Bill Wrobel's DVD - Film Score Rundowns

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-Reprisal (1956) ** [music **] http://www.lovingtheclassics.com/reprisal56.html I am a Guy Madison fan but this is not a good movie, hardly even “fair.” But it’s a classic compared to Jet Over The Atlantic! -Blue Denim (1959) ** [music *** 1/2] http://www.lovingtheclassics.com/bluedenim.html This is not a very good and now very dated black & white Fox movie about teenage “unprotected” love! I am surprised Herrmann did the score but I am glad he did—it’s gorgeous sounding! I have already done a chord profile treatment of the score: http://www.filmscorerundowns.net/herrmann/chordprofile4.pdf ******************************* -Prince of Players (1955) *** [music ****] http://www.lovingtheclassics.com/princeofplayers.html Fine story, fine actors, great Herrmann score. Raymond Massey and Richard Burton as father and son Booths are perfectly cast. Their voices alone reciting Shakespeare are worth the theater ticket. I do not have the complete score but much of it, so I may someday do a rundown treatment—maybe paired with another partial score. Two Herrmann halves should make a whole! Here’s a taste of what Herrmann concocted for this movie: “The Dawn” [Reel 4/pt 1] Allegro Moderato in C time. Scene: Drunken Edwin Booth tells his manager, “Leave me alone, sir!” Dvd location: 00:29:04. Normal open four horns open up the cue prominently ff on small octave B [written Line 1 F#] rinforzando-marked dotted 8 th to same B 16 th to same B quarter note tied to 8 th note to a new sounding of the same B-B-B 8ths (all four 8ths are crossbeam connected) to (Bar 2) B dotted 8 th (rinforzando-marked) legato mini-slur to A [written E] 16 th to same A quarter note tied to 8 th note to another A 8 th to a rinforzando-marked dotted 8 th to F# [written middle C#] 16 th to (Bar 3) B whole note sff >. Then in Bar 3 three “C” trumpets in hard mutes take over the general pattern forte on Line 1 B dotted 8 th to B 16 th and so forth (see Bar 1) to (Bar 4) B dotted 8 th to A 16 th up to Line 2 D quarter note tied to 8 th to C 8 th to Line 1 B rinforzando dotted 8 th to A 16 th to (Bar 5) Gb/Bb whole notes (trumpets I-II on Bb) sf >. Then in Bar 5 the horns return to play the same overall pattern but this time muted (sords) forte on middle C [written Line 1 G] dotted 8 th to C 16 th and so on thru Bar 6 to (Bar 7) D [written A] whole note. Then in Bar 7 the trumpets return but this time with cup mutes instead of hard mutes playing on Line 2 C dotted 8 th to C 16 th , and so on. Back in Bar 2, violas play ff small octave E whole note, celli play non-dvd Great octave and small octave C whole notes, and CB play small octave C whole note. English horns in Bar 2 play small octave E [written B] whole note legato slur to (Bar 3) F# [written middle C#] whole notes. Clarinets I-II play ff small octave E [written F#] whole 356
note to (Bar 3) F# [written G#] whole notes. Clarinets III-IV play the same E whole note to (Bar 3) D# whole note. The bass clarinet plays middle C [written D] whole note down to (Bar 3) F# whole note. Fags (bassoons) play Great octave and small octave C whole notes down to (Bar 3) B whole notes. In Bar 3, violins I-II show up to play ff small octave B whole note legato to (Bar 4) A whole note. Divisi violas in Bar 3 play small octave D#/F# whole notes to (Bar 4) C/E whole notes. VC play Great octave F#/B whole notes to (Bar 4) unison A whole note (notated two whole notes side-by-side). CB play Great octave B whole note to (Bar 4) A whole note. Pos (trombones) in Bar 3 play forte Great octave B/small octave D#/F# whole notes decrescendo hairpin to (Bar 4) small octave C/E/A dotted half notes (followed by a quarter rest). The tuba plays forte Contraoctave B whole note down to (Bar 4) A dotted half note. The timp in Bar 3 is trill rolled (tr^^^^^^^) forte decrescendo on Great octave B whole note (silent in Bar 4). So the tonality is B maj (B/D#/F#) in Bar 3 and A min (A/C/E) in Bar 4. Etc. “Exit” [Reel 5/pt 2] Lento tranquillo in 3/4 time, 4 bars. I believe the scene is the quiet exit of Mary… Actually I just checked my dvd (00:44:04). Here Mary says, “Come along, MR. Booth” and they both walk off into the street. In the grace bar, the oboe plays dolce p < Line 1 Ab quarter note up to (Bar 1) Line 2 Ab quarter note tied to “3” triplet value quarter note to Gb to F triplet value quarter notes down to (Bar 2) C half note (these notes are under the legato/phrase curve line). Then the oboe plays Line 2 Db quarter note decrescendo up to (Bar 3) F quarter note to “3” triplet value half note down to Line 1 Bb triplet value quarter note up to (end Bar 4) Line 2 Db dotted half note decrescendo hairpin and held fermata. Violins, violas and celli and sords (contrabasses are absent in this cue). Violins I are divided into two staves (as also violins II). Top staff violins I in Bar 1 sound pp crescendo hairpin Line 1 F/Line 2 Db dotted half notes legato slurs to (Bar 2) Line 1 Db/Ab dotted half notes decrescendo hairpin. In Bar 3, they then play Line 1 Db/Bb dotted half notes crescendo and legato to (Bar 4) F/Ab dotted half notes decrescendo and held fermata. Back in Bar 1, bottom staff violins I play Line 1 Db/Ab dotted half notes to (Bar 2) small octave Ab/Line 1 F dotted half notes to (Bar 3) small octave Bb/Line 1 Gb dotted half notes to (Bar 4) small octave Ab/Line 1 F dotted half notes held fermata. Back in Bar 1, top staff violins II play small octave Ab/Line 1 F dotted half notes tied to dotted half notes next bar decrescendo. Then in Bar 3 they play small octave Bb/Line 1 Gb dotted half notes to (Bar 4) Line 1 Db/Ab dotted half notes held fermata. Back in Bar 1, bottom staff violins II play Line 1 Db/F dotted half notes tied to dotted half notes next bar, and then in Bar 3 they play small octave BB/Line 1 Db dotted half notes to (Bar 4) Line 1 Db/F dotted half notes. Back in Bar 1, muted violas play pp < small octave Db/F dotted half notes to (Bar 2) F/Ab dotted half notes decrescendo. In Bar 3, the violas then play unison Gb dotted half note down to (Bar 4) Db/F dotted half notes decrescendo and held fermata. Back in Bar 1, celli play Great octave Db/Ab dotted half notes up to (Bar 2) Ab/small octave F dotted half notes. Then in Bar 3, they play Great octave Gb/small octave Db dotted half notes down to (Bar 4) Db/Ab dotted half notes held fermata. So the chords used for the strings are Db maj (Db/F/Ab) in Bars 1, 2 and 4, and also the Gb maj (Gb/Bb/Db) chord in Bar 3. But if you include the tonal totality or fullness added by the 357
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Bill Wrobel’s DVD Collection, Rev
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need to spend time on since I had a
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night. Karnes and the skipper and u
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There is a nice effect in Bar 18 (0
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play this an octave higher register
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have a sweet theme for a major fema
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Bb/Line 1 D staccato notes, while h
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Runs. -Reel 6/2 (#40465), Agitato i
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music by Thomas Newman, well, it’
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the full score was not in that box
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4) F tenuto half note to E to F ten
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By the way, the instrumentation for
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Check out this website for the movi
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especially in stressful and even mi
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to F up to Line 3 C 8ths down to (B
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music for the first time. The writt
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quarter note. After an 8 th rest in
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The next cue is “Tiger” (locate
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The opening of the Main Title by Jo
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http://www.amazon.com/Quatermass-Pi
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Reel 2 a) CHIMNEY SWEEP (Kennedy) P
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(followed by two quarter rests). Af
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-Northwest Frontier (1959) ** [musi
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at the end of Reel 1 is a.) Marsell
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I purchased this dvd from Warner Ar
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Steiner) starting at 00:10:51. Next
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I never did pull the written music,
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Nice, sharp print of the dvd, fine
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8. Trade Winds (Cliff Friend-Charli
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[Super Bowl Sunday, February 06, 20
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next four bars. After an 8 th rest
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half notes and 8 th notes (followed
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tied to 8 th notes (followed by an
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note held fermata. End of cue. The
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says, “My hero.” Dvd location i
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http://www.amazon.com/Dive-Bomber-E
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I am still watching the movie on my
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techniques in 1950 (the year I was
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As for the music, I really like the
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inforzando-marked ( > ) 8ths notes
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This is a curious movie, rather enj
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notes to (Bar 1) middle C rinforzan
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-Skipping to Reel 6/5. 18 pages, 70
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Korngold’s Prince & the Pauper fo
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[6] “Uncle” 2 pages. 4/4 time,
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Line 1 D [written E] half note to D
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inforzando whole note held fermata.
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cave] -Reel 5/1 Molto agitato in C
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except as a combined overall effect
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-Reel 1/3 [Old Man’s Hut] -Reel 2
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quarter rest in Bar 1, CB pluck p p
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thru 10 to (Bar 11) Bb notes to (Ba
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short wavy gliss line to Eb 8 th ti
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34. La Cucaracha - arr. Heindorf
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did not overly impress me beyond th
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I don’t know why the orchestrator
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The “Opening” cue (not sure now
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notes tied to whole notes in Bar 7.
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-Hollow Man (2000) ** 1/2 [music **
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“I’m A Genius” [R1/4] 20 bars
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(Bar 2) small octave Bb whole note
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“No Code” [Reel 5/2] 135 bars,
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the A min (A/C/E). Etc. After two q
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octave F half notes twice (repeated
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quarter notes to D-D 32 nd notes to
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V section (dvd 00:41:49). The Pas d
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-Darby’s Rangers (1957) *** [musi
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http://www.amazon.com/Dragnet-1967-
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-Green Berets (1968) ** [music ***]
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audience that hates a movie be nice
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Vietminh guerrillas in Indo-China,
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plays the pattern as well with the
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est). After an 8 th rest, Pos play
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ar. Clarinets play Line 1 E [writte
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“Camp Foch” (based on a French
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“Mahidi’s Death” Reel 14/A. D
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personally liked the section after
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there’s really not much “there
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The alto flute (on mike) plays p es
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2) Bb down to E down to Line 2 Bb u
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notes. The harp plays Contra-octave
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unless the director and others invo
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-Advise & Consent (1962) ** � [mu
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-Laura Croft: Tomb Raider (2001) **
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Another very good Jack Webb product
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format. Couple it with one of the b
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Communication (memo) from R. J. Obr
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(Bar 3) F# whole note tied to next
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whole note tied to quarter note nex
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9 Scott “ “ “ 00:25 10 Funera
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There are several graphic scenes th
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“messing” with the audience, cr
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This is a delightful, energetic, ap
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Hollander’s cue “Heaven” from
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Bar 14 strings I believe play a ser
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sheep, and then more horses were sc
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although it is no classic. There’
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Kubrick and ultimately Spielberg wa
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Pope. “David Studies Monica” [1
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Violins I in 4/4 time sound p Line
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-A Talk With Hitchcock (1964) *** h
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interesting with the operation scen
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[The Fight] Reel 5/1, Agitato in C
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[Revelation/Herd] I believe part of
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Good DePalma movie (but not great)
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Incidentally, you can see Young bei
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http://www.amazon.com/Sling-Blade-D
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http://www.amazon.com/Return-Vampir
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After a half rest in Bar 3, violas
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“flaw” for some people is the
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I actually studied the full score a
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[Brookfield School Song] :43 durati
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[Vienna Inn Scene] Cue # 7058 (also
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B up to Line 1 D to F# legato quart
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interesting scenes. Hawks took off
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http://www.amazon.com/Seventh-Seal-
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“Main Title” Reel 1/1, 10 pages
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down to Line 1 Bb 16ths. Violas plu
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two bars to (Bar 10) D whole note (
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In Bar 16 (dvd 00:05:15) we come to
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E-F-F#-A legato 16ths (silent next
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to-be ex-partner, get the money to
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(followed by an 8 th rest) to F/mid
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to sniff out Sue who has stopped ne
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gliss line down to small octave E t
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(followed by two 8 th rests) to the
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“Can Can Part 3” Cue # 35129. K
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Skipping slightly to Bar 195 (dvd 1
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notes and then Bb-G half notes to (
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Ever Told, etc). Again, too bad. I
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This is a decent sci-fi movie but a
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Included in this set are the first
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http://www.filmscorerundowns.net/he
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For about $140 million you will exp
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small octave D/G to same D/G to D/G
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notes (followed by a quarter and ha
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Neal meet. The dialog in that scene
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Of special merit in this dvd Specia
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(followed by a quarter rest) to (ne
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-# 2B “Bye Bye Charlie” in �
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sleazy role, and Greenstreet contin
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9followed by an 8 th rest) to same
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one next. ….So far, after watchin
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and David Hedison. The scifi disast
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-The Wrong Man (1956) *** [music **
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ask? Too bad Columbo wasn’t aroun
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-Spaceballs (1987) *** 7/8 [music *
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-“Driving Home” Reel �. Andan
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-Reel 6/1 Revised “When Johnny Co
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http://books.google.com/books?id=sr
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appetizer, no desert). If you’ve
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I can’t say I like this bleak Ing
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Page 315 and 316: I reviewed this dvd on Talking Herr
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Page 327 and 328: I discussed my September and Octobe
Page 329 and 330: The gong is struck in Bar 5.The cym
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Page 333 and 334: [cont.] Vacation Trip] Reel 7/1, 6
Page 335 and 336: Reel 12 material starts with “Sem
Page 337 and 338: http://www.lovingtheclassics.com/Je
Page 339 and 340: -Snows of Kilimanjaro (1952) ** 1/2
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Page 363 and 364: http://www.amazon.com/Naked-City-Yo
Page 365 and 366: note tied to “3” triplet value
Page 367 and 368: In Bar 1 the timp is rolled on C wh
Page 369 and 370: This is not a good conspiracy movie
Page 371 and 372: -“The Doomsday Machine” -‘Met
Page 373 and 374: Season Three, “Love’s Old Sweet
Page 375 and 376: as the bus rising along the desert
Page 377 and 378: There are five discs here starting
Page 379 and 380: -The Naked Jungle (1954) *** [music
Page 381 and 382: his best works. Let’s put it this
Page 383 and 384: http://www.amazon.com/Drums-Deep-So
Page 385 and 386: I did like the bluish star field lo
Page 387 and 388: effect of I believe the stopped hor
Page 389 and 390: Richard Boone as the good doctor pr
Page 391 and 392: http://www.amazon.com/Adventures-Bu
Page 393 and 394: Page Cook (his real name was Charle
Page 395 and 396: Shortly in Bar 6 the piccolo plays
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Page 399 and 400: http://www.amazon.com/French-Connec
Page 401 and 402: -The Raid (1954) *** � [music ***
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Bill Wrobel's DVD - Film Score Rundowns

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