[Thor Joachim Haga]

I’m not good at destilling favourites into lists

But that’s the whole fun of being a film music nerd! Lists for life!

In seriousness, good selections.

[Sigbjørn]

Nerd? I’m a connoisseur of music. 😉

[Thor Joachim Haga]

[Malte Müller]

Would love to get more from MARK OF ZORRO than that one suite Roy Budd recorded. And I am still wondering why there has been no proper re-recording of CAPTIAN BLOOD besides suites.

[Malte Müller]

But that’s the whole fun of being a film music nerd! Lists for life!

Aren’t we actually geeks? 😉

[Sigbjørn]

Looking good, Thor! 😉

Would love to get more from MARK OF ZORRO than that one suite Roy Budd recorded. And I am still wondering why there has been no proper re-recording of CAPTIAN BLOOD besides suites.

Agreed on both accounts. Some choices for re-recordings by Stromberg and the likes baffle me when we have gems like these that are mostly unavailable.

[Thor Joachim Haga]

Yes, that whole ABBOTT & COSTELLO thing recently baffled me. But I have no connection to those guys, the films or the scores (I keep confusing them with Laurel & Hardy anyway).

[Malte Müller]

I think this is a US vs Europe thing, Abbott & Costello are probably don’t have the fan base over here. Actually I barely know them by name but grew up with Laurel & Hardy.

[FalkirkBairn01]

I loved watching Abbott and Costello when I was growing up. But I have no connection with the music in their films. I find the music of this new release just annoying. Well done, but annoying.

But for Laurel and Hardy, I loved their shows and the music featured in what they did. Their short films were constantly being repeated and became very familiar with certain cues becoming favourites of mine.

A similar experience to the oft-repeated original STAR TREK series : lots of repeats and lots of re-using of music in those repeated episodes.

[Malte Müller]

Here in Germany their shorts ran in the early evening time for kids being named “Thick and dumb” (“Dick und doof”) and with new music. Same with of Charlie Chaplin shorts.

Somehow I have no memory of seeing any Abbott and Costello. I have only sampled that new release – it’s on the streaming service of my public library – and it is quite micky mousy.

[Nick Zwar]

OK, ok, I give this a shot… 10 Golden Age must-haves, cut-off point at 1948, and only one per composer. Were it not for the “one per composer”, it would be easy, I could just list every Miklós Rózsa or Bernard Herrmann score. But I stick to the parameters.

In chronological order:

Aaron Copland: The City (1939)

Erich Wolfgang Korngold: The Sea Hawk (1940)

Roy Webb: The Curse of the Cat People (1944)

Hans J. Salter & Paul Dessau: House of Frankenstein (1944)

Franz Waxman: Rebecca (1940)

Bernard Herrmann: The Ghost and Mrs. Muir (1947)

Miklós Rózsa: The Lost Weekend (1945)

Max Steiner: Treasure of the Sierra Madre (1948)

Dimitri Tiomkin: Red River (1948)

Ralph Vaughan Williams: Scott of the Antarctic (1948)

[Thor Joachim Haga]

Excellent list, Nick!

[Nick Zwar]

When it comes to Rózsa, I started with “Double Indemnity” before I changed that to “The Red House”, until I settled for “The Lost Weekend”… Rózsa really did some great work in that period. As I said, I probably could fill the list with just Rózsa and Herrmann. 🙂

[Thor Joachim Haga]

There was a lot of discussion of THE RED HOUSE on FSM recently. I remember giving it a chance a few years ago, and it didn’t do much for me. But I’m going to give it another chance now. Everyone seems to love it.

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