ChelseaRialtoStudios
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Posts posted by ChelseaRialtoStudios
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Actually, it's my company and I do all the audio production and restoration work. It's extra income that pays for my ravenous 16mm hobby!
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I have a print of the trailer and even THAT's tough to sit through!!! It's the kid's fault - he was AWFUL.
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I first saw THE LITTLE FUGITIVE at the Larchmont Playhouse many moons ago. The score was played on harmonica by Eddy Manson and was released on LP by Folkways Records. And a very sprightly work it is.
THE LITTLE FUGITIVE had several plays on American Movie Classics when it still was!
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One of the victims of the film's reissue was the soundtrack. The score was recorded on the Goldwyn stage and beautifully so. But the reissue and subsequent public domain prints sound flatter than the proverbial pancake. There is also a horrible cut in the music track that I would love to know for sure whether or not it dates back to the original release. When Esther gets her waitressing job at the party, there is a transitional music cue that, as recorded, goes into a light dance cue. But as butler Ferdinand Munier is carrying his tray, the music cuts off like someone ripped the optical track. The entire party sequence plays without scoring.
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Another of our recent soundtrack releases:
Features an outstanding historical essay by Rudy Behlmer.
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Lugosi's stagework in Europe coincided with the ascent of the Stanislavski method. Two of Stanislavski's disciples were Maria Ouspenskaya and Joseph Buloff. Lugosi worked with Ouspenskaya at Universal (she was his mother in THE WOLF MAN) and with Buloff in NINOTCHKA at MGM. Coicidentally, these films feature two of Lugosi's best and understated performances.
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Ah, THE MONKEY'S PAW......I Wish! I Wish! I Wish!!
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One of the best features of the 1940 Fox film is Alfred Newman's score. We released it on CD a couple of years ago:
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I think it's great that someone like Lewis Black goes over. Black is a severe Bush critic but he still supports the guys and gals in uniform. I'm a rabid Republican but I think Black is an extremely funny comic and social commentator. One of the few stand-up guys who's humor is above his belt! Way to go Lewis for going "over there!"
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I have a kinescope of Karloff playing the role on NBC in 1949. He was even better in the 1962 Hallmark production (though Dorothy Stickney was drab as Aunt Abby).
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Mohr may have been shortchanged in pictures but he was ubiquitous on radio! From starring in his own series (such as PHILIP MARLOWE) to doing innumerable guest shots and being in the stock company of anthology shows, Mohr's voice was probably heard by more people than Bing Crosby's!
As a 30 year CBS veteran, I especially got a kick out of Mohr's performance as Bill Paley on THE JACK BENNY PROGRAM (esp. the Race Track show).
Mohr was to radio what Tris Coffin was to serials!
PS did you ever notice his trademark "er..eh.." ?? He had a signature way of sliding into a line of dialogue. What a smoothie.
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It's one of MGM's Dogville shorts - ALL QUIET ON THE CANINE FRONT (1931).
Woof woof!
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Below is the '50 pulp edition (currently on eBay):
I have a copy of Lewton's YEARLY LEASE.
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Charles Middleton was Ming. Robert Middleton was Kobish the brutish convict in THE DESPERATE HOURS. He was MUCH more Merciless than Ming!!!
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THE GHOST AND MR. CHICKEN has quite a cult following. I was privileged to have produced the soundtrack CD's to GHOST and RELUCTANT ASTRONAUT.
Both have been VERY well received!
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Just an update - the HIGH NOON soundtrack is now available.
Here's an order link:
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LINDEN, VA. December 17, 2007 For the first time ever, the complete Academy Award winning musical score to the Gary Cooper western classic HIGH NOON is available on compact disc. The score, through arrangement with Volta Music Corporation, has been restored by Chelsea Rialto Studios of Ellenville, NY, and is released by Screen Archives Entertainment, a specialist in motion picture soundtrack scores.
The score, by Russian composer Dimitri Tiomkin, has long been a favorite of film fans and was the first major film to feature a title song as a ballad that is integral to the storytelling process. ?Do Not Forsake Me? was sung on the soundtrack by Tex Ritter and won an Academy Award, in addition to the thematic underscore.
Before HIGH NOON was released to theaters in 1952, ?Do Not Forsake Me? was recorded by Frankie Laine for Capitol Records and became a hit with radio listeners and the record-buying public. Thus, the success of the song had a direct impact on the box-office success of the picture.
HIGH NOON was an independent production, produced by Stanley Kramer and released through United Artists. Through the years, while the film has survived, the ancillary negative elements ? including the optical soundtracks containing the original music recordings ? have been lost. However, a complete set of score recordings was kept by composer Tiomkin and it is these acetate discs that provided the audio materials used for the CD release. After being transferred to digital audio, the 55 year-old recordings were painstakingly restored by Ray Faiola at Chelsea Rialto Studios and a symphonic representation of the complete musical score was produced. The ball then passed to Screen Archives, whose designers created a lavish, 32-page full color booklet featuring original artwork and production notes by film historian Rudy Behlmer.
HIGH NOON starred Gary Cooper, Grace Kelly, Katy Jurado, Thomas Mitchell and Lloyd Bridges. Directed by Fred Zinneman, it was the first film in which a main title ballad is reprised throughout the picture as a progressive element of the storytelling process. The haunting vocal by Tex Ritter was recorded by dozens of artists but the original film version has never been released on record. A studio version that approximated the film recording was made by Ritter in England in 1952.
Previous releases by Screen Archives include LOST HORIZON, A SUMMER PLACE and CAPTAIN FROM CASTILE. The soundtrack to HIGH NOON retails for $19.95 and is available directly from Screen Archives Entertainment, www.screenarchives.com
Here's the direct order link:
http://www.screenarchives.com/title_detail.cfm?ID=8242
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Actually, a couple of her Universal B's from the early 40's were shown on Showtime back in the 80's.
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TWO SECONDS is magnificent. One of Eddie G's finest moments. As for SCARLET STREET, Kino has released it from a beautiful 35mm print.
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Next to the 1951 Sim version (absolutely the best), I think the most effective film is the 1936 Seymour Hicks version. It has a true Dickensian feel to it. All the 16mm prints are cut to 60 minutes, but there is a recently released DVD that is complete at 78 minutes.
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My theater and storage building are built into the side of a mountain of water. Concrete foundation. So it's naturally cooled year-round. Also, keeping the films out of cans allows them to breathe and prevents "vinegar syndrome", which is the scourge of cinema archives!
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While I have thousands of movies on Beta, VHS and DVD, my prime collection is on 16mm film. I have over 1,600 features and a couple thousand shorts, cartoons, trailers and soundies.
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It's not Max's first score but it is the first to have substantial underscoring, rather than merely Title and transitional cues. It was Selznick who pushed the idea and Steiner ran with it. The next big picture, BIRD OF PARADISE, had a nearly 100% score.
We have about 24 minutes of SIX MILLION in our 3-disc MAX STEINER: THE RKO YEARS set.
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I wouldn't be so quick to dismiss. The fact that THE SEARCHERS is about the capture of two white girls and the survivor being inducted into Scar's tribe raises the possibility that Scar himself may have been the product of a mixed union. Besides, Henry Brandon was an imposing figure and Scar is one of his most memorable performances.
BTW, Brandon was also the insidious yellow demon in Republic's wonderful serial THE DRUMS OF FU MANCHU.
William Wyler's: "THE LETTER"
in Films and Filmmakers
Posted
Thank you, Maven. I LOVE TO FILL UP SHELVES OF OTHER COLLECTORS!!
By the way, responding to an earlier post - The Lee Remick remake of THE LETTER did, indeed, use Max Steiner's "moon" motif in the score by Leonard Rosenman. Another remade classic, THE MARK OF ZORRO with Frank Langella doing Tyrone Power, reused the original score by Alfred Newman. Then, a subsequent theatrical parody, ZORRO THE GAY BLADE, used Max Steiner's music from ADVENTURES OF DON JUAN! The joke there is that there were some snickers (led by Hugo Friedhofer) that Steiner's music for TREASURE OF THE SIERRA MADRE was too "Spanish" and not "Mexican". For GAY BLADE, Steiner's Spanish music for DON JUAN was incorporated into a score for a Mexican story! I'm sure if Maxie were alive he'd come up with some wonderful pun of comuppance!