Showing posts with label Dragnet. Show all posts
Showing posts with label Dragnet. Show all posts
July 9, 2021
July 8, 2021
Dragnet on the air
I remember it was seventy-two years ago tonight, July 7, 1949, when Dragnet was first heard on NBC radio. It was like no other police drama or detective program I'd ever heard before.
I was used to hearing police/detective shows like Dick Tracey, Perry Mason, the Green Hornet, I Deal in Crime (my favorite) with William Gargan, etc., and I loved them. But those were all obviously fictitious situations even to a kid my age; Dragnet seemed like real life to me.
Police stories on radio goes back long before the premiere of Dragnet with an especially strong heritage in Los Angeles. The show took its name from the police term "dragnet", meaning a system of coordinated measures for apprehending criminals or suspects.
The real-life
Private Investigator Nick Harris presented dramatizations drawn from
his own true-life case files as far back as the 1920s, and the Los Angeles Police Department collaborated closely with director and producer William N. Robson of the Don Lee Network for the 1930's series Calling All Cars.
Others who worked for the Lee Network were Don Wilson, Ralph Edwards, Art Linkletter, Harold Peary, Morey Amsterdam, Merv Griffin, John Nesbitt, and Bea Benederet who would later work with George Burns and Gracie Allen.
But
these formats fell from favor by the 1940s, with the advent of the
"hard boiled dick" (an expression that definitely engages the old cremaster!) genre of crime programs. An ordinary policeman just
doing his job had little chance against the legions of smart-mouthed
gumshoes parading across the ether during the postwar years. But
inevitably, that genre collapsed under the weight of its own clichés and
when Dragnet premiered it was a breath of fresh air.
No
wisecracks, no impossibly exaggerated characterizations, no
too-purple-for-belief dialogue, just a dedicated law enforcement
officer, determined to do his job as completely and as thoroughly as
possible. Joe Friday is one of radio's great Everyman figures, just
another workaday guy in a cheap suit, trudging thru his daily routine
but in the hands of Jack Webb, the characterization takes on a
fascinating edge of realism. The deliberately-low-key direction and the
stylized flat-voiced delivery of the supporting cast adds to this
downbeat, it's-really-happening style, giving Dragnet a feeling and a mood unlike that of any other radio program of its era.
The original theme for the show was credited to Walter Schumann, however, it seems he may have "borrowed" the theme from the score for the 1946 film The Killers, composed by Miklós Rózsa, which resulted in a major lawsuit (link below).
There were pop chart hit covers of the theme that were recorded by Ray Anthony and his Orchestra with a jazzy beat in 1953 and with a syncopated dance beat by the Art of Noise in 1987.
Viewfinder links:
Great Detectives of Old Time Radio ~ Dragnet
Open Culture ~ Dragnet radio programs
Syracuse University ~ Dragnet! A Musical Controversy
Radio Archives ~ Dragnet Volume 1
YouTube links:
Miklós Rózsa ~ The Killers
Walter Schumann ~ Dragnet
January 9, 2021
Morey Amsterdam articles/mentions
April 2, 2019
Jack Webb ~ More than a Friday
Today is the birthday of John Randolph Webb aka Jack Webb or Sgt. Joe Friday, who created the phenomenal television series, Dragnet and founder of his own production company, Mark VII Limited. However, his talents ran deeper than the Dragnet character.
He was born in Santa Monica, California, on April 2, 1920, and grew up in the Bunker Hill section of Los Angeles. He was raised a Roman Catholic by his mother, who was of Irish and Native American descent, and served as an altar boy. Webb attended St. John's University, Minnesota, where he studied art.
Webb moved to San Francisco, where a wartime shortage of announcers led to a temporary appointment to his own radio show on ABC's KGO Radio. The Jack Webb Show was a half-hour comedy that had a limited run on ABC radio in 1946. Prior to that, he had a one-man program, One Out of Seven, on KGO in which he dramatized a news story from the previous week.
By 1949, he had abandoned comedy for drama, and starred in Pat Novak for Hire, a radio show originating from KFRC about a man who worked as an unlicensed private detective. The program co-starred Raymond Burr. Pat Novak was notable for writing that imitated the hard-boiled style of such writers as Raymond Chandler, with lines such as: "She drifted into the room like 98 pounds of warm smoke. Her voice was hot and sticky--like a furnace full of marshmallows."
His radio shows included Johnny Madero, Pier 23, Jeff Regan, Investigator, Murder and Mr. Malone, Pete Kelly's Blues and One Out of Seven. Webb provided all of the voices on One Out of Seven.
In 1951, Webb introduced a short-lived radio series, Pete Kelly's Blues, in an attempt to bring the music he loved to a broader audience. That show became the basis for a 1955 movie of the same name. The film featured major stars such as Janet Leigh, Edmond O'Brien, Peggy Lee, Lee Marvin, Martin Milner, and Jayne Mansfield. Ella Fitzgerald makes a cameo as singer Maggie Jackson.
In 1959, a television version was made. Neither was very successful. Pete Kelly was a cornet player who supplemented his income from playing in a nightclub band by working as a private investigator.
Webb's most famous motion-picture role was as the combat-hardened Marine Corps drill instructor at Parris Island in the 1957 film The D.I., with Don Dubbins as a callow Marine private. Webb's hard-nosed approach to this role, that of Drill Instructor Technical Sergeant James Moore, would be reflected in much of his later acting. But The D.I. was a box-office failure.
Webb was approached to play the role of Vernon Wormer, Dean of Faber College, in National Lampoon's Animal House, but he turned it down, saying "the movie didn't make any damn sense".
date & photographer unknown
Webb moved to San Francisco, where a wartime shortage of announcers led to a temporary appointment to his own radio show on ABC's KGO Radio. The Jack Webb Show was a half-hour comedy that had a limited run on ABC radio in 1946. Prior to that, he had a one-man program, One Out of Seven, on KGO in which he dramatized a news story from the previous week.
Jack Webb - 1946
photographer unknown
By 1949, he had abandoned comedy for drama, and starred in Pat Novak for Hire, a radio show originating from KFRC about a man who worked as an unlicensed private detective. The program co-starred Raymond Burr. Pat Novak was notable for writing that imitated the hard-boiled style of such writers as Raymond Chandler, with lines such as: "She drifted into the room like 98 pounds of warm smoke. Her voice was hot and sticky--like a furnace full of marshmallows."
Jack Webb - 1950
photographer unknown
His radio shows included Johnny Madero, Pier 23, Jeff Regan, Investigator, Murder and Mr. Malone, Pete Kelly's Blues and One Out of Seven. Webb provided all of the voices on One Out of Seven.
Jack Webb - 1950
photographer unknown
In 1951, Webb introduced a short-lived radio series, Pete Kelly's Blues, in an attempt to bring the music he loved to a broader audience. That show became the basis for a 1955 movie of the same name. The film featured major stars such as Janet Leigh, Edmond O'Brien, Peggy Lee, Lee Marvin, Martin Milner, and Jayne Mansfield. Ella Fitzgerald makes a cameo as singer Maggie Jackson.
photographer unknown
In 1959, a television version was made. Neither was very successful. Pete Kelly was a cornet player who supplemented his income from playing in a nightclub band by working as a private investigator.
Jack Webb & Ray Anthony on trumpets
photographer unknown
Jack Webb - 1957
Jack Webb - 1957
Webb was approached to play the role of Vernon Wormer, Dean of Faber College, in National Lampoon's Animal House, but he turned it down, saying "the movie didn't make any damn sense".
photographer unknown
Webb had a featured role as a crime-lab technician in the 1948 film He Walked by Night, based on the real-life murder of a California Highway Patrolman by Erwin Walker. The film was produced in semidocumentary style with technical assistance provided by Detective Sergeant Marty Wynn of the Los Angeles Police Department (LAPD). The film's thinly veiled fictionalized recounting of the 1946 Walker crime spree gave Webb the idea for Dragnet:
a recurring series based on real cases from LAPD police files,
featuring authentic depictions of the modern police detective, including
methods, mannerisms, and technical language.
Jack Webb - Los Angeles, 1952
photo by John Vachon
Dragnet premiered on NBC Radio in 1949 and ran till 1957. It was also picked up as a television series by NBC, which aired episodes each season from 1952 to 1959. Webb played Sgt. Joe Friday and Barton Yarborough co-starred as Sgt. Ben Romero. After Yarborough's death, Ben Alexander joined the cast. In his vision of Dragnet, Webb said he intended to perform a service for the police by showing them as low-key working-class heroes.
In 1951 the television series, Dragnet, based on the radio series, made its debut. The ominous, four-note introduction to the brass and tympani theme music (titled Danger Ahead), composed by Walter Schumann, is instantly recognizable. It is derived from the Miklós Rózsa score for the 1946 film The Killers.
On July 31, 1955, the film, Pete Kelly's Blues, was released. It was directed by and starred Jack Webb in the title role of a bandleader and musician. It featured Janet Leigh, Edmond O'Brien and Peggy Lee, with Ella Fitzgerald, Lee Marvin, Martin Milner, and Jayne Mansfield in cameo roles.
In 1951 the television series, Dragnet, based on the radio series, made its debut. The ominous, four-note introduction to the brass and tympani theme music (titled Danger Ahead), composed by Walter Schumann, is instantly recognizable. It is derived from the Miklós Rózsa score for the 1946 film The Killers.
On July 31, 1955, the film, Pete Kelly's Blues, was released. It was directed by and starred Jack Webb in the title role of a bandleader and musician. It featured Janet Leigh, Edmond O'Brien and Peggy Lee, with Ella Fitzgerald, Lee Marvin, Martin Milner, and Jayne Mansfield in cameo roles.
photographer unknown
In 1963, Webb teamed with actor Jeffrey Hunter to form Apollo Productions. They produced a failed television series, Temple Houston, with Hunter in the title role. In the summer of 1963, Webb pushed Temple Houston to production. The series was loosely based on the life of the frontier lawyer Temple Lea Houston, the youngest son of the legendary Texan Sam Houston.
Webb's personal life was defined by his love of jazz. He had a collection of more than 6,000 jazz recordings. His lifelong interest in the cornet allowed him to move easily in the jazz culture, where he met singer and actress Julie London. They married in 1947 and had daughters Stacy (1950–1996) and Lisa, born 1952. They divorced in 1954.
He was married three more times after that, to actress Dorothy Towne for two years beginning in 1955 . . .
. . . to former Miss USA Jackie Loughery for six years beginning in 1958,
and to his longtime associate, Opal Wright, for the last two years of his life.
Webb died on December 23, 1982, of an apparent heart attack at age 62. He is interred at Sheltering Hills Plot 1999, Forest Lawn, Hollywood Hills Cemetery in Los Angeles, and was given a funeral with full Los Angeles police honors. On Webb's death, Chief Daryl Gates announced that badge number 714, which was used by Joe Friday in Dragnet, would be retired. Los Angeles Mayor Tom Bradley ordered all flags lowered to half staff in Webb's honor for a day, and Webb was buried with a replica LAPD badge bearing the rank of sergeant and the number 714.
Jack Webb has two stars on the Hollywood Walk of Fame, one for radio (at 7040 Hollywood Boulevard) and the other for television (at 6728 Hollywood Boulevard).
Jack Webb was posthumously inducted into the Television Hall of Fame in 1993 (link to video of the induction ceremony below).
Time magazine - March 1, 1954
illustration by Boris Chaliapin
Webb's personal life was defined by his love of jazz. He had a collection of more than 6,000 jazz recordings. His lifelong interest in the cornet allowed him to move easily in the jazz culture, where he met singer and actress Julie London. They married in 1947 and had daughters Stacy (1950–1996) and Lisa, born 1952. They divorced in 1954.
Jack Webb & Julie London - 1947
photographer unknown
He was married three more times after that, to actress Dorothy Towne for two years beginning in 1955 . . .
Jack Webb & Dorothy Towne - 1955
photographer unknown
and to his longtime associate, Opal Wright, for the last two years of his life.
Webb died on December 23, 1982, of an apparent heart attack at age 62. He is interred at Sheltering Hills Plot 1999, Forest Lawn, Hollywood Hills Cemetery in Los Angeles, and was given a funeral with full Los Angeles police honors. On Webb's death, Chief Daryl Gates announced that badge number 714, which was used by Joe Friday in Dragnet, would be retired. Los Angeles Mayor Tom Bradley ordered all flags lowered to half staff in Webb's honor for a day, and Webb was buried with a replica LAPD badge bearing the rank of sergeant and the number 714.
Dragnet logo
Jack Webb has two stars on the Hollywood Walk of Fame, one for radio (at 7040 Hollywood Boulevard) and the other for television (at 6728 Hollywood Boulevard).
6728 Hollywood Boulevard, Los Angeles
Jack Webb was posthumously inducted into the Television Hall of Fame in 1993 (link to video of the induction ceremony below).
March 8, 2019
“Just the cover, ma’am!”
~
One of the most famous lines from television was uttered by Jack Webb (link below) portraying the character, Sgt. Joe Friday, in the 1951 series, Dragnet: “All we want are the facts, ma’am”. By popular use the line was eventually corrupted to, “Just the facts, ma’am.” (link below).
Jack Webb as Sgt. Joe Friday in Dragnet - 1951
~
~
I have written many articles about vinyl LPs (link below) with extensive details about the album in question. However, some of the articles are ONLY or MOSTLY about the album COVER; the cover is the focus. It seemed appropriate to paraphrase the corrupted Dragnet line to list those albums and the link below leads to the list of the albums in question.
Viewfinder links:
Jack Webb
Snopes ~ Dragnet ‘Just the Facts’
Strategic America ~ “Just the facts, ma'am.”
The Free Dictionary ~ just the facts, ma'am
Net link:
Snopes ~ Dragnet ‘Just the Facts’
Strategic America ~ “Just the facts, ma'am.”
The Free Dictionary ~ just the facts, ma'am
Styrous® ~ Friday, March 8, 2019
~
July 27, 2017
20,000 Vinyl LPs 99: Miklós Rózsa ~ Spellbound by 10"
Miklós Rózsa (Hungarian: [ˈmikloːʃ ˈroːʒɒ]; died on this day, Thursday, July 27, in 1995. He was a Hungarian composer
trained in Germany (1925–1931), and active in France (1931–1935),
England (1935–1940), and the United States (1940–1995), with extensive
sojourns in Italy from 1953.
10" vinyl LP album, back cover detail
album photo by Ned Scott
detail photo by Styrous®
Rózsa is best known for his nearly one hundred film scores, with Spellbound one of the top; however, he
maintained an allegiance to absolute concert music throughout
what he called his "double life."
10" vinyl LP album cover detail
detail photo by Styrous®
The 1945 Alfred Hitchcock mystery/suspense film, Spellbound, dealt with the new field of psychoanalysis and the inner workings of the human mind. It opens with a quote from the 1599 Julius Caesar (play), by William Shakespeare, "The Fault... is Not in Our Stars, But in Ourselves..." and announces that it wishes to highlight the virtues of psychoanalysis in banishing mental illness and restoring reason.
10"vinyl LP album cover detail
detail photo by Styrous®
The film stars Ingrid Bergman, Gregory Peck, Michael Chekhov and Leo G. Carroll. It is an adaptation by Angus MacPhail and Ben Hecht of the novel The House of Dr. Edwardes (1927) by Hilary Saint George Saunders and John Palmer.
There was major contention between director Alfred Hitchcock and producer David O. Selznick. Selznick wanted Hitchcock to make a movie based upon Selznick's own positive experience with psychoanalysis. Selznick brought in his therapist,
May Romm M.D., who was credited in the film as a technical adviser.
Romm and Hitchcock clashed frequently. Further contention was caused by
the hiring of surrealist artist Salvador Dalí
to conceive certain scenes in the film's key dream sequence. However,
the sequence conceived and designed by Dalí and Hitchcock, once
translated to film, proved to be too lengthy and too complicated, so the
vast majority of what was filmed was cut from the film during editing.
About two minutes of the dream sequence appear in the final film, but
Ingrid Bergman said that the sequence had been almost 20 minutes long
before it was cut by Selznick. The cut footage apparently no longer exists, although some production
stills have survived in the Selznick archives. Eventually Selznick hired
William Cameron Menzies, who had worked on Gone With the Wind, to oversee the set designs and to direct the sequence. Hitchcock himself had very little to do with its actual filming.
dream sequence based on designs
Selznick originally wanted the brilliant Bernard Herrmann, but when Herrmann turned it down, Rózsa was hired and won the Academy Award for his score. Although Rózsa considered Spellbound
to contain some of his best work, he said "Alfred Hitchcock didn't like
the music — said it got in the way of his direction. I never saw him
since."
During the film's protracted post-production, considerable disagreement
arose about the music, exacerbated by a lack of communication between
producer, director, and composer. Rózsa scored another film, The Lost Weekend, before Spellbound
was released, and he again used the theremin in that score. This led to
allegations that he had recycled music from Selznick's film in the
Paramount production. Meanwhile, Selznick's assistant tampered with the Spellbound scoring by replacing some of Rózsa's material with earlier music by Franz Waxman and Roy Webb.
The film orchestral score by Miklós Rózsa is notable for its pioneering use of the theremin, performed by Dr. Samuel Hoffmann. The score features one of the earliest uses of the theremin. The sound of the instrument, which had been invented in 1928, would
become associated indelibly with science fiction thanks to its use in
films like The Day The Earth Stood Still. But the instrument originally got its start in Hollywood (it had been used in the scores to some Russian films like the 1931, Odna) thanks to the score for Spellbound. It was played by Dr. Samuel Hoffman,
a medical doctor who had a sideline as one of the most important
practicioners of the instrument, later playing on the scores for The Thing From Another World, It Came From Outer Space, The 5000 Fingers Of Dr. T and The Ten Commandments.
Leonard Slatkin did a stellar performance of the Spellbound Concerto with the BBC Orchestra, Simon Mulligan on Piano, and Celia Sheen playing the theremin (link below). It's over 12 minutes but worth every second! It's fantastic!
Rózsa was introduced to classical and folk music by his mother, Regina Berkovits, a pianist who had studied with pupils of Franz Liszt, and his father, Gyula, a well-to-do industrialist and landowner who loved Hungarian folk music. Rózsa's maternal uncle Lajos Berkovits, violinist with the Budapest Opera, presented young Miklós with his first instrument at the age of five.
He enrolled at the University of Leipzig in 1925, ostensibly to study chemistry at the behest of his father. Determined to become a composer, he transferred to the Leipzig Conservatory the following year; there, he studied composition with Hermann Grabner, a former student of Max Reger. He also studied choral music with (and later assisted) Karl Straube at the Thomaskirche, where Johann Sebastian Bach had been organist.
Leonard Slatkin did a stellar performance of the Spellbound Concerto with the BBC Orchestra, Simon Mulligan on Piano, and Celia Sheen playing the theremin (link below). It's over 12 minutes but worth every second! It's fantastic!
In a nutshell, Ingrid Bergman (link below) stars as Dr. Constance Petersen, a psychoanalyst, and Gregory Peck (link below) plays Dr. Anthony Edwardes who has come to replace the director, (Leo G. Carroll), of Green Manors, a mental hospital,
who is being forced into retirement. However, Petersen (Bergman)
suspects Edwardes (Peck) is an imposter and the plot thickens.
10" vinyl LP album back cover detail
Miklós Rózsa was born on the 18th of April, 1907, in Budapest to Jewish parents. He achieved early success in Europe with his orchestral Theme,
Variations, and Finale (Op. 13) of 1933 and became prominent in the film
industry from such early scores as The Four Feathers (1939) and The Thief of Bagdad
(1940). The latter project brought him to America when production was
transferred from wartime Britain, and Rózsa remained in the United
States, becoming an American citizen in 1946. His notable Hollywood
career earned him considerable fame, including Academy Awards for Spellbound (1945), A Double Life (1947), and Ben-Hur (1959), while his concert works were championed by such major artists as Jascha Heifetz, Gregor Piatigorsky, and János Starker.
10" vinyl LP album back cover detail
Rózsa was introduced to classical and folk music by his mother, Regina Berkovits, a pianist who had studied with pupils of Franz Liszt, and his father, Gyula, a well-to-do industrialist and landowner who loved Hungarian folk music. Rózsa's maternal uncle Lajos Berkovits, violinist with the Budapest Opera, presented young Miklós with his first instrument at the age of five.
He enrolled at the University of Leipzig in 1925, ostensibly to study chemistry at the behest of his father. Determined to become a composer, he transferred to the Leipzig Conservatory the following year; there, he studied composition with Hermann Grabner, a former student of Max Reger. He also studied choral music with (and later assisted) Karl Straube at the Thomaskirche, where Johann Sebastian Bach had been organist.
Rózsa's first two published works, the String Trio, Op. 1, and the Piano Quintet, Op. 2, were issued in Leipzig by Breitkopf & Härtel. In 1929 he received his diplomas cum laude. For a time he remained in Leipzig as Grabner's assistant, but at the suggestion of the French organist and composer Marcel Dupré, he moved to Paris in 1932.
The Trio is beautiful and flows just by virtue of the strings. The quintet is as hard and disjointed as the Trio is soft and almost dreamy; they make a nice pair (links below).
Rózsa was introduced to film music in 1934 by the Swiss composer Arthur Honegger. Following a concert which featured their respective compositions, Honegger mentioned that he supplemented his income as a composer of film scores, including the film Les Misérables (1934). Rózsa went to see it and was greatly impressed by the opportunities the film medium offered, and thought, "A HA!"
The Trio is beautiful and flows just by virtue of the strings. The quintet is as hard and disjointed as the Trio is soft and almost dreamy; they make a nice pair (links below).
Rózsa was introduced to film music in 1934 by the Swiss composer Arthur Honegger. Following a concert which featured their respective compositions, Honegger mentioned that he supplemented his income as a composer of film scores, including the film Les Misérables (1934). Rózsa went to see it and was greatly impressed by the opportunities the film medium offered, and thought, "A HA!"
His first film score was for Knight Without Armour (1937), produced by fellow Hungarian, Alexander Korda. After his next score, for Thunder in the City (1937), he joined the staff of the Korda London Films, and scored the studio's epic The Four Feathers (1939).
In 1939, Rózsa travelled with Korda to Hollywood to complete the work on The Thief of Bagdad (1940) The film earned him his first Academy Award nomination. A further two followed with Lydia (1940) and Sundown (1941). In 1943, he received his fourth nomination for the Korda film, Jungle Book (1942).
Rózsa earned another Oscar nomination for scoring The Killers (1946) which introduced Burt Lancaster to film audiences. Part of the famed theme for the Dragnet radio and TV show duplicated part of Rozsa's The Killers main theme; Rózsa sued for damages, and subsequently was given co-credit for the Dragnet theme.
His popular film scores during the 1970s included his last two Billy Wilder collaborations The Private Life of Sherlock Holmes (1970) and Fedora (1978), the Ray Harryhausen fantasy sequel The Golden Voyage of Sinbad (1973), the latter-day film noir Last Embrace starring Roy Scheider, and the time-travel fantasy film Time After Time
(1979) for which Rózsa won a Science Fiction Film Award, saying in his
televised acceptance speech that owith f all the film scores he had ever
composed, it was the one he had worked on the hardest.
Miklós Rózsa died at the Good Samaritan Hospital in Los Angeles, California, on Thursday, the 27th of July, 1995. He was 88 years old.
Tracklist:
Side 1:
A1 Spellbound Concerto - 12:19
Side 2:
The Red House
B1 Prelude - 3:15
B2 Screams In The Night - 2:54
B3 The Forest - 3:37
B4 Retribution - 3:33
Credits:
Artwork – Gunall*
Salvador Dalí dream sequence based on designs by (as Salvador Dali).
Conductor – Erich Kloss (tracks: A1), Miklós Rózsa (tracks: Miklos Rozsa)
Orchestra – Frankenland State Orchestra Of Nürnberg* (tracks: A1)
Notes:
Dark red label with silver print.
Miklós Rózsa* – Spellbound Concerto -- The Red House
Label: Capitol Records – L-453
Format: Vinyl, LP, 10", Album
Country: US
Released: 1953
Genre: Stage & Screen
Style: Score
Side 1:
A1 Spellbound Concerto - 12:19
Side 2:
The Red House
B1 Prelude - 3:15
B2 Screams In The Night - 2:54
B3 The Forest - 3:37
B4 Retribution - 3:33
Credits:
Artwork – Gunall*
Salvador Dalí dream sequence based on designs by (as Salvador Dali).
Conductor – Erich Kloss (tracks: A1), Miklós Rózsa (tracks: Miklos Rozsa)
Orchestra – Frankenland State Orchestra Of Nürnberg* (tracks: A1)
Notes:
Dark red label with silver print.
Miklós Rózsa* – Spellbound Concerto -- The Red House
Label: Capitol Records – L-453
Format: Vinyl, LP, 10", Album
Country: US
Released: 1953
Genre: Stage & Screen
Style: Score
New York Times Spellbound review
Rózsa film scoring career
New York Times Rózsa obit
Miklos Rozsa: Spellbound -
Spellbound (1945) (complete movie)
Main Theme
Official Trailer
Salvador Dali Dream Sequence
Skiing Breakthrough
Leonard Slatkin ~ Spellbound Concerto (time: 12' 12")
Miklos Rozsa
Theme, Variations, and Finale (Op. 13)
String Trio, Op. 1
Piano Quintet in F Minor, Op. 2
New York Times Rózsa obit
YouTube links:
Spellbound (1945) (complete movie)
Main Theme
Official Trailer
Salvador Dali Dream Sequence
Skiing Breakthrough
Leonard Slatkin ~ Spellbound Concerto (time: 12' 12")
Miklos Rozsa
Theme, Variations, and Finale (Op. 13)
String Trio, Op. 1
Piano Quintet in F Minor, Op. 2
The Fault... is Not in Our Stars,
But in Ourselves...
— William Shakespeare
Styrous® ~ Thursday, July 27, 2017
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