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The Bernard Hermann month was great, now how about____________?


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I choose Michel Legrand. This provides a great opportunity for some new titles, and reairings of good ones. Here's just a few of what I would like to see:



A Woman is a Woman

Cleo de 5 á 7

Vivre sa Vie

Bay of Angels

The Umbrellas of Cherbourg (reair)

Les Demoiselles de Rochefort (with Gene Kelly!)

The Thomas Crown Affair (reair)



Le Sauvage

F for Fake


I also considered Maurice Jarre, but most of his best films are already shown often on TCM.

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Love Michel Legrand. Maurice Jarre is an excellent choice too.


I like honoring songwriters like they did with Frank Loesser and Johnny Mercer. I think it would be fun to do any writer of Standards like Sammy Cahn, or to go further back, Warren & Dubin. But I've always been partial to the songs I grew up with by the Sherman Brothers.


But if we're sticking with background music artists, you really must honor Max Steiner who set the standard, wouldn't you say?

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Great idea, Lonesome Polecat. I'm all for Sammy Cahn or Warren & Dubin. Max Steiner would be ideal as well.

But there's a film composer who has a centennial anniversary this year - David Raksin. Ever hear of him? How about "Laura" and "The Bad and The Beautiful"? Those two beauties would make a wonderful combo on TCM.

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> {quote:title=slaytonf wrote:}{quote}I choose Michel Legrand.

Well, you didn't mention one of his most magnificent film scores, "Ice Station Zebra." This was truly surprising, since Legrand was considered more a pop music oriented composer. Thus, he has become one of the best and revered music maker's of his generation.

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I was focusing mostly on films not previously shown, though I did list a couple I wouldn't mind seeing again. Films like Ice Station Zebra and, say, Sweet November, or The Happy Ending that are no strangers to TCM, I expect would be reaired. That is, if TCM would ever feature him.


Who's a composer you'd like to see highlited?

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> {quote:title=slaytonf you asked: }{quote}Who's a composer you'd like to see highlited?

Well, my first choice would be David Raksin, because I knew the man and learned a lot about the art of film scoring from him. His crop of film music wasn't exactly very high, but what there was of it, certainly added enough quality and poise to classic Hollywood. David struggled somewhat throughout his music career in motion pictures, due to demands and attitudes forced upon him by various producers and directors who knew nothing about music making. There was this sophistication to his style that expressed a dexterity beyond what others could produce. Discovered by Charlie Chaplin to arrange the score for "Modern Times," in 1936, David's career was off and running to a high flying start. For a very long time, David did orchestrations before getting into actual composing. His big break came when fellow composer Alred Newman supported his ideas and craftsmanship while David worked at 20th Century-Fox. This led to his most famous score for the film nori classic, "Laura." In his later years, he worked at MGM, where he brought a new sort of avant-garde to the music department, under the leadership of Johnny Green. Perhaps his greatest known work for MGM was "The Bad and The Beautiful." This score would in time, become one of the most studied, copied and popular of its kind. Before his death in 2004, at the age of 92, he was still promoting the art of film music at universities and various film festivals.

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Thank's for the overview on Mr. Raksin's career. My personal favorite of his scores is the one for The Big Combo. Or, I think it is. Maybe you know if he composed the killer opening theme. It's one of the swinginest, sexiest themes. The only ones that compare to it that occur to me are Elmer Bernstein's theme for Walk on the Wild Side and Henry Mancini's theme for Experiment in Terror.


What are some films, aside from the ones you mentioned that you would like to have in a profile of his work? I'm most interested in using this idea as a way of bringing new films to TCM, or airing ones that are rarely shown. Any of those films with Raksin's work that fit the bill?

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> {quote:title=slaytonf you ask: }{quote}What are some films, aside from the ones you mentioned that you would like to have in a profile of his work? I'm most interested in using this idea as a way of bringing new films to TCM, or airing ones that are rarely shown. Any of those films with Raksin's work that fit the bill?

{font:Arial}{color:black}While David had a limited output of scores, certainly what he did create warrants attention and can be perceived as giving him a worthy profile of his own! Of his scores that I might consider, in relation to a diversity of subject matter are the following:{font}





































{font:Arial}{color:black}“Laura.” This one is easy to figure out why it has to be included. This was from a historical standpoint, one of the very first films to incorporate a basic theme that covered most of the background music of the film. I’ve always felt that this invention of a basic theme was owed to none other than Alfred Newman, who was running the music department at 20th Century-Fox and must be credited with getting David’s composing career off the ground.{font}





































{font:Arial}{color:black}“The Gang’s All Here.” Now, trust me on this one! While this was one of the best Technicolor musicals of 20th Century-Fox during the War Years, David did a few of the orchestrations and composed all the music to the spectacular finale, stemming from the song “The Polka-Dot Polka.” Al Newman handled the musical direction and for some years it was believed he composed the grand finale of the film. This occurred because David was unaccredited for his work and for other numerous films throughout his career.{font}





































{font:Arial}{color:black}“The Shocking Miss Pilgrim.” Ok, here we ago again! Another musical and in this case probably the best one Betty Grable ever made at 20th Century-Fox! The songs were written by George and Ira Gershwin. But, it was David who beautifully orchestrated the tunes, some of which became hits. Al Newman received credit for the musical direction, but David was the one who put this wonderful film’s music together. {font}





































{font:Arial}{color:black}“The Secret Life of Walter Mitty.” Wow! This is what I would call the big turning point in David’s career as far as musicality goes! He was loaned out to the Goldwyn Studios and in the process created what is truly a masterpiece of film scoring. This was the first time he was out on his own and without the support and tutelage of Al Newman. However, throughout the film, I sense Newman’s influences everywhere. David would say on occasions that this score was a massive undertaking, incorporating more styles and themes than he had ever dealt with up to that time. There is an absolute beauty to listening to this score that contributed so much to the success and popularity of the movie. {font}





































{font:Arial}{color:black}“Forever Amber.” This was a film that fans might have expected Al Newman to handle. It was an historical epic and one of the studio’s biggest productions of the year. But, David having proven himself over at the Goldwyn Studios was given the green light by Darryl Zanuck to take over and man did he do a magnificent job! This of course meant his usual means of surrounding the music score with a basic theme. Still, David had a series of others themes for the film he skillfully created and director Otto Preminger (who directed “Laura”) praised David and they would work together in the following years to come. David received an “Oscar” nomination for his work. Interestingly, Al Newman was also nominated for “Captain from {font}{font:Arial}{color:black}Castile{font}{font:Arial}{color:black},” the other big epic film that year from 20th Century-Fox. Neither composer won, losing out to Miklos Rozsa and his score for “A Double Life.” Perhaps the votes for David and Al Newman were divided evenly between them in order for Rozsa to win? I wonder. Anyway, the best thing about this score today is that it's available, in full, on CD! So, I say don't wait if you don't have it, because it will probably go out of print! {font}





































{font:Arial}{color:black}“Daisy Kenyon.” We’re back to drama here and David came off with a rather mild but effective music score, underlining the various characters to what was essentially a melodrama from director Otto Preminger. At this point, David now appears to be the composer of choice by Preminger and the results are quite good. Unlike his previous scores, there wasn’t one main theme surrounding the score, but an interesting blend of serious symphonic tones that uplifted the film to appear as a prestigious drama, instead of a typical soap opera.{font}





































{font:Arial}{color:black}“Whirlpool.” Enter 1950 . . . This marked David’s last score for 20th Century-Fox, until he retuned six years later! Once again, he’s teamed up with Preminger for what is one of the best suspense dramas of the year. David added a rather flamboyant and moody style to the music score. This pretty much signified how he saw the confused mental state of a woman suffering from enforced delusions by a corrupt hypnotist. In watching this film, David’s music has a way of transposing the atmosphere towards feeling the conflict of the mind trying to understand the torment of what is possibly real and what is a superimposed fantasy. This score that I rate highly has never been given a decent release as a full album on CD. I thought somewhere along the way, before David’s death someone might produce a version of the score, but I have yet to see one appear.{font}





































{font:Arial}{color:black}“Pat and Mike.” One of the very best Tracy and Hepburn films to come out of MGM. David would at this time, during the early 1950’s, be working regularly at MGM and this decade would be his most prolific as a film composer. While this isn’t such a spectacular score, it was an amusing one. David created two separate themes for Tracy and Hepburn, culminating towards one basic love theme. It’s always been the theme he wrote for {font}{font:Arial}{color:black}Tracy{font}{font:Arial}{color:black} that’s the most wonderfully spirited of all. The various montages spurred on by David's music, as Hepburn raises to glory as a tennis player were exhilarating. But, my favorite piece of music was the one heard during the scene at the restaurant, the night before Hepburn’s big golf tournament. This was a theme that incredibly was something of a mixture to the themes of the main characters. Well, luckily for all of us, this score is available on CD. The original recording sessions from MGM are mostly intact. Glory Hallelujah!{font}





































{font:Arial}{color:black}“Carrie.” This is David’s first score created at Paramount Pictures. It was a period drama, based on the classic novel by Theodore Dreiser. It was on all counts a big motion picture, starring Laurence Olivier and Jennifer Jones. The music was low-keyed to the point of expressing the cold, sadden atmosphere of a period that identified with the struggles of those on the low-end of society, reaching for some sort of wealth and satisfaction. The music score is rather simple, but with overtones of beauty and grit that expresses the emotional needs of the characters and their doomed romantic entanglement.{font}





































{font:Arial}{color:black}“The Bad and The Beautiful.” A masterpiece of modern film scoring or one that set a standard that has never left us! David was back at MGM and man did he create a winner here! This was a big picture and David saturated the film with enough themes to have a few left over and the end results are dazzling. The main theme is one of the most famous, if not, recognizable for any film coming out of the 20th Century. My favorite of all themes is the one used during the montages. Years later, David would record for RCA, a symphonic suite of the score, conducted by him! This album became one of the most popular of its kind, stemming from a classic film score series RCA invested heavily in. David was one of a few noted film composers, still alive to contribute to the series. The others were Bernard Herrman, Miklos Rozsa and one of my all time heroes Dimitri Tiomkin. So, David was in good company during those years classic film music made a huge comeback!{font}





































{font:Arial}{color:black}“The Vintage.” This is a film TCM could easily air, since its part of the MGM collection, but hasn't been seen much. Most likely, because the film is not so well known and wasn’t exactly a big success, it has suffered the woes of being neglected and not considered mainstream. Despite a rather lukewarm sort of reception on the part of the critics and public, “The Vintage” does have a wonderful score by David and for all accounts, ought to be placed on a CD album, simply because of the craftsmanship displayed from a musical sense of thinking.{font}





































{font:Arial}{color:black}“Until The Sail.” I must admit this is one of my all time favorites of David! Not only are the character themes and background music first rate, so is the exquisite love theme of the motion picture that was beautifully sung by Edie Gorme. Once again we’re in luck! The entire score is available on CD, straight from the MGM vaults! If you’re a real devoted film music fan, than this is the type of recording you can really appreciate. TCM has already shown the film on various occasions and I try never to miss it, even though I’ve seen the film countless times!{font}





































{font:Arial}{color:black}“Twilight for the Gods.” Here we have David’s first and only time he worked at Universal Pictures. This was for a big Rock Hudson adventure vehicle that was nicely produced. The film is in my opinion rather underrated and David’s score is one of his best of the period as the 1950’s are winding down. I feel a bit frustrated about this score in that Universal never offered a soundtrack release. This is a score that deserves consideration, based solely on the beauty and skill of what David composed that otherwise would have been another in a typical sort of routine score so use to receiving from Universal Pictures. Had David cut a deal with the studio and stayed on, he might have lifted their prestige to levels they had never really known on a regular basis.{font}





































{font:Arial}{color:black}“Two Weeks In Another Town.” Ok, I know some of you will say, “Hey ain’t this just a rehash of “The Bad and The Beautiful?” Well, there’s no denying that because film clips were used from the previous film, it stands to reason that David relied to some extent towards his earlier work. This has been considered a sequel of sorts, because of the same major star and director revising the aura of a previous success. Yet, there is for consideration, a new and fresh feel to what David added and the results were satisfactory, if not, bright and intense. The score for “Two Weeks In Another Town” was also more sophisticated than his earlier work on “The Bad and The Beautiful.” You can judge for yourself, because a CD of the entire score is available! I have it and treasure it!{font}





































{font:Arial}{color:black}“Love Has Many Faces.” I can just hear a few of you laughing at the selection of this one! Ok, it is a rather flashy sort of melodrama about gigolos and bored rich women looking for companionship around the beaches of {font}{font:Arial}{color:black}Mexico{font}{font:Arial}{color:black}. Yet, David added a bit of an ornate fashion that reflected well upon the main characters of the story. The score is modern and lavish to a point of signifying the atmosphere shrouded by a Latin flavor, while staying closely connected to a contemporary pop style of music. What really adds to the film’s favor is hearing the theme song, beautifully done by Nancy Wilson. There was a single made of the theme song, but no soundtrack has ever been available. I give high marks to TCM for having aired the film and hope to see it again.{font}





































{font:Arial}{color:black}“A Big Hand For The Little Lady.” One of the last, finest scores of David’s career came with this interpretation of the “Old West.” This marked his first and only time at Warner Brothers. Because this was a western, the score might be considered a lively one. However, there is another fine mixture of low-keyed materials and those that uplift the spirit towards a sort of bonding to the whole aspect of the storyline. I believe this is one of David’s few scores that had an infectious quality, both as to relating to the characters and a finale that when first viewed by an audience was a tremendous, joyous surprise. Uniquely, it’s at the end of the film, with the credits displayed, the main theme of the movie is heard in its entirety. The film score was in many ways a triumph for David, because he really experimented and went into music areas not expected for a western film. The symphonic opening of the film alone, speaks for itself on a tone of avant-garde. There is both a symphonic and yet, folkloric sense to what he created. This film score has a very strange history in that the studio soundtracks disappeared and the entire score is sort lost or may never be recovered. This is unless someone will painstakingly sit down and rewrite everything from hearing the actual finished film strip. TCM has already shown this film, so it won’t be so easily missed.{font}





































{font:Arial}{color:black}On the question of “The Big Combo” . . . Well, that was totally David’s and he should get the credit as the film’s composer.{font}

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MovieProfessor, for a guy with a limited output, that's an impressive list. Good enough for a week, at least. It also has movies that are new or rarely shown on TCM as well as better known titles, which is what they usually do for themes. It's good to know he's responsible for the music on The Big Combo.


LonsomePolecat, I also thought of Maurice Jarre, a David Lean favorite. But it seems most of the films he did scores for are already regularly seen on TCM.


filmmusicfan, filmlover, Sunny75, Dargo, ValentineXavier, are there any films by the composers you mention you'd like to see, especially if they haven't been seen on TCM?

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Probably the non-Fellini Nino Rota films that are most seen are *The Godfather*, *The Leopard*, and *Waterloo*. TCM also showed the excellent *The Hidden Room*. There are only a few others I have ever seen.He has a huge filmography, going back to 1933. There are many on his filmography that I would much like to see, based on reading the IMDb:


*Rome: Free City* 1946

*Woman Trouble* 1948

*How I lost the War* 1948

*His Last Twelve Hours* 1950 with Jean Gabin

*This Angry Age* 1958 D. Rene Clement

*The House of Intrigue* 1958

*Purple Noon* 1960 D. Rene Clement

*A Quiet Place to Kill* with Carroll Baker

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Did they show *The Egyptian* during the Herrmann month? If so, I missed it. If not, they could show it during an Alfred Newman month, since Herrmann and Newman collaborated on that greatest score for a 50's epic.


But my first choice would be an *Erich Wolfgang* *Korngold* month. Korngold's score for *Anthony Adverse* is, I think, the most beautiful and sophisticated film score ever written. His scores for Robin Hood, The Sea Hawk, Elizabeth and Essex, Kings Row, Deception, Devotion, etc., ain't bad either.

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Yes, I've always thought the score for The Adventures of Robin Hood was a big part of why that movie is so good to watch. The music carries the audience along. What films that Erich Korngold scored that haven't been shown by TCM would you like to see?


Along with showing the films, it would be great to have someone speak with Mr. Osborne about the composer as the films are introduced. But maybe a whole month isn't necessary for a composer. To make it possible for more composers (and more new films) to be featured, perhaps two or three days in a week could be devoted to one composer. That way four composers could have their spotlight.

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Jerry Goldsmith surely deserves a month long tribute for his contributions to the world of cinema.


He is my favorite composer and in my opinion should have been awarded an Oscar for at least five additional films, other than his lone Oscar win for The Omen in 1976.


He should have won for The Sand Pebbles (1966), Patton (1970), Papillon (1973), Chinatown (1974), Star Trek: The Motion Picture (1979), and L.A. Confidential (1997). Just MHO of course!


He was a prolific composer who scored hundreds of television themes including:


The Lineup, Climax!, City of Fear, Playhouse 90, The Twilight Zone, Pete and Gladys, Dr. Kildare, The Man From U.N.C.L.E., Room 222, Barnaby Jones, Hawkins, The Waltons, Police Story, QB VII, Medical Story, Masada, Star Trek: The Next Generation, and Star Trek: Voyager.


He also scored dozens of theatrically released films and television films including the following fifty:


Lonely Are the Brave 1962

Freud 1962 AAN

Lilies of the Field 1963

The List of Adrian Messenger 1963

The Prize 1963

Rio Conchos 1964

Seven Days in May 1964

The Agony and the Ecstasy 1965

In Harm's Way 1965

A Patch of Blue 1965 AAN

Von Ryan's Express 1965

The Blue Max 1966

Our Man Flint 1966

The Sand Pebbles 1966 AAN

Seconds 1966

The Flim-Flam Man 1967

Hour of the Gun 1967

In Like Flint 1967

Planet of the Apes 1968 AAN

Sebastian 1968

The Ballad of Cable Hogue 1970

Patton 1970 AAN

Tora! Tora! Tora! 1970

Papillon 1973 AAN

Chinatown 1974 AAN

The Wind and the Lion 1975 AAN

Breakheart Pass 1975

The Omen 1976 AAW

Islands in the Stream 1977

Twilight's Last Gleaming 1977

The Boys From Brazil 1978 AAN

Capricorn One 1978

Alien 1979

Star Trek: The Motion Picture 1979 AAN

Outland 1981

Poltergeist 1982 AAN

First Blood 1982

Under Fire 1983 AAN

Hoosiers 1986 AAN

The Russia House 1990

Total Recall 1990

Basic Instinct 1992 AAN

Rudy 1993

The River Wild 1994

First knight 1995

Star Trek: First Contact 1996

Air Force One 1997

L.A. Confidential 1997 AAN

Mulan 1998 AAN

The Sum of All Fears 2002


AAN indicates Academy Award nomination.

AAW indicates Academy Award Win.

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> {quote:title=slaytonf wrote:}{quote}....filmmusicfan, filmlover, Sunny75, *Dargo*, ValentineXavier, are there any films by the composers you mention you'd like to see, especially if they haven't been seen on TCM?



Certainly, slaytonf. Here are just some of the classics Alfred Newman scored which I've always enjoyed watching, though most of them are pretty much mainstays on TCM:


* 1937 - [The Prisoner of Zenda|http://en.wikipedia.org/wiki/The_Prisoner_of_Zenda_%281937_film%29|The Prisoner of Zenda (1937 film)] (Academy Award nomination for Best Musical Score)

* 1939 - [Gunga Din|http://en.wikipedia.org/wiki/Gunga_Din_%28film%29|Gunga Din (film)]

* 1939 - [Wuthering Heights|http://en.wikipedia.org/wiki/Wuthering_Heights_%281939_film%29|Wuthering Heights (1939 film)] (Academy Award nomination for best musical score)

* 1939 - [The Hunchback of Notre Dame|http://en.wikipedia.org/wiki/The_Hunchback_of_Notre_Dame_%281939_film%29|The Hunchback of Notre Dame (1939 film)] (Academy Award nomination for Best Musical Score)

* 1940 - [The Mark of Zorro|http://en.wikipedia.org/wiki/The_Mark_of_Zorro_%281940_film%29|The Mark of Zorro (1940 film)] (Academy Award nomination for Best Musical Score)

* 1941 - [How Green Was My Valley|http://en.wikipedia.org/wiki/How_Green_Was_My_Valley_%28film%29|How Green Was My Valley (film)]

* 1943 - [The Song of Bernadette|http://en.wikipedia.org/wiki/The_Song_of_Bernadette_%28film%29|The Song of Bernadette (film)] (Academy Award)

* 1944 - [The Keys of the Kingdom|http://en.wikipedia.org/wiki/The_Keys_of_the_Kingdom_%28film%29|The Keys of the Kingdom (film)] (Academy Award nomination for Best Musical Score)

* 1947 - [Captain from Castile|http://en.wikipedia.org/wiki/Captain_from_Castile|Captain from Castile] (Academy Award nomination for Best Musical Score)

* 1948 - [The Snake Pit|http://en.wikipedia.org/wiki/The_Snake_Pit|The Snake Pit]

* 1950 - All About Eve

* 1952 - The Snows of Kilimanjaro

* 1953 - [How to Marry a Millionaire|http://en.wikipedia.org/wiki/How_to_Marry_a_Millionaire|How to Marry a Millionaire] (Alfred Newman appears conducting an orchestra in the prologue. The music is from Street Scene.)



* 1953 - [The Robe|http://en.wikipedia.org/wiki/The_Robe_%28film%29|The Robe (film)]

* 1955 - [Love Is a Many-Splendored Thing|http://en.wikipedia.org/wiki/Love_Is_a_Many-Splendored_Thing_%28film%29|Love Is a Many-Splendored Thing (film)] (Academy Award)

* 1955 - [The Seven Year Itch|http://en.wikipedia.org/wiki/The_Seven_Year_Itch|The Seven Year Itch]

* 1956 - [Anastasia|http://en.wikipedia.org/wiki/Anastasia_%281956_film%29|Anastasia (1956 film)]

* 1962 - [How the West Was Won|http://en.wikipedia.org/wiki/How_the_West_Was_Won_%28film%29|How the West Was Won (film)] (Academy Award nomination for Best Musical Score)

* 1968 - [Firecreek|http://en.wikipedia.org/wiki/Firecreek|Firecreek]

* 1970 - [Airport|http://en.wikipedia.org/wiki/Airport_%281970_film%29|Airport (1970 film)]


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This is a great thread. To the ones already suggested, I'd like to add *Bronislau Kaper*, a name unknown to me until I heard the haunting theme which opens *A Life of Her Own*, later re-used in *Invitation.* Kaper doesn't overscore a film, as Tiomkin, Steiner, and others sometimes do. Scenes with music are a special addition, and the music has a greater effect because it's used sparingly. The piano theme which opens *That Forsythe Woman* is another excellent example of his work--simple, haunting, and appropriate because Greer Garson plays a piano teacher.

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It's a mark of how central he was to the industry that so many of his films are shown, and often, on TCM. Of those, I always like to see The Prisoner of Zenda, How Green Was My Valley, and All About Eve. Of the less often aired movies, I like The Mark of Zorro, and Anastasia. I'd also like to see Airport.


I'd also like to see (not because I think they're good movies, or scores, necessarily, but I just want to see them):


The Devil to Pay!

The Greeks Had a Word For Them (a sadly neglected comedy with Joan Blondell, Madge Evans, and Ina Claire)

The Cat-Paw

Clive of India

The Call of the Wild

Wee Willie Winkie

52nd Street

Blood and Sand

A Tree Grows in Brooklyn

A Bell for Adano

Call Northside 777

The Pleasure of His Company

Down to the Sea in Ships

The Counterfeit Traitor

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I agree with all your choices but it should be pointed out that contrary to the header on your last post, David Raksin didn't write the scores you listed:


The Prisoner of Zenda, How Green Was My Valley, and All About Eve. Of the less often aired movies, I like The Mark of Zorro, and Anastasia. I'd also like to see Airport.


Those were all the works of Alfred Newman.

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Oddly, two of *Bronislau Kaper's* scores are much better known than he is: *Green Dolphin Street* and *Mutiny on the Bounty* (1962). I especially like his music for *Two Loves* as well.


Look at his credits on imdb, 135 as composer. Here are some representative films, all shown on TCM, and wouldn't they be interesting to see together?


*A Woman's Face*

*H.M. Pulham, Esq.*

*Johnny Eager*

*Above Suspicion*

*The Stranger*

*Mrs. Parkington*

*Act of Violence*

*The Naked Spur*


*The Swan*

*Green Mansions*

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