Miklos Rozsa »
9 Favorite FSM CDs
With the release of Jerry Fielding’s THE WILD BUNCH last month, it’s the end of the line for the Film Score Monthly label. With a roster of 250 releases since 1996, FSM filled a
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50 Favorite Film Scores, Part 4: #20–11
If you want to refresh your memory of earlier entries in the list, check out the past few posts—Part 1, Part 2 and Part 3. We’re coming into the home stretch but not just
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The Green-Eyed Monster
O, beware, my lord, of jealousy! It is the green-eyed monster which doth mock The meat it feeds on. (Othello, Act 3, Scene 3) Jealousy certainly does make monsters of us all. In A
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9 Favorite Film Music Marches
Because my quota of clever (such as it is) is already used up for the month, March’s “9 on the 9th” post celebrates, well, marches. (Oy.) Having spent more than my dues in marching
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CD Review: Casablanca – Classic Film Scores for Humphrey Bogart
In addition to albums devoted to certain composers, Charles Gerhardt compiled a series of albums devoted to various film stars as part of his Classic Film Scores. The second album (the first was devoted
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Double Indemnity
Billy Wilder’s DOUBLE INDEMNITY (1944) wasn’t the first film noir, but it was the beginning of a new phase in Miklos Rozsa’s already stellar career. Adapted from James M. Cain’s classic crime novel, Fred MacMurray stars as
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9 Favorite Miklos Rozsa Scores
I just recently finished Film Score Monthly’s massive, and massively entertaining, 15-CD Miklos Rozsa Treasury (1949-1968). So who better to focus on for this month’s “9 on the 9th” post than this multiple Oscar-winner.
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Spellbound
Producer David O. Selznick, who had recently gone through a “successful” bout of therapy (not at all common in the mid-1940s), was determined to bring the world of psychoanalysis to the screen and hired
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Row, Row, Row Your Boat
In 1959, M-G-M’s future was riding on the success or failure of the studio’s $15 million remake of the 1925 silent classic, BEN-HUR. They needn’t have worried. Epics with biblical themes reaped big rewards
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Lend Me Your Ears
From the 1920s through the 1960s, certain bigger films played what were known as roadshow engagements. Roadshows would open in a select number of larger markets (New York, Los Angeles, etc.) for a certain period
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