The eighe films discussed in his chapter appear in luconological order and offer a vatiety of stories and sgences, Although no comedies are n be viewed with the a as dramas, John Williams’ score for Hom ‘Alone 2 (1992) is constructed with the same archi Juded, come ime focus and criical teceural integrity he would bring to a dramatic film, bur you will discover some scores for comedies that appear co be an anthology of unrelated cues Whereas the score for a dramatic film would suffer without che buildup of emotional associations ch comes from the repetition and development of mur sical material, this factor seems less imporeant in contemporary comedies. By their very seruccure, these comedies often require a less unifiec composi tional approach than dramas, and are more likely ¢0 at | ilms include a vatiey of songs from sources other than the composer. Te's a good idea co see a movie frse before you study a fin chapter. Even if you've already seen a film one of ‘mote times, it helps to watch it again and notice and its score with che help of this your emotional reaction to both the drama and the scote. Then you will find ic beneficial co srady the breakdown of elements discussed below: the sqle ‘and concept, the spotting, music phrases the the themes, how the rama, the use of source music, and the tempo and pulse of the score Te is especially important «0 scores are easly heard and described in cerms of the alize that not all matic usage. Some scores are based on shore motifs and rhythmic figures that are developed and interoughour eh we are even less the- 18 rirmaily on inserumen ambience for their effectiveness, Al po fing noes and chematic identification chat follow snd co lise hough aiscover may improve your ability the various chemes that are che basis ‘unwise £0 become ing vations themes while watching a film. While che overly preoccupied with identify themes and their accompanying, harmonies, chythes and instrumental colors definitely set che cone an seyle of a scote, other issues are more significane in understanding how effectively a score is serving its film: How is the drama spotted? Is the music phras- ing the dtama or playing through? What is the over all con illumin Does the score’s cone in 1 of the score, and how does thar concepe the film? What is the cone of the score? y of the fease the la rae 1d incensify its power, oF is it inappropriate? ‘Apply the approach to lsrening to film music sug. gested in C 5 music asi is in the release princ, not as ie was orig crs 4 and for each film reflect the rally spotted. Occasionally the names given co the al motifs and chemes are taken from the de Lup for purposes of easy identification. Cue sites also are us the composer or music editor gives each cue a title of the titles have bee film played by individ cue sheets, but in most cases they have been 1 n added co help ‘The Adventures of Robin Hood 1938 Music by Erich Wolfgang Korngold. Orchestrated by Hugo Friedhofer and Milan Rode, Directed by Michael Curtiz, Keighley. Errol Flyn Basil Rathbone, Claude Rains. Erich Wolfgang Kou 19 Viena ygold had wor an Oscar in foc his scone for Anthony Adverse, and vas in of his fifth (and preparing for the pren las) opera, Die Kathrin, when Warner Bros. cabled him questing ehac he score The A tures of Rabin Hood (Eat Fyn) duc Sir Guy of Gisboure (Bal 1938, scompanied by Bich Walang Korngols nla core (ue #35 ia the spating notes bow), ad romaeie his poo, indeding Capaie Bod (1935) a0d The Ses Hawk pio), both sasing Fy and dizoaed by Miche Cai © 1938 Toru Envios (AM Right Roe Robin Hood, Afeee some crepidation (discussed in (rail in Chapter 9), he began his work on the score in mid-February 1938. His son, George Korngold, membered that it was nor an easy project “My father was on the verge of stopping several times, I shall never forget his anguish tions of “ juse can't do i,’ which T overheard in middle of the night through my bedroom wall. He ing, and at the same time producing one of his finese scores, the score which won him bis secord Academy Award.” Korngold’s score has proven to be the quintessential romantic epic score timeless and universally affecting,SYNOPSIS In 1191, when King Richard che Lion-Heare (lan Hunter) lefe England co fight in the Crusades, he _gave his reign co his «rusted friend Longchamps, whom he knew would be benevolent. However, Richard's evil brother, Prince John (Claude Rains) the power of the throne. When ic was learned chat Richard had been ca Joho, with the aid of Sir Guy of Gisbourne Basil Rathbone), became even more oppressive (0 the poor Saxons, brutally enforcing excessive taxation ‘and scheming to kill Richard and take over the throne, In defiance of Prince John's treachery, Sit Robin of Locksley, commonly known as Robin Hood (Ertol Flynn), gathered cogether a band of, rebels. Under his leadership chey sobbed the rich and distributed this stolen money co che poor. Robin Hood was ever red, Prince ually captured and sentenced to hang. With che help of Lady Marian (a ward of the King’s, played by Olivia de Havilland, who has ‘grown to admize Robin Hood) and Robin Hood's band of followers, Robin Hood escaped che gallows and foiled the plot co assassinate King Richard STYLE AND CONCEPT Korngold's musical style for romantic action films like Robin Hood and The Sea Hawk has served a8 3 role mod romantic-action films from the late thirties through Star Wars (1977) and beyond, Distinguishing cle ments in his score for Robin Hood include che usili- zation of the Full instrumencal resources of # large orchestra, the ineerweaving and development of a umber of ly idencifed with a patcicu Jar character or situation, the rich harmonic lan~ guage of che late nineteenth century, and an involvement with che drama which is general sidered operatic in nagure because of its close con- for big-scale symphonically orchestrated nection with the action ae all imes. Komngold’s own role models may have included Richaed Strauss. In dubbing, the Warner Bros. mixing crew fi vvored the music more than the sound effects, allow ing the full impact of Korngold’s score to be heard and fele SPOTTING The Adventures of Robin Hood is 102 minutes long and contains approximately 72:56 of scote. This is a lot of music—72 percent of the film is scored — but the score does nor at all feel excessive. Ri the spotting sounds appropriate for the film. There a scores. The titles below are not those on the cue sheet; they have been added to help suggest the scenes being scored, The cue numbers don't con- form to those listed on the cue sheet. ‘no titles indicated on the original #1. Main Title (1:31) Masic starts on the fade-in co the Wasner Bros. logo, and goes out just before a man News has come from Vienna.” #2. Richard Seized (:10) Music stares af the man says, *... will make fan public pronouncement tomorrow,” and fades out as Sit Guy says eo Prince John, “They'te even more worried #3, Tax the Poor (1:43) Music sare as Sit Guy and Prince John toast and Sit Guy says, "Tomorrow, your Highness,” and fades our under Sir Guy siying to « mille, “What's your name?” #4, Robin Hood Confronts Sie Guy (1:10) Masic seats as Sit Guy lis his arm ¢o Kill the mille, and fades out as the miller says, “Thanks, good mastet” #5. Nottingham Castle (2:00) Music starts on the fade-in of a card explaining Nottingham Castle, and fades out as#6. #1. #8, #9. #10. a #12. #13, Prince John says, young oman.” Robin Hood Enters Nottingham Castle (58) Music stares after, “Open the doo!” and goes out just after Robin throws a deer on the dinner table Escape From Nottingham Castle (4:20) Music starts as an arrow hies Robin Hood's chair, plays through the fight and chase, and goes out just before Robin says, “Up you go. Quick!” "Pass the Word” (:25) Music cone of Robin Hood's men rides off 4 Robin says, °C and fades out as Prince John i proclaimed in every villag Robin Hood Meets Lice John (1:06) Music starts during the black jay says, “TH have phys Robin Hood ‘meeting Lite Jobn, and Licele John says, “When 1 brash this fly off, Tl give you a dusting for good You're a very wise you go and good Tuck, ns, “Have sling in a wed Robin Hood Fights Litele John (1:23) Masic starts after Robin. Hood and Joba says, ‘Wait—1'll gee myself a seal fades out as Robin and Litt laugh. Little Joha Joins Robin Hood (1:22) Masic starts immediately following, cue #10 (sounding like a segue) on the cue after Robin Hood and Liede John are ,, and fades out under Robin laugl Hood saying, “T called you here as free born Englishmen The Pledge (1:50) Music starts after Robin Hood says, “Then kneel, and swear this oath,” and fades out as one of the Sir Gu dead —murdered Robin Hood Sees Friar Tuck (1:40) Mase stares as an arrow strikes che table in frone of Sit Guy, and goes out as Friar Tuck wakes up. men says, “Five men #4. #16. #16. #17. #18. #19. #20. #21 Friar Tuck Fights Robin Hood (1:38) Mosic stares after Friar Tuck says, “TIL nor—L'm happy here,” 3s Robin Hood slaps him with his sword and says, "You will!” and fades out as Friar Tuck says, “By our lady, you're che fairest swordsman T ever met.” Friar Tuck Joins Robin Hood (:46) Music starts after Robin Hood says 10 eiar Tuck, * and goes out as the men laugh after ‘Will says,“ . be looks like chee of us.” Robin Hood Attacks Sir Guy (4:29) Music starts during the black before the fade-in to Robin Hood's men preparing, boat's head, casks of ale co fight in the forest, plays the ambush, and goes out after Robin Hood swings down from a tree, just before he says “Welcome to Sheewood, my lady Robin Hood Talks to Lady Marian (1:18) Masic stares as the men begin moving out after Robin Hood says, “Well—tet’s away!” and segues co cue #18 on the dissolve to the feast. The Feast (1:24) Music segues from #17 on the dissolve to the feast, and goes out abruptly just before che an- nouncement, “To the tables, everybody and seuff yourselves.” ‘The Feast (Part 2) (1:18) Music sears fon the dissolve t0 celebration just after cue #18, and goes ‘oat abruptly after Robin Hood jumps up on a table and says, “Hey! Friends! Lady Marian (5:13) Music stares as che ‘ueasure is revealed as Robin Hood says, and there ic is..." plays through Marian and Robin talking, and goes out 1e fade «0 black as Marian rides continuation of the aay. ‘Tournament (1:12) Music starts on th fade-in to the herald cumpeters playing, 1 fanfare, and goes out with pets playing before the herald says, order of...”Tournament (Part 2) (1:12) Music carts on the long shot of the cournament 1 herald says, “The winning team all comers,” and goes ouc as ince John finishes saying co. Marian You'll find it much more interesting mediately after cue #22, on the cot to the herald erampecers, and goes ote just before a herald says, “The winning eam ‘Tournament (Part 3) (3:54) Music sats after Robin Hood caps a sole the helmet print to participating in the archery contest, and goes out as Rc having won the coneest, bows in fone of Prince John, Robin Hood Captured (48) Music starts a8 Robin Hood moves co escap after Sie Guy says, “Artes eis man,” and _goes out abruptly as Sir Guy hits Robin Robin Hood Convicted (42) Music starts after Sit Guy says, “Take him away,” and fades out a5 Sir Guy reads Robin's conviction charges, Robin Hood Sentenced (1:36) Music starts on the cut to Robin Hood Sit Guy has sentenced him and waved ac the guards co take him avay fades out as Bess says, *... and I won't deny it” |. Robin Hood Escapes (4:28) Music searts on the dissolve co the gallows after Marian says co Robin's men, “Tisten 10 me," and goes out on the fade-out (0 black as they ride off Robin Hood Visits Marian (5:53) Masie starts immediately folloving cue #28 on the fu tween Robin and Marian, and zoes out Marian Caught (:56) Music stares after Sir Guy siys, “Bscote Lady Mari (Greae Hall,” and fades out under Marian speaking at the coure of execution Robin Hood Meets King Rich 6:58) Musie stars on the dissolve o the forest after Much leaves Bess, play Robin Hood meeting King Richard, and fades out as Much explain King Richard Reveals His Ident (49). Music scarts after Robin Hood says, “Here fades out as Robin says, “TF we're going co save her and throne, we've gor #0 act now Procession (3:06) Music stars during before the fade-in to the pro n at his abbey persuade him to suggest a way.” and goes foat just before the cur ro the herald trumpets playing a fanfare. Fanfare (:06) Music starts on the cut ¢ the herald trampers, and segues t0 cue #39 after che fanfare as che procession Robin Hood Kills Sir Guy (5:10) Masic segues from cue #34 as the pro- cut co Sit Guy dead on the ground. Victory (1:17) Music stares immedi ely following cue #35, 25 the men run up the stairs, and fades out as Richard says, “Yes--my brother.” End Scene (1:32) Music starts just after Richard says, “What about you, Robin?” and segues to cue #38 at the end of che fil. 8. End Titles (:28) Music segues from cue #37 on the beginning of che Eod Titles, and goes out at the end of che End Titles‘The epening bars of Korngols End Tile ce for The Adutee of Rois Hod (1938) furs > Fredhoter ices thatthe Warner Bro oat 9 rect thi e—a seal umber ‘Robin Hood's theme” On hit cchseton, H ing win ad 16 vii, 4 wks, 4 cls, of ings for sphonic wound, aliboagh many svn ove a sere with a ection cis ‘Te Advetne of Robin Hoa (Ech Wale Kors) (© 1938 WARNER BROS, INC. (Rennd) A! Right Reed. Ud By Parison,i } i I ‘THEMES ‘There are at least eight principal themes in the score for Rebin Hoad, and Korg coat of the drama 0 build up a song associative value. “Robin Hood's theme" is firse heerd ind Main Title, "King Richard's theme” is firse heard ng the background of che 1's theme” can be heard clearly in weaves thern in and cover the cards expla story; “Litele Job cue #10; “Friar Tuck's #13 as Robin Hood sees the Friar an food; a “romantic cheme,” used during che feast se- quence, i fist heard under Robin's dialogue with Lady Marian in eve #17; the “love theme” Robin Hood and Marian can be clearly heard in cue #20 as they ralk after visiting wich the poor peo~ heard at che be- gland” theme, is fist weme” is first heard in cue ‘sed for ple, a “poor people cheme” is firs ginning of cue #3; and an expressing a respect and love for England, used at the beginning of cue #5. “Robin Hood's theme” is used often. Ocher sig nificant uses include cue #6; cue #8, as the people pass the word abour che meeting; cue #11, after the fighe with Litele John; cue #14, played by che bassoon at che beg #16, as Robin's men peepare the forest; eve #17, at the ginning of dl beginning of the fees the beginning of cue #18; the beginning of cue #24; and the End Tides. Coe #32 uses a minor version for the procession sequence Other significant uses of “King Richard's theme” include che beginning of cue #12 as Robin Hood pledges to fight; cue #20, as Robin and table after his men declare chat Marian ealk ac the money should go t0 help King Richard; cue #29, under the dialogue berween Robin Hood and Macian; cue #31, as Richard ravels on the road co meet Robin Hood and cue #32, as Richard reveals his identi ‘Other significant uses of “Liede John’s theme” include the second half of cue #14, as Friar Tuck Robin Hood fight; and the end secion of cue #16, dusing Robin Hood's attack of Sir Guy. ‘Other significane uses of the “romantic theme” include cue #18, after the sheriff is shown the clothes he must wear; and cue #19, as Robi Hood and Marian eat. ‘The “love cheme” can be #29 after Bess leaves, a8 Robin ar the firse time. Other significanc uses of the theme’ include cue #12, on the card explaining Prince John’s deadly ways; cue #20, as Robin shows Marian che poot people; the beginning of ing ard dearly in cue Marian kiss for oor people cue #27, alter the sentencing, and the begin of cue #30. Other significant uses of the “England theme” include the lase part of cue #20, as Marian and Robin talk after they see che poor people; and the lase pare of cue #29, as Robin and Marian ral PLAYING THE DRAMA Koengold’s score precisely phrases che drama and action of Robin Hood throughout the film. This close attention to ehe details of dramatic phrasing is actually a stylistic aspect of the score, and yet the ‘music Komngold has writen often has a very fe dear, musical feeling within the confines of ch You can notice this characteristic in many other film scores, including the other examples in chis chapeet. Komngold did this very well, and his score for arural, flowing Hood is masterful example of ‘music written within the cestaints of tight dramatic phrasing. Cue #16 is a particularly good example of Korngold's phrasing the drama. As you watch his ceue, licen for the shifts in musical macerial and emphasis as the film cuts back and forth be- ‘ween Robin Hood's men and Sit Guy prior © the attack.SOURCE MUSIC “The source music in this score has been carefully in- tegrated into the dramatic scoring itself, so chat the few moments of visual on-screen source music are treated as a part of che score rather chan as a sepa- ge element. To see how this works, warch the end of cue #1, on the pan across the drummer. His vis- val drumbe phonic scoring, which is timed to synchronize with the on-screen instrumentalist so ¢ have been incorporated ineo the sym: ¢ it appears as though he might be playing with che orches that moment, This is a technique sometimes used in documentaries when it is desirable to continue the score rather than segue to the production sound of a native playing a tute playing che banjo ‘When Will plays the lute during cue #10 as Robin Hood fights with Little John, Korngold again uses the orchestra (0 represent an on-screen instrament, this time synchronizing with Will's on sercen lute-playing. Most of the on-screen het trumpet fanfares are similarly scoted fom within the orchestra, The short independent cues #24 and #33 are scored with che same fanfare inserumenca- all the on-screen ceumpeting. sounds ‘TEMPO AND PULSE Korngola’s score drives che file forward with the spiric of advenrure rather thar tension would cont effective approach For an 2 Robin Hood, very muuch in keeping with the overall tone of the film and of Erol Flynn’s performance {as Robin Hood, John Williams’ scores for the Star Wars cilogy and the Indiana Jones eilogy achieve a similar tone and arvitud: in the darker feeling ute, This is an extremely tion /adventure file like Dark Victory 1939 Music by Max Steiner. Orchestrared by Hugo Friedhofer. Directed by Edmund Goulding. Bette Davis, George Brent, Humphrey Bogart, Geraldine Fitzgerald. Max Steiner scored eighteen of Betce Davis’ popular films, including Jezebel (1938), The Old Maid (1939), The Letter (1940), and Now, Voyager ‘When Judy Bete Davis) elie seis going bind and wi di on (te #20 in the spoting cts below), he comfans he pebusicen fiend. Max Scners music foe the eding Juiys deh and also her inaer poise and c Phto corey of the Academy of Motion Pictars Arts end © 1939 Tree Entertainment AP Rights Ree.