Total Time: 63:37 - Chelsea Rialto Studios

1. Main Title 1:35 • 2. “April Showers” 2:51
3. “I’ll See You in My Dreams” 2:02 • 4. “A Chicago Country Club Dance” 2:02
5. “I’m Forever Blowing Bubbles” 1:45 • 6. “The Missouri Waltz” 1:48
7. “I’ll See You in My Dreams” 1:47 • 8. Larry’s Journey Overseas 1:20
9. Isabel and Larry in Paris 1:46 • 10. Returned Engagement Ring :40
11. Last Night Together 1:38 • 12. Night Clubbing 6:28
13. The Wedding Cake :50 • 14. After the Wedding :45
15. Miner’s Cafe 2:00 • 16. Larry Travels to the East 5:15
17. The Mountain Retreat 6:44 • 18. Larry and Maugham Reunited :11
19. Somerset Maugham and the Princess :41 • 20. The Rue De Lappe 2:47
21. Cocktails at the Ritz 1:52 • 22. Sophie’s Torment 3:09
23. Oboesque 1:43 • 24. Sophie’s Room 2:13
25. After Elliott’s Death 1:43 • 26. Finale :54
27. Exit Music 4:13
28. “J’aime ta Pomme” Demo 2:38
Total Time: 63:37

n June 1944, Darryl F. Zanuck, 20 th Century-Fox’s
studio head, was contemplating
making a big decision. In a memo to key
members of his staff he said:
This is my analyzation of The Razor’s
Edge [novel] by Somerset Maugham.
Despite the fact that to date no producer
on the lot has shown any great enthusiasm
for this story as a motion picture and
despite the fact that no other studio has
purchased it, I am inclined to believe that
we should buy it.
The book was published in May, and it
immediately went on the best-seller list. . . .
There must be a reason why the
American public at this moment is read-
ing this book more than any other book.
The answer, I think, is simple: Millions of
people today are searching for content-
ment and peace in the same manner that
Larry searches in the book.
The invasion of northern Europe had just
taken place on June 6. With the Allies closing
in on Germany from all sides, confidence
rose that the end of World War II was in sight.
And indeed it was. In 1945 the war ended and
millions of military personnel were returning
home to resume civilian life. But many,
because of their experiences in the war, were
unsettled. They realized that their values were
in some ways changing. More than a few
questioned the materialistic mode of living and
were looking for a meaning of existence.
In Maugham’s The Razor’s Edge, Larry
Darrell near the end of World War I is saved
from death by a comrade who gives up his life
in the effort. Larry feels that his life has been
spared for some particular purpose and wanders
about the world in search of philosophical
and/or spiritual guidance, leaving the woman
he loves and material advantages. In India,
he eventually achieves insight, tranquility,
and “goodness of soul.” Larry, at the end, has
found himself, and in helping himself he can
help others.
But as Zanuck said in a memo of December
6, 1945: “Larry is not carrying any great message,
nor is he looking to reform the world;
he is looking only for the answer to his own
quest for serenity and the key to his own future
happiness. . . . This, to me, is the theme of Mr.
Maugham’s book, and the reason it has been
such a tremendously big seller. It is a problem
which today is close to twelve million Americans.
It is a picture of faith and hope.”
Somerset Maugham in a September 1945
interview said: “I’ve had hundreds – actually
hundreds – of letters from soldiers at the front,
telling me how well they understood Larry
after their experiences. . . . Some of them have
said they will try to live that way in the years
ahead, if their lives are spared. You see, men at
war are either desperately busy or have a good
deal of idle time on their hands, so many of
these letters run to twenty pages or more.”
Above left: Director Edmund Goulding studies the mountain top retreat set on stage at Fox.

Religious novels (and films) were extraordinarily
popular during World War II – The
Keys of the Kingdom, The Song of Bernadette,
The Robe, The Apostle, etc. They dealt with
Christianity whereas The Razor’s Edge was
the only one that featured a Hindu philosophy.
The title of The Razor’s Edge came from the
Katha-Upanishad: “The sharp edge of a razor
is difficult to pass over; thus the wise say the
path to Salvation is hard.”
W. Somerset Maugham had been writing
novels, plays, and short stories for decades
prior to The Razor’s Edge. His first novel, Liza
of Lambeth, was published in 1897. A 1915
novel, Of Human Bondage, was made into
a feature picture three times. The Moon and
Sixpence (1919), based on the life of Gauguin,
was filmed in 1942. Both Maugham’s The
Letter and Rain (Sadie Thompson) were first
published as short stories, reworked as plays
by Maugham, and then produced as feature
pictures. But The Razor’s Edge was his major
“best-seller” novel.
Zanuck purchased the screen rights in late
1944 and assigned long-time Fox scenarist
Lamar Trotti to work on the adaptation
and script. Trotti’s previous credits include
Alexander’s Ragtime Band (1938), Drums
Along the Mohawk (1939) Young Mr. Lincoln
(1939), Man Hunt (1941), The Ox-Bow Incident
(1943), and the recently completed personal
production of Zanuck’s for Fox, Wilson
(1945). The Razor’s Edge became Zanuck’s
next personal production, meaning that in addition
to overall supervision of the entire
Edmund Goulding discussing “The Razor’s Edge”
with Tyrone Power.
Fox product, he would usually once a year
or so select a property to which he would
devote a considerable amount of time on a
daily basis during the script’s evolution, preproduction,
filming, and post-production.
In May, 1945, George Cukor, not a Fox
staff director but primarily with MGM
at the time, was set to direct The Razor’s
Edge. Cukor was unhappy with the script
development and suggested to Zanuck that
the studio ascertain whether Maugham himself
would be interested in working on the
script. Although Zanuck apparently thought
it highly unlikely that Maugham would accept
and/or that he would demand too much
money, the author sent Zanuck a telegram
saying that he would work on the screenplay
for no pay whatsoever; surely a unique attitude.
Maugham then spent June and July,
1945, as George Cukor’s houseguest while
working on his version of the script.
Maugham had no experience writing
screenplays. His first draft of July 20, 1945,
was labeled “Story in Dialogue by W. Somerset
Maugham.” The author’s preface stated
that “The following is not to be looked upon
as a script and will be incomprehensible
unless it is read in conjunction with Lamar
Trotti’s. It should be looked upon only as a
story in dialogue. . . ”
Then five days later he submitted his
“Revised Final.” The following “Author’s
Note” at the front of the script surely was
composed at least in part with tongue-incheek.
Maugham, of course, had been

involved over the years in many theatrical ventures
of his plays.
Please note that this is on the whole a
comedy and should be played lightly by
everyone except in the definitely serious
passages. The actors should take up one
anotherʼs cues as smartly as possible and
thereʼs no harm if they cut in on one
another as people do in ordinary life. Iʼm
all against pauses and
silences. If the actors
can’t give significance
to their lines without
these they’re not
worth their salaries.
The lines are written
to be spoken and they
have all the significance
needed if they are
spoken with intelligence
and feeling. The director
is respectfully reminded
that the action should
accompany and illus-
trate the dialogue. Speed! Speed! Speed!
Zanuck wanted in some way to pay for
Maugham’s services. Cukor suggested a painting
to be chosen by Maugham with the cost
stipulated by Zanuck not to exceed $15,000. A
Matisse was selected.
“I’m sure I derived more pleasure from
that work of art than Mr. Zanuck did from my
scenario on The Razor’s Edge,” Maugham told
author Wilmon Menard in the early 1960s.
“You see, he didn’t use a single line of my
script in the final production. . . . I think Mr.
Trotti made twelve versions before Mr. Zanuck
approved of one. . . . They took a lot of liberties
with my original novel in the final shooting
script.”
During the particularly long gestation period
from purchase of the screen rights to the start
of filming, several potential
casting names for the key
roles were bandied about
and in some cases tested.
Olivia de Havilland’s name
pops up in newspaper columns
more than any other
over the months for the role
of Isabel, Larry’s love who
was put on “hold” while
he traveled hither and yon
in search of philosophical
insights. Jennifer Jones had
been sought, but producer
David O. Selznick, who
held her contract (although she owed Fox commitments),
turned down the opportunity. Joan
Fontaine, Olivia de Havilland’s sister, was
also mentioned as a possibility for Isabel, as
was Katharine Hepburn, Maureen O’Hara and
Merle Oberon. For the role of Sophie, whose
life was wrecked by tragedy, the possibilities
included Fox contract player Nancy Guild, and
young Angela Lansbury, who had made her
American film debut in Gaslight (1944).
In Anne Baxter’s 1976 autobiography,
Intermission, she says that ex-child actress
Bonita Granville was about to be cast when
Baxter, under contract to Fox, asked to be
tested. At the eleventh hour Baxter was set
to play the drunken, opium-addicted, and
degraded Sophie – certainly a change of pace
for her.
The Production Code Administration, the
film industry’s self-regulatory
body, after reading the
submitted script, asked that
references to heavy drinking
be removed. Zanuck
personally responded in
a letter: “It is absurd to
eliminate drinking from
this picture as it would
be to eliminate drinking
from The Lost Weekend. .
. . Alcoholism is the basic
foundation of our plot. . . ”
The drinking stayed.
In August, 1945 it was
announced that Alexander Knox would portray
author Somerset Maugham, who in the
novel is the observer-narrator. Knox had the
leading role of President Woodrow Wilson in
Zanuck’s 1944 personal production for Fox
– Wilson. However, once again at the eleventh
hour Herbert Marshall, who had portrayed the
Maugham-like character in the 1942 film version
of Maugham’s novel The Moon and Six-
pence, took over the role. Thomas F. Brady in
a July 28, 1946 New York Times article stated
that Maugham “did insist. . . that Herbert
Marshall be engaged to play the raconteur of
the [Razor’s Edge] tale.”
In the one instance of sticking with the
original casting announcement, Clifton
Webb portrayed the snobbish socialite Elliott
Templeton. Under contract to Fox since his
impressive performance as Waldo Lydecker
in the studio’s 1944 hit,
Laura, Webb was an ideal
choice.
Britisher Philip Merivale
was cast as the holy
man in India that Larry travels
to for guidance. But he
died seventeen days before
filming began and Britisher
Cecil Humphreys replaced
him.
So what about Larry, the
male lead? No preliminary
announcements were made
but since World War II ended
in September, 1945, Zanuck was hoping that his
number one male star before the war would soon
be back from service, so he delayed production
for several months. Tyrone Power, whose last two
films, The Black Swan and Crash Dive , were
released in 1942 and 1943, had spent three-anda-half
years in the Marines. Beginning as a
private, he was discharged in late November,
1945 as a first lieutenant with Squadron 353 of

the Marine Transport Command, having
served in the Central and South Pacific. Zanuck
had saved Captain from Castile in addition
to The Razor’s Edge for Power.
By November, 1945 Fox contract star Gene
Tierney was assigned the female lead role of
Isabel. Tierney and Power previously had been
together in Son of Fury (1942). In the interim
she had become an important star on the Fox
lot after the astonishing success of Laura and
then Leave Her to Heaven in 1945, the most
commercially successful Fox film up to that
point. Famed designer Oleg Cassini, Tierney’s
husband, did her clothes for The Razor’s Edge.
Shooting began on March 29, 1946 but at
the helm was director Edmund Goulding – not
George Cukor. In a letter to Cukor dated November
14, 1945, Zanuck said in part:
Now comes the big problem of your
availability. [MGM executive Eddie]
Mannix told me that there would not be a
chance of your finishing your next as-
signment [at MGM] before sometime in
April, providing you get started the first
week in January. And he was very doubtful
about this starting date. If this is accurate
– and Eddie was very definite about this
point – it would be a terrible stumbling
block for us. . . .
Now it goes without saying that I want
you above anyone else to direct this
film. While we have some difficulties as
to interpretations of certain sequences,
I know that you are the man for the job,
and I know that on these points you will
be prepared to go along with me and
accept my instinctive feelings about them.
After all the work you have done on the
script and in the production preparation, it
would be a pity if you could not do the
film, but if what Mannix told me on
Monday is true, then I know you are not
going to be available. . .
Due to the scheduling conflict and the
previous decision to delay production, it was
determined that Cukor would have to bow out
in late November. Shortly thereafter Edmund
Goulding signed a long-term contract with Fox
and was handed The Razor’s Edge. He had
directed Claudia in 1943 for Fox and everyone
was very happy with the results. Prior to Claudia
he had been at Warner Bros. for several
years having directed such well-received films
as The Dawn Patrol (1938), Dark Victory
(1939), The Old Maid (1939), etc. Earlier at
MGM he directed Grand Hotel (1932), Riptide
(1934), and various others. Goulding’s primary
strength was in working with the actors,
responding to their needs, creating a happy atmosphere
on the set, and being psychologically
“in tune” with each of the players.
“I don’t recall a set where there was more
cheerfulness, much of it provided by our very
British director, Edmund Goulding,” wrote
Gene Tierney in her autobiography Self-Portrait.
“When he wanted to describe to you how

a particular scene should be played, he would
step in front of the camera and say, ‘May I be
you?’ Then he would promptly act out the entire
scene.”
Fox cinematographer Arthur Miller was
assigned The Razor’s Edge. He had won
Academy Awards for his work on How Green
Was My Valley (1941), The Song of Bernadette
(1943), and was about to win yet another for
Anna and the King of Siam (1946).
“Edmund Goulding . . . used a system of
photographing each complete sequence from
beginning to end with the camera shooting
from a crane following the actors. This was
supposed to achieve a continuous, smooth fluid
action,” Miller wrote in 1967. “We rehearsed
all morning and made the take before lunch,
then rehearsed another sequence during the
afternoon and shot it all before leaving the studio
in the evening. The actors were required to
memorize the dialogue for the entire sequence
and had to make all their moves and pauses
for dialogue precisely to the marks made during
the rehearsals, so that the movement of the
crane and the action would coincide. Zanuck
looked at the rushes for about three days before
deciding that both the action and dialogue appeared
mechanical. He then called a halt to this
method of shooting. Zanuck wanted medium
shots and plenty of close-ups to play with
when the time came to edit a picture.”
In viewing the finished film, it appears that
in reality a compromise (or blend) was made
between Goulding’s approach and Zanuck’s
insistence on breaking up the long takes for
editorial flexibility.
The Razor’s Edge was a long shoot. 83 days
were estimated but the final count was 95. This
was the longest filming schedule in 20 th Century-Fox’s
history up to then. Although “about
$4,000,000” was publicized at the time as the
production’s cost, according to Fox in-house
records, it actually came in at $3,355,000 –
which was a lot for a black-and-white noncostume
epic at that time. And it was a very
long picture at 146 minutes. Before Zanuck
trimmed it, the film was even longer – including
a programmed intermission that was deleted
prior to opening.
The production values were quite opulent,
including 89 full-scale sets, often with great
depth, that were beautifully rendered and
dressed at a total cost of $641,800 1946 dollars.
In addition there were hordes of extras in
many of the settings. The only jarring notes
from a production standpoint are the obvious
painted backing of the Himalayas behind the
holy man’s domicile and a phony composite
shot with clouds at the climax of Larry’s India
pilgrimage.
After editing and then scoring by Alfred
Newman, the film was sneak-previewed. Zanuck
sent a memo to Spyros Skouras, president
of Fox, on October 28, 1946. He said in part:
An additional forty-two preview cards
came in the mail today on The Razor’s
Edge. . . . To date we have a total of one
Production crew prepares for the country club scene.
hundred and twenty-four cards [in addition
to the ones filled out and handed in after
the preview at the theatre].
The cards are divided as follows:
fifteen are marked good or very good,
one hundred and nine are marked excellent
or superb.
This is the only preview we have had
on any film where no cards were marked
fair or bad. . . . Many cards openly state
that the picture, in addition to being
outstanding entertainment, made a great
impression on them . . . .
Altogether they are the most unusual
and outstanding set of preview cards we
have ever had on any film.
Although The Razor’s Edge received mixed
reviews when released in November, 1946, it
became Fox’s biggest hit at the box office up

to then. Obviously, the timing of the subject
matter was a major factor. Nominated for best
picture by the Academy of Motion Picture Arts
and Sciences, it lost to The Best Years of Our
Lives. Other nominees for best picture that year
were It’s a Wonderful Life, The Yearling, and
the British Henry V. Anne Baxter received the
Academy’s best supporting actress award for
her role in The Razor’s Edge.
In The Encyclopedia of Novels into Film
(1998), there is an accurate breakdown by
Stephen C. Cahir regarding the differences
between Maugham’s novel and the 1946 film:
here are a few heavily condensed excerpts from
Cahir’s text:
Generally, the film is a very faithful
rendition of the novel. However, . . . .
the film’s focus is on the love story
involving Isabel, Larry, and Sophie. . . .
Sophie (Anne Baxter), absent from much
of the book, is a major character in the
film. The novel’s focus, Larry’s search for
meaning, is greatly abbreviated. . . .
The film simplifies the philosophical-
religious aspect of the story. . . . No
reference is made to Hinduism. . . .
Larry’s enlightenment occurs in an off-
screen instant. . . .
The limited sexuality of the novel is
completely omitted from the film,
understandably a concession to 1946
censors. Sophie’s sexual experiences
are only implied, Larry’s are not men-
tioned, and Suzanne Rouvier, the would-
be artist with many lovers, does not
appear at all. . . .
On October 18, 1948 Lux Radio Theatre,
then the most important dramatic show in broadcasting,
presented their adaptation of the 1946
film. Ida Lupino played Isabel, Mark Stevens
was Larry, Edgar Barrier portrayed Somerset
Maugham, Joseph Kearns was Elliott Templeton,
and Frances Robinson played Sophie.
The only theatrical remake of The Razor’s
Edge was released in 1984, although it seems
that the late 1960s and early 1970s would have
been more timely for another version. This was
the period of the anti-establishment hippie culture,
during which some individuals and groups
made pilgrimages to India in search of inner
peace and insights at the feet of a guru. Unlike
the studio-bound 1946 version, for the 1984 film
some actual locations were used – particularly
India to good effect.
Larry was played by Bill Murray, Isabel was
Catherine Hicks, Sophie – Theresa Russell, and
Elliott Templeton was portrayed by Denholm
Elliott. Somerset Maugham’s character on screen
was jettisoned on this occasion.
Before moving on to Alfred Newman’s music
for the 1946 Razor’s Edge, a brief interlude on
the advertising art for the film..
Rudy Behlmer is the author of
Behind the Scenes: The Making of . . . ,
Memo from Darryl F. Zanuck,
Inside Warner Bros (1935-1951), etc.
The director demonstrates how
to play a particular scene with
leading lady Gene Tierney.

he most popular
American illustrator
of his era, Norman
Rockwell, was engaged
by 20th Century-Fox’s
director of advertising and
publicity Charles Schlaifer
to create a painting for
The Razor’s Edge to be
used on billboards and in
magazines and newspapers.
Schlaifer had previously
hired him to paint the
promotion and advertising
art for Fox’s The Song of
Bernadette (1943).
Rockwell is particularly
famous for his over 300
Saturday Evening Post
magazine cover paintings
that began in 1916 and
ended 47 years later when
he switched to Look magazine
for a ten-year run. The
earlier decades were when
general interest magazines
represented the dominant
form of home entertainment.
Rockwell’s sometimes
poignant, sometimes
humorous scenes of Ameri-
cana depicted life as he (and his audience)
wished it to be. Said the artist: “I unconsciously
decided that if it wasn’t an ideal
world, it should be.”
Immensely prolific over the decades, he
illustrated books, magazine stories, painted
advertisements, Christmas cards, calendars,
postal stamps, playing cards, murals, etc.
The output had an emotional quality that
gave personal meanings to many different
kinds of people.
Rockwell was commissioned to create
the advertising art for a few films over
the decades, including Orson Welles’ The
Magnificent Ambersons (1942) and the 1966
remake of Stagecoach.
“Whenever we got the idea that we
needed outside art, we always went to fine
artists,” recalled Fox’s Charles Schlaifer.
“Norman Rockwell’s art for Bernadette
was one of the most effective pieces . . .
ever created for a motion picture. When he
said that he’d have to charge me a lot of
money – ‘twenty-five’ – I thought he meant
$25,000, but he meant $2,500.
“I used him again on Razor’s Edge and,
after Bernadette, every other film company
hired him at $25,000 for a piece of work.”
For The Razor’s Edge Fox launched the
most extensive billboard campaign in the
history of the corporation up to that time.
—R.B.

lfred Newman’s affinity for spiritual
matters was always apparent,
especially in his music for such films
as The Song of Bernadette, The Keys of the
Kingdom, The Robe and The Greatest Story
Ever Told – all of which dealt with aspects of
Christianity, from ordinary men and women
who lived holy lives to the death and
resurrection of Jesus himself. But with The
Razor’s Edge, Newman faced a unique challenge:
A man’s quest for universal truths that takes
him into the Hindu belief system and beyond.
In 1946, Newman was at the top of his
game. He had won three Academy Awards (for
Alexander’s Ragtime Band, Tin Pan Alley and
Song of Bernadette) and 18 additional Oscar
nominations for his work on such classics as
The Hurricane, The Prisoner of Zenda, Wuthering
Heights and How Green Was My Valley. He
ran the 20th Century-Fox music department
and regularly conducted an orchestra of
Hollywood’s finest musicians.
Newman’s boss, Darryl F. Zanuck stated in a
1945 memo: “This is the only picture that I am
going to put my name on as an individual
producer this year.” That made it Newman’s
number-one priority for 1946 as well, although
he also worked that year on Centennial
Summer, Three Little Girls in Blue, Margie,
The Shocking Miss Pilgrim and My Darling
Clementine – as well as supervising or
conducting many other Fox films being scored
by other composers.
Newman’s involvement began even before
production commenced, in part because Zanuck
agreed (presumably at director Edmund
Goulding’s request) to have a small orchestra on
the set throughout much of the filming. Records
at Local 47 of the American Federation of
Musicians indicate that, from late March through
the end of May, as many as 17 sideline players
(sometimes, records say, for “atmosphere”) were
employed for The Razor’s Edge.
“It created a mood that often is lacking on
cold sets,” Goulding later told a Fox publicist.
“In the silent days the practice of playing music
on the stages was very effective but, because of
sound, it seldom is employed today.” On
several of the days, it wasn’t just any random
group of freelance musicians, either – it was the
orchestra of John Scott Trotter, perhaps best
known as Bing Crosby’s musical director for
many years.
In addition, Newman oversaw the choices
and arrangements of a good deal of source
music for the film, including several songs for
which on-set playback would be necessary.
Music for dancing at Elliott Templeton’s party,
for example, and the scenes of Parisian
nightlife that featured musicians on-camera,
required advance work by Newman’s associates
And then there was the matter of Goulding’s
insistence upon contributing to the score via
songs of his own composition (see sidebar).
This required Fox music department personnel
to take down Goulding’s whistled tunes and
adapt them for appropriate use in the film. His
“J’aime ta Pomme,” the Parisian café music
associated with Sophie, required several
arrangements, mostly for small ensemble
including accordion, violin, bass and drums.
Most of
these were
written by
Fox veteran
Arthur
Morton.
Maurice
dePackh,
another

studio regular, wrote the arrangement of “Night
Was So Dark,” the Russian café piece that
features balalaikas, domra and cimbalom; Fox
vocal coach Charles Henderson was credited
with the vocal arrangement for the Russian
singers. Herb Taylor also contributed a handful
of arrangements of source music, some used,
some not.
The lavish Chicago party that begins the
film features several standards, including “April
Showers,” “I’m Forever Blowing Bubbles” and
“Missouri Waltz,” all arranged by Newman’s
regular orchestrator Edward Powell; and “I’ll
See You in My Dreams,” arranged by Herbert
Spencer.
It even fell to the music department to
arrange for a piano coach for Clifton Webb,
who as Templeton was to be seen playing
Chopin; this was done, department notes
indicate, on March 22 in “Mr. Newman’s
bungalow.” (There is no such scene in the final
cut, although Chopin’s “Polonaise” is heard
playing in the Paris rooming house where Larry
Darrell lives.) Alfred’s brothers Lionel and
Emil were peripherally involved, too,
conducting source cues for playback during the
shooting process.
These were relatively easy tasks to assign
and accomplish. The more critical work of
creating the original dramatic score was left to
Newman and Powell, and this was probably
done in August 1946 as recording occupied
much of September.
Evaluating the script, the rough cut and the
performances, as he always did, Newman
decided to write two main themes: one for
Larry’s relentless search for the meaning of life,
which the composer called “The Pursuit of
Knowledge,” and another for the complex
relationship of Larry and Isabel, which
Newman titled “Seduction.”
In an experiment that would rarely be
repeated at Fox, Zanuck asked Newman to
compose the score for Larry and Isabel’s Paris
love scene before shooting, so that it could be
played back on the set while Tyrone Power and
Gene Tierney were playing their parts.
Sixty years later, it is impossible to know for
certain why this unusual request was made. But
one possible reason involves the gamble that
Zanuck knew he was taking with The Razor’s
Edge – an expensive movie based on a novel
that, because it was essentially about ideas,
religion and philosophy, many thought was
unfilmable and might not attract a wide
audience – and a giant promotional opportunity
being offered by Life magazine in advance of
the film’s release.
Life was the nation’s most popular weekly,
reportedly read by one of every three
Americans in that era. Editors proposed to
“explain the enormously complicated process
of making such a movie” by selecting a single
sequence and having a photographer capture on
film all of the many crafts it took to bring one
scene to life. The scene chosen was the Power-
Tierney kiss, and the results were printed on
nine consecutive pages of the August 12, 1946
issue. Included was a shot of Newman
conducting the Fox orchestra and a second
photograph of two pages of the conductor’s
score for the scene.
The movie would not actually be scored
until September. But Fox cooperated fully with
Life’s photographer and reporters and, in order
to include the process of music, something had
to be written and recorded for playback on the
set. This may also explain why “Seduction” is
effectively a more sophisticated version of a
theme Newman had written a decade earlier for
the Samuel Goldwyn film These Three. Either
Newman felt that it was a good theme, long
forgotten, that might work for Larry and Isabel;
or that it was a temporary solution to an
immediate problem that could always be
replaced later, but wasn’t – perhaps, again,
because Goulding and
Zanuck fell in love with it
(as often happens in films
today with “temp tracks,”
temporary music placed in
the film during early postproduction,
usually prior
to the composer’s
involvement).
A close look at the
score as reproduced in the
tiny photograph in Life
reveals that it was, indeed,
the “Seduction” music
used in the final film,
meaning that the music
(probably with minor tweaks) remained in the
score months after the magazine photo-op.
Regardless of the origins of the love theme,
it turned out to be just right for the film, its
yearning nature giving voice to the desire felt
by both Larry and Isabel, one that was never to
be consummated.
The theme for Larry’s quest, “The Pursuit of
Knowledge,” must have been far more difficult
for Newman – attempting to define in music the
search for answers to the whys and wherefores
of man’s existence, the same questions that
have been asked by so many for thousands of
years. There is something mysterious and
questioning but also an undeniable nobility to
this theme, just as there is something noble and
pure about Larry, especially after his visit to the
Himalayas and the answers he finds there.

In fact, the high point of the score may be the 12
minutes of music that follow Larry to India and his
epiphany at the top of the world (tracks 16 and 17).
The music of these scenes alternates between
variations on “The Pursuit of Knowledge” and a
secondary theme, “The Philosopher,” for the Holy
Man (Cecil Humphreys) whom Larry encounters and
who urges him forward on his journey. This theme is
initially voiced by the clarinet, later by the French horn.
There are several other, minor, Newmancomposed
pieces in the score, most of which are
source cues designed to evoke the proper mood
during festivities in Chicago and Paris: “A Chicago
Country Club” (track 4) appears twice during the
movie’s opulent initial party; “Le Bistro” and
“Chemin de Compagne” (in track 8), the can-can
“Café Francais” (which opens track 12); “The
Wedding Cake” and “After the Wedding,” (tracks 13
and 14), a waltz and another dance number for the
marriage of Isabel and Gray; “The Ritz” and
“Cocktails” (track 21), another pair of delightful
waltzes for a sophisticated Paris restaurant;
“Oboesque” (track 23), an exotic, Eastern-sounding
backdrop for the opium den where Larry finally finds
Sophie; “The Photograph” (track 24), in the aftermath
of Sophie’s death, and “Farewell” (track 25), which
follows Elliott’s death.
“Joan and Don,” for a scene with Maugham and a
princess (track 19), was actually written by Newman
for Joan Bennett and Don Ameche in the 1942 Fox
film Girl Trouble. “The Parisian Trot” (the lively
piece in track 11) is a Lionel Newman-Charles
Henderson composition. Newman’s staff also
discovered a pair of traditional French folk tunes,
“Aupres de ma Blonde” and “Les Trois Capitaines”
(track 15) to underscore the scene with Larry and a
fellow miner in a bistro.
Alfred Newman finished the recording with a 93piece
orchestra on September 14, 1946, but returned
– probably after final trims by Zanuck – on
September 30 to re-record, again with a 93-piece
orchestra, the main title, finale and trailer music. A
few of the November 1946 reviews cited Newman’s
contribution to the film, although by now, the critics
took a ho-hum attitude because of his extraordinary
track record: “The music supplied by Alfred Newman
is just one more of his superior attainments,” said The
Hollywood Reporter.
He revisited the music of The Razor’s Edge only
once, when he re-recorded seven of his most famous
movie themes for Mercury Records. He asked Powell
to arrange a three-and-a-half minute version of
“Seduction,” and it was recorded in October 1950. (In
fact, Newman used the back cover of his coffeestained
conductor book for Razor’s Edge to work out
the sequencing of that album.)
Alfred Newman’s score for The Razor’s Edge was
not among the film’s Academy Award nominees for
1946. The Fox score nominated that year was
Bernard Herrmann’s work for Anna and the King of
Siam, although Newman’s music direction on Jerome
Kern’s Centennial Summer was nominated in the
“scoring of a musical picture” category. Nonetheless,
the music of The Razor’s Edge remains a landmark in
the history of Fox scores, and one of Newman’s most
powerful works.
Jon Burlingame writes about movie music for
Daily Variety and The New York Times.
He is the author of
Sound and Vision: 60 Years of Motion Picture
Soundtracks, and he teaches film-music history at USC.

dmund Goulding, already famous as
the director of Grand Hotel and Dark
Victory before he received the assignment
to helm The Razor’s Edge, was also an
accomplished tunesmith.
Goulding was what the music business call
s a “hummer” - in the same sense as Charles
Chaplin - when it came to music for their films.
Chaplin would hum, whistle, sometimes plunk
out a tune on the piano for his composers, who
would then translate these simple melodies into
a score by creating harmonies and countermelodies
and fully orchestrating them for
performance in the movie. Goulding actually
preferred to whistle his tunes.
“Ever since I was a youngster I wanted to be
a composer,” Goulding told a Fox publicist for the
Razor’s Edge pressbook. “Someday, when and
if I ever stop directing films, I’m going to do
nothing else but sit at my piano from morning
until night writing all the music inside of me and
giving expression to the hundeds of tunes that
I’ve been carrying around in my head.”
According to a 1947 profile in Time magazine,
it began when Goulding was unhappy with a
line reading Gloria Swanson gave in his early
talkie The Trespasser and decided to “divert the
audience’s attention with background music,”
specifically a tune of his own. “Love, Your Spell
Is Everywhere,” with lyrics by Elsie Janis, was
played in the film and later recorded by
bandleader Ben Selvin, who had a top-10 hit
with it in late 1929.
Other songs followed: “You Are a Song,” with
lyrics by the great Leo Robin, for The Devil’s
Holiday (1930), and which Goulding actually
sang on a CBS radio broadcast; music for
Blondie of the Follies (1932) and Riptide (1934);
and “Oh Give Me Time for Tenderness,” again
with lyrics by Janis, for the Bette Davis classic
Dark Victory (1939).
For The Razor’s Edge, Goulding wrote three
songs, two of them ephemeral source tunes –
“Night Was So Dark” for the Russian singers in
a Parisian nightspot, “The Miner’s Song” for
laborers emerging from underground – and one,
“J’aime ta Pomme,” that was not only more
prominent in the film but, in a later incarnation
as “Mam’selle,” destined to become a pop hit.
Goulding’s first two songs in Razor’s Edge
are functional and used only once as on-screen
source pieces. “Night Was So Dark” appears about
35 minutes into the film, as Larry and Isabel are
enjoying a final night together in Paris. They visit
a Russian café where a nine-man ensemble –
three on stage, six strolling through the room – is
playing traditional Russian folk instruments,
including balalaikas and domras, and serenading
diners. The lyrics, written by famed Russian
soprano Nina Koshetz, who was now living in
Southern California and had worked with Newman
as chorus leader on the 1934 Goldwyn film We
Live Again. Their English translation:
Night was so dark
Not a trace of stars
No, never could I forget that night
In that dark night

Love shone through the dark
But alas, we had to part
Like a gust of wind
Like a whirlwind storm
I would fly after you
Above the mountains
Like a brave wild falcon, I would soar
There isn’t any happiness for me any more
Could I ever bring you back to me
Never to forget you – Never.
(The Razor’s Edge conductor books, both in the
Newman Collection at USC and the originals at
Fox, have the actual lyrics in Russian script, as
they were sung and played by Russian-speaking
extras during shooting. The translation was found
in the continuity script in the Fox collection at USC.)
The “Miner’s Song” appears about 46 minutes
into the picture, and is heard only briefly as raucously
sung by Larry’s French friends after a long day’s
work in the mines. The lyrics were penned by
Jacques Surmagne, a Frenchman who may have been
a Fox employee (his name later resurfaces as an
associate producer on television’s 20th Century-
Fox Hour in the 1955-56 season).
More importantly, Surmagne wrote the words to
Goulding’s haunting tune for the film’s doomed
Sophie (Anne Baxter), “J’aime ta Pomme.” Although
this song does not surface until an hour and 23 minutes
into the film, it becomes one of the key themes of
the score because of its association with Sophie,
Larry’s affection for her, and her tragic demise.
It’s a deeply felt love song in the classic French sense,
and in its longest incarnation it goes like this:
J’aime ta pomme, pomme-pom,
Ta jolie pomme, pomme-pom,
Et j’aime entendre tes mots tendres
Me griser toujours,
Je suis a toi, ma pomme,
Tu es a moi, ma pomme,
Et dans mes bras, tu connaitras,
La valse d’amour
Et blonde ou brune
Quand un chacun trouve sa chacune
Au clair de la lune,
En la prenant tendrement dans ses bras
d’amant
Il lui dit tout bas,
Viens danser avec moi, viens tous les
deux, ma pomme,
Si tu le veux, ma pomme, dans le pays de
paradis de notre grand amour.
Je suis a toi, pomme-pom,
Tu es a moi, pomme-pom,
Et dans mes bras tu connaitras la valse
d’amour.
The studio’s official English translation:
I love your face, Pomme-pom,
Your pretty face, Pomme-pom,
I like to hear your tender words
That intoxicate me always –
I belong to you, my apple,
You belong to me, my apple,
And in my arms you’ll know
The waltz of love.
And blonde or brunette,
When a he meets a she
In the light of the moon,
Taking her in lover’s arms
He tells her softly:
Dance with me, come both of us, my apple,
If you want, my apple, to the paradise
country of our great love.
I belong to you, Pomme-pom,
You belong to me, Pomme-pom,
And in my arms you’ll know the
waltz of love.
“J’aime ta Pomme” appears in various arrangements,
from an initial
on-screen performance in
the French café to a ghostly
reprise in Sophie’s mind as
she takes up the bottle again
to forget her dead husband
and child. Most of these were
written by Arthur Morton and
are labeled variously “café
arrangement,” “tango arrangement,”
“parting arrangement,”
although one, labeled “reunion
arrangement,” was penned by
Herb Taylor (frequent orchestrator
for Dimitri Tiomkin and composer
of TV’s Death Valley Days theme).
Goulding’s tune, and
Morton’s various versions of
it, are wonderfully French in
mood and color. The film’s
box-office popularity made exploitation of a
musical theme a clear promotional opportunity,
and “J’aime ta Pomme” was an obvious choice.
Lyricist Mack Gordon, whose 1943 Oscar (for
“You’ll Never Know” from Hello, Frisco, Hello)
and five other nominations were all for Fox
films, took Goulding’s music and added a new
English-language lyric for commercial release.
The new ballad was called “Mam’selle” and
told the story of a late-night romantic rendezvous
in Montmartre. Artists lined up to record it, and
there were no fewer than six top-10 records of
the song in April and May of 1947. Two (the
versions by Art Lund and Frank Sinatra) went to
no. 1. Two others (by Dick Haymes and the Pied
Pipers) went to no. 3. It spent three weeks at no. 1
on radio’s popular Your Hit Parade and spent
19 weeks all told on the Hit
Parade’s top 10 list (basically
all spring and summer).
Records by Dennis Day and
Frankie Laine were also hits,
and in subsequent years the
roster of artists who recorded
“Mam’selle” included Tony
Bennett, Nat
King Cole, Vic Damone, Robert
Goulet and Lawrence Welk.
The Goulding profile
in Time claimed that he
“objected to the music
written for a Montmartre
café scene. He whistled a
new tune, which was picked
up by a studio accordion
player and transcribed for
orchestra.” Sixty years later,
it’s hard to know how much of that story is fact
and how much is press-release fancy – but the
popularity of the song is undeniable, and the latter
part of the Time story is probably true: “The
studio got 5,000 letters asking about the song…
`Mam’selle’ jumped from 25th to first place on
sheet-music best-seller lists in 10 weeks.”
— J.B.

1. Main Title 1:35 The Razor’s Edge opens
with Alfred Newman’s magnificent theme
“The Pursuit of Knowledge”, which plays
during the entire main title sequence.
2. “April Showers” 2:51 After a spoken
introduction
by Herbert
Marshall in
the role of
Somerset
Maugham,
the story
begins at
a Chicago
country club dinner party early in the 1920’s
where Elliott Templeton (Clifton Webb)
explains away Maugham’s presence at the
party to his sister Louisa (Lucile Watson)
by declaring that “authors go everywhere
nowadays.” While the orchestra continues to
play “April Showers” by Louis Silvers and B.
G. DeSylva, Elliott and Louisa discuss Larry
Darrell, a “loafer” for whom Elliott has nothing
but contempt.
3. “I’ll See You in My Dreams” 2:02 Joining
the party are Isabel Bradley (Gene Tierney)
and Sophie Nelson (Anne Baxter). Isabel compliments
Sophie on her gown. Sophie confesses
that it’s all for her fiancé, Bob MacDonald. The
country club orchestra plays “I’ll See You In
My Dreams” by Isham Jones and Gus Kahn.
4. “A Chicago Country Club Dance” 2:02
An original fox trot by Alfred Newman is
played while Sophie and Somerset Maugham
discuss Elliott Templeton. “They laugh behind
his back but eat his food and drink his wine,”
Maugham observes. Into the scene enters
Isabel’s fiancé Larry Darrell (Tyrone Power).

5. “I’m Forever Blowing Bubbles” 1:45
The gay, carefree atmosphere continues to
the strains of “I’m Forever Blowing Bubbles”
by Jaan Kenbrovin (a collective pseudonym
for James Kendis, James Brockman and Nat
Vincent) and John William Kellette. Sophie
introduces Maugham to her fiancé Bob Mac-
Donald (Frank Latimore). While Sophie and
Bob dance, Larry and Isabel steal away into
the garden.
6. “The Missouri Waltz” 1:48 Based upon
a melody by John V. Eppel, “The Missouri
Waltz” was arranged into song form by Frederic
Knight Logan. The somewhat melancholy
character of the tune underscores the frustration
Isabel feels for Larry, who has just turned
down a promising position. Isabel admonishes
Larry that it is a man’s duty to take part in the
activities of his country. Larry remains blithely
unimpressed by Isabel’s scolding.
7. “I’ll See You in My Dreams” 1:47 The
popular favorite is reprised by the country club
orchestra while Isabel and Larry discuss the
future. She thinks it might be best if he goes
away and, in fact, Larry is thinking of going
to Paris to “clear his mind.” If he doesn’t find
there what he is looking for, he will return to
Chicago and take the first work he can get.
8. Larry’s Journey Overseas 1:20 As
Elliott describes how he will ensure that Larry
leads a proper life with proper associates, we
see Larry’s actual life in Paris. A musical montage
comprised of “Le Bistro” and “Chemin
de Compagne” underscores Larry as he lives
the life of a bohemian and takes a garret in a
small hotel.
9. Isabel and Larry in Paris 1:46 Isabel
has come to Paris and Larry tells her all about
his life,
that he is
beginning
to see
things in
a clearer
light. He
takes Isabel
to his
room. This
cue marks the first appearance of Newman’s
“Seduction” theme and, as we reach Larry’s
hotel, it segues to the sound of a piano playing
a Chopin polonaise, coming from another flat.
10. Returned Engagement Ring :40
Far from being
impressed, Isabel
tells Larry that
she cannot live
on $3,000 a year
and she returns his
engagement ring.
11. Last Night Together 1:38 Isabel
and Larry decide to have one last night
together before she returns to America.
She is determined it will be an evening he
will never forget and that he will forsake
his meandering existence. As she meets
him on the staircase in her black Cassini he
declares “I’ve never seen you so beautiful.”
A montage of gay night spots (beginning
with “The Parisian Trot” on the soundtrack)
follows Larry and Isabel as they float from
party to party.
12. Night Clubbing 6:28 Larry and Isabel
continue their spot-hopping, entertained by cancan
dancers (with Newman’s “Cafe Francais”
on the soundtrack), a Russian balladeer (Noel
Cravat on-screen only) singing Edmund Goulding’s
“Night Was So Dark,” and finally an early
morning dose of Le Jazz Hot! The jazz rhythms
(“Dardanella” by Felix Bernard) dissolove into
an impassioned rendition of “Seduction” as
Larry brings Isabel home and then says goodbye.
But Isabel invites him in for one last drink. They
kiss passionately.
She removes
her shawl and
fingers his lapel
A moment before
surrendering to
passion, Isabel
retreats and asks
Larry to leave. As dawn breaks she discovers
uncle Elliott waiting up for her.

13. The Wedding Cake :50 A brief transition
cue, a waltz by Alfred Newman, takes us to the
wedding of Isabel and Gray Maturin (John Payne).
14. After the Wedding :45 An original
melody by Newman, this cue is reminiscent
of the popular song “Every Little Movement
Has A Meaning All Its Own.” Maugham
wonders to Elliott what has happened to Larry
Darrell. Elliott confides glibly, “Shall I tell you
something my dear fellow - I don’t care a row
of beans!”
15. Miner’s Cafe 2:00 An accordion
medley of the French
folk tunes “Aupres
de ma Blonde” and
“Les Trois Capitaines”
underscores a scene
in a coal miners’ cafe
where Larry and a fellow miner discuss the
virtues of the East. The miner, an “unfrocked”
priest, tells about a Holy Man in India who
might be able to help Larry find himself. Note:
the miners’ song described in the preceding
profile of Edmund Goulding was recorded live
on-set and was not among the pre-recorded
music cues.
16. Larry Travels to the East 5:15 Larry has
traveled to India and
meets the Holy Man
(Cecil Humphreys).
He tells him of his
search for guidance.
The Holy Man tells
him “even to admit
that you want to learn is in itself courageous...
the road to salvation is as difficult as the sharp
edge of a razor.” This cue is a medley of “The
Pursuit of Knowledge” and “The Philosopher.”
17. The Mountain Retreat 6:44 Larry
climbs the mountain that overlooks the lamasery.
He stays in a hovel retreat and is, in time, visited
by the Holy Man. It is plain that Larry has
experienced
a profound
awakening,
about which
he tells his
mentor about.
The man from
the East is
now convinced that it is time for Larry to go
back and live in his own world.
18. Larry and Maugham Reunited
:11 In Paris,
Maugham has
a rendezvous
with Larry,
who begins
to tell him of
his time in
India.
19. Somerset Maugham and the
Princess :41 Princess Edna Novemali
inquires after Elliott Templeton. This waltz
by Alfred Newman was originally composed
in 1942 for the Fox picture Girl Trouble.
20. The Rue De Lappe 2:47 Larry,
Isabel, Gray and Maugham visit a Parisian
dive, the Rue de Lappe. To their disbelief
they meet Sophie MacDonald. Sophie, whose
husband and infant child were killed in an
auto wreck, has fallen into drunken debauchery.
Introduced in this sequence is Edmund
Goulding’s song “J’aime ta Pomme.”
21. Cocktails
at
the Ritz
1:52 Larry,
empowered
by his teachings
in the
East, has
helped Sophie
to wrestle herself from the bottle. In fact,
they are to be married. They meet Maugham,
Gray and Isabel at the Ritz for lunch. Elliott
is there too, and passes judgment on the Princess
Novemali. Elliott, forbidden by doctors
to touch alcohol, implores his friends to try a
rapturous Russian liqueur, Perzovka. Isabel,
horrified at the idea of Larry and Sophie
being married, goes over the top raving about
the liqueur. It is all Sophie can do to restrain
herself from imbibing. This cue features yet
another original waltz by Alfred Newman.
22. Sophie’s Torment 3:09 Isabel has
brought Sophie to her home and, having planted
seeds of doubt in her mind, leaves her alone with
a bottle of Perzovka. Sophie takes the bait and,
after downing a glass quickly refills it. Heard
during this sequence is a far away reprise of

“J’aime ta Pomme.” As the veil lifts from the
soundtrack the scene changes to the Rue de
Lappe where Larry enters looking for Sophie.
23. Oboesque 1:43 Larry is led by a taxi
driver (Louis Mercier) to a middle eastern den
of ill repute
where
Sophie is
found in
a drunken
stupor.
Larry tries
to take her
out but
is tackled
by a couple of denizens (Bud Wolfe and Fred
Graham). While Larry fights off his attackers
Sophie runs off into the rainy streets of Paris.
Much of “Oboesque” is dialed out in the final
dub of the picture.
24. Sophie’s Room 2:13 A year later, news
comes that Sophie has been murdered. The
police take Larry and Maugham to see her room.
There they
find a photo
of Sophie’s
late husband
and child.
Larry picks
up a volume
of Keats
and recites
a verse that he used to read to Sophie when
they were very young. As the inspector closes
the room Larry and Maugham leave to visit a
gravely ill Elliott Templeton in Nice.
25. After Elliott’s Death 1:43 Maugham
tells Isabel that Larry is leaving for America,
working his way
home on a tramp
steamer. Despite
Maugham’s warning,
Isabel threatens
to see Larry in
America as often
as she can.
26. Finale :54 Larry has confronted Isabel over
Sophie and he leaves confident that they will
never see one another again. Maugham is awed
by Larry’s inner spirit, proclaiming that “goodness
is the greatest force in the world - and he’s
got it.” The final shot shows Larry hauling bags
of sail on the ship to America. With a mighty
crash of a wave on screen and cymbals on the
soundtrack we have reached THE END.
27. Exit Music 4:13 This grand waltz was
recorded during The Razor’s Edge scoring
sessions, though it does not appear in the picture.
While there is no documentation with reference
to planned exit music, the fact that The Razor’s
Edge was originally intended to have an intermission
makes additional program music plausible.
28. “J’aime ta Pomme” Demo 2:38 French
actor and singer Louis Mercier recorded this
demo of “J’aime ta Pomme.” It is not known if
he was intended to sing the song at some point
in the picture. He does appear as a taxi driver
in the scene where Larry looks for Sophie.
The take is, as you will hear, aborted. But we
nevertheless felt Mercier’s rendition warranted
inclusion on this CD.
his compact disc of Alfred Newman’s
complete score to The Razor’s Edge
was produced using dual-angle
recordings preserved in the 20th Century-
Fox vaults. Originally stored individually on
1000 ft. reels and later transferred to audio
tape, the multiple angles were synchronized
to produce a true stereophonic recording.
The score was then assembled and mixed
as it appeared in the final dub of the picture.
The producers offer our profound merci
beaucoups to Ned Comstock of USC;
the wonderful staff at the Morion Picture
Academy Library; Tom Cavanaugh of 20th
Century-Fox; and special bows of gratitude
to Rudy Behlmer for his superb essay on
the making of The Razor’s Edge and to Jon
Burlingame for his indispensable articles on
both Alfred Newman’s music for the picture
and the film’s director/songwriter Edmund
Goulding.
—Ray Faiola

Producers: Ray Faiola, Nick Redman and Craig Spaulding
Film Notes: Rudy Behlmer • Music Notes: Jon Burlingame
Audio Production: Ray Faiola, Chelsea Rialto Studios
Design: Charles Johnston
For Twentieth Century-Fox: Tom Cavanaugh
Still Photographs: Academy of Motion Pictures Arts and Sciences,
University of Southern California - Alfred Newman Collection
SPECIAL THANKS: Robert Kraft, Ned Comstock (USC), Stacey Behlmer,
Barbara Hall, Jenny Romero (AMPAS), Fred Steiner and John Morgan
A Screen Archives Entertainment Production
THE RAZOR’S EDGE: Starring Tyrone Power, Gene Tierney, John Payne, Anne Baxter, Clifton Webb
Lucile Watson and Herbert Marshall, Screenplay by Lamar Trotti based on the novel by W. Somerset Maugham,
Musical score by Alfred Newman, Orchestrations by Edward Powell, Photographed by Arthur C. Miller,
Edited by J. Watson Webb, Jr., Produced by Darryl F. Zanuck and Directed by Edmund Goulding
Previous SAE-CRS Releases
Distant Drums: Max Steiner and the United States Pictures Scores - A two-CD set featuring the scores
to Cloak and Dagger, My Girl Tisa, South of St. Louis and Distant Drums • Pursued - Music by Max Steiner •
Court - Martial of Billy Mitchell - Musical Score by Dimitri Tiomkin (includes Court-Martial Scenes with Cast) •
Wilson - Music by Alfred Newman • Down to the Sea in Ships and Twelve O’Clock High - Music by Alfred Newman •
Dragonwyck - Music by Alfred Newman • Irving Berlin’s Alexander’s Ragtime Band - Musical Direction by
Alfred Newman • Captain From Castile - by Alfred Newman • Night And The City - Scores by Benjamin Frankel
and Franz Waxman • The Blue Bird - Music by Alfred Newman • The Black Swan - Music by Alfred Newman • The
Keys of the Kingdom - Music by Alfred Newman • The Foxes of Harrow - Music by David Buttolph • Son of Fury
- Music by Alfred Newman • Marjorie Morningstar - Max Steiner
Available through Screen Archives (540) 635-2575
or online at www.screenarchives.com