light music program – ALL NEW! – Saturday at 11:00 AM EDT/8:00 AM PDT

THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EDT/4:00 PM PDT

Stream them, wherever you are, at the link!

https://kwax.uoregon.edu/

PHOTOS: (clockwise from left) Reynolds loves Cat Dancing; Brando in touch with his feminine side; the Duke; and an unrecognizable Brian Keith

September 20, 2024
Westerns from the Old World

Before American composers like Jerome Moross and Elmer Bernstein made the western distinctly their own, the task of scoring the genre fell largely to European émigrés. This week on “Picture Perfect,” we’ll take a look at some outside perspectives on how the West was won.

Literally the godson of Richard Strauss, Max Steiner came from Vienna, where he studied with Johannes Brahms and Robert Fuchs. In Hollywood, he wound up scoring such classics as “King Kong,” “Gone with the Wind” and “Casablanca.”

Among his over 300 film projects were a number of westerns. One of these was “They Died with Their Boots On” (1941), which starred Errol Flynn as George Armstrong Custer and Olivia de Havilland as Libby, the woman who becomes his wife. Steiner’s score features familiar folk material, some old-fashioned faux “Indian” music, and one of his characteristically lush love themes.

Born in Ukraine in 1894, Dimitri Tiomkin was a pupil of Alexander Glazunov. He came to revolutionize the sound of the American West, when he wrote the music for “High Noon,” the first of his “ballad” scores. Advanced word, based on an early screening for the press, was that the picture would be a failure. However, Tiomkin had such faith in the theme song, sung in the film by Tex Ritter, that he hired Frankie Laine to record it, and the record became a world-wide hit. In fact, his score is largely credited with having saved the film.

Tiomkin was recognized with two Academy Awards: one for Best Original Song, and one for the score itself. It was the first time a composer won two Oscars for his work on the same movie. It also changed the way western scores were done. In the 1950s, Tiomkin became THE western composer of choice. He produced a number of subsequent ballad scores, including that for “Gunfight at the O.K. Corral” (1957). Asked how it was that a composer from Ukraine could write so convincingly for the American West, Tiomkin quipped, “A steppe is a steppe is a steppe.”

Another unexpected source of classic western music, Franz Waxman was born in Upper Silesia. He arrived in the U.S. by way of Germany. Nonetheless, as part of the composer’s varied and prolific output, he did indeed score a number of films in the genre, including “The Furies” (1950), a peculiar noir-western hybrid. Walter Huston, in his final film, plays a cattle baron who remarries and throws his empire into jeopardy. Barbara Stanwyck is his strong-willed daughter.

Hungarian-born composer Miklós Rózsa scored many films with historical settings – “Quo Vadis,” “Ben-Hur,” and “King of Kings,” among them. However, to my knowledge, his only western was “Tribute to a Bad Man” (1956). James Cagney stars as a rancher who doles out some frontier justice.

Finally, we’ll hear music by Ennio Morricone, from arguably the most operatic of all spaghetti westerns, “Once Upon a Time in the West” (1968). As a reaction to Tiomkin’s ballad scores and the neo-Coplandisms of Elmer Bernstein and the rest, Morricone brings his own quirky sensibility to bear on the classic western iconography. Get ready for indelible motifs for harmonica and banjo, but also an unexpectedly moving elegiac arioso, underscoring the close of the American West with the arrival of the railroad.

Better wind your pocket watches. Old World composers go west this week on “Picture Perfect,” music for the movies. The train arrives this Saturday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org.

August 27, 2022
John Williams’ Western Film Scores

Looking back on the cinematic western, by the mid-1970s it was definitely time to water the horses. For much of the preceding decade, most of the important statements in the genre had gone elegiac, revisionist, spaghetti, or some combination of the three.

With the release of “Star Wars” in 1977, elements of the western survived, but beyond a handful of exceptions, the western, like the swashbuckler, had moved to outer space.

Though John Williams became inextricably linked with the intergalactic spectacle, it is little known that he, in common with most of his contemporaries, scored a number of actual, old school westerns. This week on “Picture Perfect,” we’ll listen to music from four of them.

Westerns don’t get much more primal than when revenge becomes a motivator. Mark Rydell’s “The Cowboys” (1972), one of the better of John Wayne’s later films, draws blood when Bruce Dern commits an unspeakable crime against the American West. If you’re a collector of Boston Pops records, you may be familiar with the rousing overture Williams assembled from his score.

Before he slipped into a lazy pattern of inviting his celebrity friends to goof off in front of the camera and then cashing the paycheck, Burt Reynolds made a number of effective dramatic films. In “The Man Who Loved Cat Dancing” (1973), Reynolds plays a laconic train robber haunted by a secret in his past, who finds a second chance with Sarah Miles, the wife of one of his pursuers, who rides along with his gang. Williams provided a really groovy opening number for this one.

Despite the how-could-it-possibly-miss teaming of Marlon Brando and Jack Nicholson – with “Bonnie and Clyde” director Arthur Penn at the helm – “The Missouri Breaks” (1976) bombed with both critics and audiences. (If you ever wanted to see Brando in drag, then this is the film for you.) Williams took a different approach with this one, providing a more intimate, if off-kilter score, tinged with jazz and pop elements, and featuring guitar, banjo, harmonica, honky tonk piano, electric harpsichord, etc.

“The Rare Breed” (1966), on the other hand, is straight-down-the-middle, with James Stewart and Maureen O’Hara introducing Hereford cattle to the American west. Brian Keith, as Stewart’s rival, sports a red beard and a Scottish burr, for some reason. Williams, however, is wholly himself, providing an uplifting, wide-open main theme. Would that film composers still wrote like this.

Saddle up for selections from John Williams westerns this week, on “Picture Perfect,” music for the movies, this Saturday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org.

PHOTOS: (clockwise from left) Reynolds loves Cat Dancing; Brando in touch with his feminine side; the Duke; and an unrecognizable Brian Keith

May 8, 2021
Elmer Bernstein Western Film Scores

“Fill your hands, you son of a b****!”

Western film scores of Elmer Bernstein, on “Picture Perfect,” music for the movies, this Friday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org.

May 22, 2020

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