Showing posts with label François Truffaut. Show all posts
Showing posts with label François Truffaut. Show all posts

June 29, 2019

20,000 Vinyl LPs 188: Bernard Herrmann ~ The Day the Earth Stood Still




Bernard Herrmann was born in New York City on June 29, 1911, under the name, Max Herman. There are maybe 10 film score composers that I think are the greatest, Nino Rota, Ennio Morricone, Jerry Goldsmith, etc., but at the very apex of the greats are Rota and Herrmann.    

Herrmann is known for his collaborations with director Alfred Hitchcock, most famously North by Northwest, The Man Who Knew Too Much, and Vertigo; his scores are brilliant. He also composed scores for many other films, including Citizen Kane for Orson Welles, The Ghost and Mrs. Muir, Cape Fear, Fahrenheit 451 for François Truffaut, and Taxi Driver for Martin Scorsese. He worked extensively in radio drama (composing for Orson Welles), composed the scores for several fantasy films by Ray Harryhausen and many TV programs, including the Rod Serling Twilight Zone series, and Have Gun – Will Travel. At the top of these film scores is the one that has never been matched for sheer terror and suspense, Psycho (link below).      

However, at the very top of this amazing pinnacle is what I consider his absolute best score, The Day the Earth Stood Still.         


 movie poster


After seeing the film who will ever forget the themes he composed for the soundtrack with his signature use of the theremin? However, he did not rely entirely on a theremin or synthesizers; his use of the piano on Radar is brilliant (link below). This recording of four of his film scores includes The Day the Earth Stood Still.   


art direction: Glenn Ross
illustration: Richard Krieger
photo of album cover by Styrous®




Then there is, "Klaatu Barada Nikto"; seems to me it's one of THE most well-known film lines EVER delivered (link below)!        


front cover detail
art direction: Glenn Ross
illustration: Richard Krieger 
detail photo of album cover by Styrous®


And last, but certainly NOT least, there are the spectacular special effects! You could say they were ahead of their time, however, even by today's high-tech standards, they are stunning!!!!        


front cover detail
art direction: Glenn Ross
illustration: Richard Krieger 
detail photo of album cover by Styrous®



One of the special effects was the robot "bodyguard", Gort, that spews forth laser-like death rays when danger threatens Klaatu, the extraterrestrial (back then they were called aliens) portrayed by Michael Rennie. What an amazing creature! It is the very best rendition of a robot EVER created which has never been surpassed.       



Gort was portrayed by seven-foot, seven-inch (231 cm)-tall actor Lock Martin wearing a thick foam-rubber suit designed and built by Addison Hehr. Two suits were created, fastened alternately from the front or back so that the robot would appear seamless from any angle in the completed scenes.               

photo by Styrous®


The Day the Earth Stood Still was directed by Robert Wise, who edited Citizen Kane in 1941 and The Magnificent Ambersons in 1942 for director Orson Welles before going on to direct such major 1960s musicals as West Side Story in 1961 and The Sound of Music in 1965.      

The Day the Earth Stood Still was based on the story Farewell to the Master by Harry Bates (link below), which was first published in the October 1940 issue of Astounding Science Fiction.    
      
As with most films Day follows the story line of the book somewhat, with some major changes, it diverges radically in that  in the book the major character is Cliff Sutherland, a free-lance picture reporter. Klaatu is killed right off the bat and the robot is "Gnut" and green. 
      
Also, at the end, when Gnut is implored by Sutherland to tell his masters that the death of Klaatu was an accident, Gnut replies, "You misunderstand, I am the master!"       


detail photo by Styrous®


The Lux Radio Theater performed a dramatization of the script with Michael Rennie and Jean Peters on January 4, 1954 (link below).       
   

detail photo by Styrous®


In 1973 a Canadian progressive rock group, formed by John Woloschuk and Dee Long, named themselves Klaatu after the extraterrestrial, in the film The Day the Earth Stood Still. The band released the singles Anus Of Uranus / Sub-Rosa Subway and Dr. Marvello. More on them in a future article.                  


date & photographer unknown
 

The band struggled to get radio recognition. By 1975 Davies, along with producer Terry Brown, managed to land the band a deal with Capitol Records in the US and worldwide. Then, on February 17, 1977, a feature headlined ‘Could Klaatu Be Beatles? Mystery Is A Magical Tour’, written by Steve Smith, he asked, "Why did the album sound so much like the Fab Four? “It struck me almost immediately,” he says. “The track Sub-Rosa Subway is completely Beatlish.” 


detail photo by Styrous®


The Day the Earth Stood Still has been selected for preservation in the United States National Film Registry and is ranked in the top 50 on the Time Out highly regarded list of the 100 Best Sci Fi Movies.          



detail photo by Styrous®


The Day the Earth Stood Still has aged better than almost all of its peers. The ideal of a society based on the predication of universal peace with a benevolent police state is a dream yet to be realized, if ever. The special effects are still effective, and the eerie Bernard Herrmann score sets the mood perfectly. Decades later, it remains a thought-provoking, worthwhile parable.       
      

detail photo by Styrous®


   



photo by Styrous®

photo by Styrous®









photo by Styrous®


      
Viewfinder links:
        
Jerry Goldsmith         
Bernard Herrmann         
Alfred Hitchcock       
Lux Radio Theater        
Ennio Morricone     
Nino Rota       
Rod Serling            
The Twilight Zone      
Orson Welles           
Robert Wise        
        
Net links:
        
AFI ~ The Day the Earth Stood Still           
Cast & Crew          
1950's science fiction films         
Classic Film & TV Café (review)   
My Meaninigful Movies ~ The Day the Earth Stood Still      
Farewell to the Master PDF           
       
YouTube links:           
            
The Day the Earth Stood Still ~           
        Klaatu Comes in Peace         
        Gort Appears         
        Klaatu Barada Nikto   
        Klaatu's Speech        
        The Choice Is Ours       
The Day The Earth Stood Still movie trailer
Lux Radio Theater ~ The Day the Earth Stood Still (1 hr.)           
Bernard Herrmann ~  
        The Day the Earth Stood Still Suite (11 min. 37 sec.)     
        Radar         
        
         
      
       


      
    
        
        
         
Styrous® ~ Saturday, June 29, 2019          
      
     

   

 











July 1, 2017

45 RPMs 15: Charles Laughton reads The Night of the Hunter

front cover  by
spoken word with music
photo of album by Styrous®


Today, July 1, is the birthday of Charles Laughton. So, in true Styrous fashion, I've dragged out an album to commemorate it. I have many albums with which he was involved to chose from but this recording of The Night of the Hunter is the one I have loved the most. This is a reading by Laughton of excerpts from The Night of the Hunter screenplay by James Agee. The film was based on the 1953 novel of the same name by Davis Grubb. The novel in turn was based on actual events; the real story was even more nightmarish than the film (link below). Harry Powers was hanged in 1932 for the murder of two widows and three children in Clarksburg, West Virginia.   

back cover
photo of album by Styrous®
 


Harry F. Powers (born Herman Drenth; 1892 – March 18, 1932) — also known as Cornelius O. Pierson and A. R. Weaver — was a convicted serial killer who was hung in Moundsville, West Virginia, USA.


Harry Powers mug shot - 1920 
Dayton, Ohio Police Department

Powers lured his victims through "Lonely Hearts ads, claiming he was looking for love, but in reality murdered them for their money. The 1953 novel, The Night of the Hunter, by Davis Grubb, and its 1955 film adaptation were based on these crimes (link below).     





Laughton draws on his years of dramatic acting to weave the story of murder and deception with the virtuosity only he could carry off. He speaks, growls, howls and slithers with sinister tones one minute and gently soothes the next. He speaks with love and compassion then with vileness and hate; he soars through a rainbow of emotions and acting that is stunning. It is something truly amazing to hear. His experience as an actor is on brilliant display in this recording (YouTube link below). 






The Night of the Hunter was the only film Laughton directed. When it was released, it was a critical and financial disaster and was the one bitter disappointment of his life he never got over it (links below).   



spine
photo by Styrous®



Charles Laughton was born in 1899 and was an English stage and film character actor, director, producer and screenwriter. Laughton was trained in London at the Royal Academy of Dramatic Art and first appeared professionally on the stage in 1926. In 1927, he was cast in a play with his future wife Elsa Lanchester, with whom he lived and worked until his death.



page 1 detail
detail photo by Styrous®



The film score by Walter Schumann has some of the finest motifs in the history of movie scores. It ranges from dramatic and frightening themes to quiet and lovely ones. Pretty Fly and Lullabye are among the most beautiful songs ever written (link below).   



page 2 detail
detail photo by Styrous®



Schumann was an American composer for film, television, and the theater. In addition to  The Night of the Hunter his notable works include the Dragnet Theme for which he won an Emmy.       


page 3 detail
detail photo by Styrous®



Upon the initial appearance of The Night of the Hunter in France, then-critic François Truffaut called it “an experimental cinema that truly experiments, and a cinema of discovery that, in fact, discovers”, and he predicted that it would be Laughton’s only venture as a director (I have not discovered the reason for his saying this). The experimentation Truffaut identifies reside in the film’s variations in tone and style, and that some shots appear composed more for style than meaning. To match the film’s novel-like shifts in perspectives, patterns of influence also shift and range from the silent pictures of D.W. Griffith to German Expressionism to fairy-tale fantasy. Yet it all comes together to form a whole—a weirdly organic construction filled with stylistic contradictions that are anything but fortuitous. Rather, Laughton and his production crew toiled to vast lengths to achieve the film’s idiosyncratic diversity of style, and together created one of cinema’s purest examples of filmmaking as it should be: a collaborative artform.



page 4 detail
detail photo by Styrous®



The 45 RPM EP The Night of the Hunter album has three records with Laughton reading the script for the film, which he directed, with music by Walter Schumann and sound effects from the film. There is a video of his reading of the script with music and sound effects from the film accompanying Laughton as he reads each scene; it is an extremely chilling experience to listen to the album (link below).   

sides 1 - 3
photo by Styrous®

 






sides 4 - 6
photo by Styrous®





Tracklist:

A     Part One    
B     Part Two    
C     Part Three    
D     Part Four    
E     Part Five    
F     Concluded

Label: RCA Victor ‎– EPC 1136
Format: 3 × Vinyl, 7", 45 RPM, Album, EP
Country: US
Released: 1955
Genre: Stage & Screen
Style: Theme, Spoken Word



Net links:    
          
Soundfly ~ Pretty Fly/Lullabye  
         
Viewfiner links:          
       
Birth of the 33 1/3 RPM LP        

             

The album still frightens 62 years later!