• "Three Coins in the Fountain" (1954) from THREE COINS IN THE FOUNTAIN - music by Jule Styne
• "All the Way" from THE JOKER IS WILD (1957) - music by James Van Heusen
• "High Hopes" from A HOLE IN THE HEAD (1959) - music by James Van Heusen
• "Call Me Irresponsible" from PAPA'S DELICATE CONDITION (1963) - music by James Van Heusen

All four songs were recorded by Frank Sinatra, who was a big admirer of Sammy's lyrics.

Here are a few CDs worth listening to:

An Evening with Sammy Cahn (LIVE)

Frank Sinatra Sings the Select Sammy Cahn

I feel very humble to name my awards after one of the best Hollywood songwriters of them all.

Sammy's songs continue to give me "High Hopes."

-- Roger Hall

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For information about movie music lectures, click on to this link:

Music Lectures and Workshops

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The Sammy Awards  

Beginnining in 2006, these awards are announced at another web site.

To read them all, click on this link:

American Music Preservation  

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Send your comments or questions to:

The Sammy Awards

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Top Sammy Awards:

These are the composers with the most awards between 1988 and 2004:

John Williams = 9 Sammys [7 scores /  2 songs]

Alan Menken = 4 Sammys [ 1 score /  3 songs]

James Newton Howard = 3 Sammys [all for scores]

Randy Newman = 3 Sammys [ 1 score /  2 songs]

Look below for the film titles and years of these honored composers.

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Sammy Award Categories:

These are the main categories:

• Best Film Score
• Best Original or Arranged Movie Song
• Best Compilation
• Platinum Award for Most Overlooked Score
• Lifetime Achievement for Past Film Composer or Songwriter 

Occasionally there are much less honorable categories announced when a score or song deserves special scorn for its poor use in a film and as a listening experience.  They are... 

• Worst Score
• Worst Compilation
• Worst Song Use  

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If you have any comments or questions, write to:

The Sammy Awards

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Read more about Sammy Cahn in this reference book...

A Guide to Film Music - Songs and Scores  

Supply of this limited edition guide is running out.  

Make sure to order your copy soon.

To order, go to:  

Music Titles from PineTree Press

This research guide has much useful information.

It includes the following sections:

*A timeline of film music highlights from 1926 to 2001

*A chapter on suggestions for listening to film music

*A complete list of Academy Award film music from 1934 to 2000

*A complete list of the Sammy Movie Music Awards from 1988 to 2001

*Top 100 Scores of the 20th Century

*Comments on Film Music:

• Exclusive interviews with two composers (Aaron Copland and Virgil Thomson)
• The Composer as Commentator (Bernard Herrmann,  David Raksin, Dimitri Tiomkin)
• The Composer as Critic (Elmer Bernstein)
• The Film Lyricist and Songwriter (Sammy Cahn and Henry Mancini)
• The Movie Critic and Historian (David Thomson and Tony Thomas)
• An extensive bibliography and discography

Throughout the guide are many illustrations of composer autographs, including:

Johnny Green, Bernard Herrmann, Alex North, Miklos Rozsa,  Max Steiner , Dimitri Tiomkin, John Williams and others.

There are also songwriter autographs as well, such as:

Sammy Cahn, George & Ira Gershwin, Henry Mancini, Johnny Mercer, Jay Livingston, and Harry Warren.

The title page of A Guide to Film Music  has a rare page from the end credits of E.T., boldly signed by John Williams.

Praise from distinguished film composers:

"Thank you for the copy of your film music book. Congratulations and best wishes for success in your future contributions to the film music literature"-- John Williams, 29 July 2003

"I do feel your book is done in a most interesting way.  It affords a quick overview of what has not become a very, very broad field.  Congratulations!"-- Elmer Bernstein, 28 August 2002

"Your film music guide should be available to anyone interested in the Golden Age and beyond.  I was so happy that KING KONG made your all-time list." -- John Morgan, composer and film music restorer

Don't delay.  Order your copy today while supply lasts.  

The guide is only available by mail in a limited edition and will be signed by the author.  

Also available is a revised edition of a guide to the music of George Gershwin which lists his songs used in films between 1923 and 1979 and includes an extensive list of recommended Gershwin recordings.

To order either A Guide to Film Music or A Guide to George Gershwin, click on this link: 

Music Titles from PineTree Press

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Bookshelf Search

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Buy your Books, CDs, and DVDs  and other merchandise at Amazon.com here:

Search: Books Popular Music Classical Music Video

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Centennial Anniversaries

The centennial births of five great songwriters and singers were celebrated in 2005:

Harold Arlen (1939 Oscar winner for "Over the Rainbow")

Dorothy Fields (1936 Oscar winner for "The Way You Look Tonight" )

Tex Ritter (sang the 1952 Oscar winner, "High Noon")

Jule Styne (1954 Oscar winner for "Three Coins in the Fountain")

Bob Wills (appeared with his Texas Playboys in many western films)

To read about them go to:

American Songwriters (Anniversaries)

One of the best known songs from a classic western is "High Noon (Do Not Forsake Me)."

"High Noon" is listed on the Top 100 Songs of the 20th Century

The song was sung in the 1952 film by country & western singer Tex Ritter and it won an Oscar for Best Song (music by Dimitri Tiomkin/ lyrics by Ned Washington)."  

HIGH NOON also won a Best Score Oscar for Dimitri Tiomkin.

Both the song and score for HIGH NOON are discussed in this book:

A Guide to Film Music - Songs and Scores

Tiomkin was named for the Lifetime Achievement Sammy Award in 1998 [scroll down this page].

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The Sammy Awards, 1988 - 2004

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Best Film Score:

2004    THE VILLAGE (James Newton Howard)

2003    SEABISCUIT (Randy Newman)

2002    FAR FROM HEAVEN (Elmer Bernstein)

2001    A.I.: ARTIFICIAL INTELLIGENCE (John Williams)

2000    CROUCHING TIGER, HIDDEN DRAGON (Tan Dun)

1999    THE RED VIOLIN (John Corigliano)

1998     SAVING PRIVATE RYAN (John Williams)

1997     SEVEN YEARS IN TIBET (John Williams)

1996     FLY AWAY HOME (Mark Isham)

1995     RESTORATION (James Newton Howard)

1994     THE LION KING (Hans Zimmer)

1993     SCHINDLER'S LIST (John Williams)

1992     HOWARD'S END (Richard Robbins)

1991     BEAUTY AND THE BEAST (Alan Menken)

1990     DANCES WITH WOLVES (John Barry)

1989     BORN ON THE FOURTH OF JULY (John Williams)

1988     THE ACCIDENTAL TOURIST (John Williams)

Best Original or Arranged Film Song:

2004    "Believe" (music: Alan Silvestri/ lyrics: Glen Ballard )

2003    "The Scarlet Tide" (music: Elvis Costello/ lyrics: Henry Burnett)

2002    "I Move On"(music: John Kander/ lyrics: Fred Ebb)

2001    "Until" (music & lyrics by Sting)

2000    "A Fool in Love" (music & lyrics by Randy Newman)

1999   "When She Loved Me" (music & lyrics by Randy Newman)

1998   "When You Believe" (music & lyrics by Stephen Schwartz)

1997   "Journey to the Past" (music: Stephen Flaherty/ lyrics: Lynn Ahrens)  

1996    "10,000 Miles" (arranged by Mary Chapin Carpenter, Mark Isham, John Jennings)

1995    "Moonlight" (music: John Williams/ lyrics: Alan & Marilyn Bergman)

1994    "Circle of Life" (music: Elton John/ lyrics: Tim Rice)

1993    "When I Fall in Love" (music: Victor Young/lyrics: Edward Heyman/arranged by Jeremy Lubbock)

1992    "A Whole New World" (music: Alan Menken/ lyrics: Tim Rice)

1991    "Beauty and the Beast" (music: Alan Menken/ lyrics: Howard Ashman)

1990    "Somewhere in My Memory (music: John Williams/ lyrics: Leslie Bricusse)

1989    "Under the Sea" (music: Alan Menken/ lyrics: Howard Ashman)

1988    "Let the River Run" (music & lyrics by Carly Simon)

Lifetime Achievement for film composers and songwriters:

2004   Alex North, composer (Honorary Oscar)

2003   Bronislau Kaper, composer, songwriter (1 Oscar)

2002   John (Johnny) Green, composer, songwriter, arranger (4 Oscars)

2001  Hugo Friedhofer, composer (1 Oscar)

2000  Victor Young, composer, songwriter (1 Oscar)

1999  Franz Waxman, composer (2 Oscars)

1998  Dimitri Tiomkin, composer, songwriter (4 Oscars)

1997  Harry Warren, songwriter (3 Oscars)

1996  Erich Wolfgang Korngold, composer (2 Oscars)

1995  Miklos Rozsa, composer (3 Oscars)

1994  James Van Heusen, songwriter (4 Oscars)

1993  Max Steiner, composer (3 Oscars)

1992  Alfred Newman, composer (9 Oscars)

1991  Johnny Mercer, lyricist (4 Oscars)

1990  Henry Mancini, composer, songwriter (4 Oscars)

1989  Bernard Herrmann, composer (1 Oscar)

1988  Sammy Cahn, lyricist (4 Oscars) - "Sammy Awards" named in his honor

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2004

 17th Annual Sammy Awards      

13 February 2005

For the past few years it has been the custom to announce the Sammy Awards two weeks before the Oscar ceremony (telecast 27 February) in order to pay attention to the neglected category of film music.

This year's Sammys are for music featured in 2004 films.

As in past years, the Sammys are not based on media hype, studio promotions, or popularity contests.  

I make the choices after careful consideration of how the music works in a film and also as a listening experience on the CD soundtrack.

Click on each title for a link to the review of that CD.

If you have comments or questions, write to:

The Sammy Awards

Before announcing the Sammys, I have a few personal comments to make...

For me, the Best Film of 2004 was SIDEWAYS, Paul Giamatti was Best Actor, Virginia Madsen was Best Supporting Actress, and Alexander Payne was Best Director.  Yet I didn't think that Rolfe Kent's score for SIDEWAYS did justice to this honest, exceptionally well made film.  Kent's score was just jazz-lite.  As good as the film and actors were, the score just didn't add up to much so I didn't choose it for any Sammy Award.

I would also like to pay my respects to three of Hollywood's greatest film composers who died last year: Elmer Bernstein, Jerry Goldsmith and David Raksin.  I was a great admirer of all three and I'll miss their wonderful talents. But at least their music remains for us to enjoy in years to come. For tributes to these three film composers, see:  From the Editor

-- Roger Hall

Now, here are my choices for the 17th Annual Sammy Awards for film music from 2004.

May we have the envelopes please...

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First Envelope:  

Best Original Film Score

THE VILLAGE

Music by James Newton Howard. Hollywood Records CD.

[Editor's Choice, Best of the Month for September 2004]

This is the 3rd Sammy for James Newton Howard.

It's a pleasure to single out this excellent score for THE VILLAGE.  The film written and directed by M. Night Shyamalan received only lukewarm reviews from the critics and from many filmgoers who expected something much scarier.  Unfortunately, studio publicity wrongly promoted THE VILLAGE as a horror film, instead of a love story, which is what Shyamalan said he intended it to be.  

As with the productive Spielberg-Williams collaboration, Shyamalan has worked well with film composer James Newton Howard, whose previous scores for Shyamalan films include: SIGNS, UNBREAKABLE and THE SIXTH SENSE.  Their collaboration has been very satisfying.  

The music for THE VILLAGE adds just the right amount of suspense to the film.  More importantly, it adds a beautiful pastoral tranquility as well.  As a listening experience the soundtrack CD features ravishing violin solos by Hillary Hahn.  The CD provides endless beauty and can be enjoyed without having seen the film.     

I believe this is James Newton Howard's best score for a Shyamalan film.

It's a masterful achievement.  

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Second Envelope:  

    Best Original or Arranged Film Song

"Believe" from THE POLAR EXPRESS

Music by Alan Silvestri/ Lyrics by Glen Ballard. Warner Sunset/ Reprise CD.

Though some film critics have dismissed THE POLAR EXPRESS as an ill-conceived filming of the popular children's book, I thought it was a delightful film and used an innovative animation process.  

Because it's a Christmas story, there are the usual traditional pop songs such as: "White Christmas" and "Winter Wonderland."  But it's the original score by Alan Silvestri and songs by Silvestri and Glen Ballard that make the soundtrack shine brightly like the lights on a Christmas tree.  The original songs include the enormously exuberant "Hot Chocolate"; the majestic choral piece "Spirit of the Season"; and best of all, the beautiful song "Believe," sung smoothly by Josh Groban.

Unlike many of today's film songs that are thrown in while the end credits are rolling, "Believe" is used most prominently in a key scene of THE POLAR EXPRESS and enhances it beautifully.  I won't give it away in case you haven't seen the film.  I'd recommend watching this most enjoyable family film.

The biggest drawback of the soundtrack CD is that too much of it is taken by pop Christmas songs and not enough with Alan Silvestri's wonderful score, which should be released as separate CD.  

Highlighted by the strong singing of Josh Groban on the soundtrack CD, you can hear

what I "believe" was the Best Film Song of 2004.  

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Third Envelope:    

Best Song Compilation

RAY.   Songs performed by Ray Charles. Rhino CD.

This has been a very popular bestselling songtrack.  And it deserves to be. It was chosen as "best original soundtrack" of the year by the Broadcast Film Critics Association ( www.bfca.org/).  That's misleading because all the songs were previously recorded by Ray Charles.  No newly recorded songs are on the CD. That's why I named it Best Song Compilation instead of Best Score.   

But what's more important on the RAY soundtrack are the 17 tracks performed brilliantly by the Father of R&B, later known as Soul.  Six of the tracks feature Ray Charles in live performances.  As expected, there are more uptempo songs than slow blues numbers on the soundtrack.  While I thought all the songs were used well in the film, I especially liked the gutsy gospel-flavored call and response song "(Night Time Is) The Right Time"; the gorgeous "Georgia On My Mind"; and the playful "Hit The Road Jack."   

This is a great soundtrack to listen to and also watch Jamie Foxx's amazing transformation both acting and performing as Brother Ray.  

In the film, Foxx is Ray Charles!

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Fourth Envelope:  

     Platinum Award for Most Overlooked Score of the Year

This special award is given to...

THE TERMINAL 

Film Score by John Williams. Decca/ UMG Soundtrack CD.

[Editor's Choice, Best of the Month for June 2004]

John Williams has been named far more times than other composer -- he has 9 Sammy Awards so far.

It's clear that he is the most respected film composer working today.

In my review, I wrote that THE TERMINAL was one of the most memorable scores and films of the year.

Unfortunately, many film critics have ignored this exceptional score and preferred to focus on RAY or ALFIE -- both of which contain lots of songs.  

The film critics have also ignored the film, starring Tom Hanks and Catherine Zeta-Jones, and directed by Steven Spielberg.  THE TERMINAL is a charming film and once again John Williams has added his highly polished sound to a Spielberg film.  It's more than just a memorable score.  The music touches the heart like few scores do these days, especially the beautiful love theme for Amelia.  This Williams score fits the film snugly just like the items found in the peanut can which is such an important clue in the film.

I recommend paying a visit to THE TERMINAL.  Probably the best way to enjoy it is to watch the Special Edition DVD which includes the film, bonus features, and the soundtrack CD.  It's an excellent package.

Because he composed two of the best scores last year, I've  named John Williams as Top Composer of 2004.

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Fifth Envelope:  

 Golden Earmuff Award for Worst Film Song Use

"Learn To Be Lonely" from THE PHANTOM OF THE OPERA  

Music by Andrew Lloyd Webber, Lyrics by Charles Hart. Sony Music Soundtrax CD.

I  need to say it straight off - this song stinks!  I expect my opinion will anger some PHANTOM fans who think the soundtrack is just great.  The enormous sales of the film soundtrack is a mystery to me.  Can't people tell that most of the singing isn't any good? There have been strong protests from the fans of Michael Crawford who felt he should have been in the film. I agree he would have been a better choice, since he was in the original stage production and is also a much better singing actor.  The actors chosen for the filmed version are mostly bad singers.  Because I thought the entire soundtrack CD was poorly executed, I chose it as Worst of the Year.  

And weakest of all was the feeble song written especially for the film.  On the soundtrack CD, "Learn To Be Lonely" is extremely short and ends very abruptly.  It's a poor song that is poorly edited. Minnie Driver's singing of the song is okay but nothing special.  Was the song used well in the film?  No. Yet it's still nominated for an Oscar as Best Song. Go figure.

For me it deserves the opposite -- the Golden Earmuff Awards for Worst Song Use.  

"Learn To Be Lonely" is an ironic title.  It deserves to be "lonely" -- and to be left alone because, as I said before, this song stinks!       

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Sixth Envelope:

Lifetime Achievement Award for a significant past film composer

Alex North

born:  Chester, Pennsylvania, 4 December 1910

died:  8 September 1991

I have felt for a long time that Alex North deserves more recognition.  He may not as well known as others from the past, such as Steiner, Korngold, Rozsa, Waxman, Herrmann, and Mancini.  

Yet from the 1950s to the '80s, North composed some of the most significant scores of those decades.  

It is one of the great tragedies that he never received an Oscar for any of his scores, even though he was nominated fifteen times.  

Here is a list of all his Oscar nominations:

DEATH OF A SALESMAN (1951);  A STREETCAR NAMED DESIRE (1951); VIVA ZAPATA! (1952); THE ROSE TATOO (1955);  UNCHAINED (1955 - "Unchained Melody" - Best Song Nominee); THE RAINMAKER (1956); SPARTACUS (1960); CLEOPATRA (1963); THE AGONY AND THE ECSTACY (1965); WHO'S AFRAID OF VIRGINIA WOOLF? (1966); THE SHOES OF THE FISHERMAN (1968); SHANKS (1974); BITE THE BULLET (1975); DRAGONSLAYER (1981); UNDER THE VOLCANO (1984),

But at least the Academy of Motion Picture Arts and Sciences had the decency to honor Alex North in 1985.

As Anthony Holden described it in his fascinating book, Behind the Oscar: The Secret History of the Academy Awards (1994):  

"Possibly the most deserved Honorary Oscar of all time was handed over by Quincy Jones in recognition of North's 'brilliant artistry in the creation of memorable music for a host of distinguished motion pictures.'"

Here's a sampling of Alex North's "memorable music" available on CD:

Soundtracks -

THE AGONY AND THE ECSTACY (Varese CD - 1997 rerecording)

CLEOPATRA (2 Varese CDs - original recording remastered)

I'LL CRY TOMORROW (Film Score Monthly CD)

THE MISFITS (Rykodisc Enhanced CD)

SPARTACUS (MCA CD)

VIVA ZAPATA! (Varese CD - 1998 rerecording)

WHO'S AFRAID OF VIRGINIA WOOLF? (Varese CD - 1995 rerecording)

Collections -

At the Movies (CHEYENNE AUTUMN, DRAGONSLAYER, CINERAMA SOUTH SEAS ADVENTURE)

The Film Music of Alex North (THE BAD SEED, THE MISFITS, A STRRETCAR NAMED DESIRE, SPARTACUS)

Legendary Hollywood: North by North (Anthology of various score themes)

Added Note:

One of the most eagerly desired North scores for film fans is the complete soundtrack for SPARTACUS, which still exists but has never been commercially issued.  The MCA CD is a good sampling but contains only about 40 minutes of the score. The bootleg CD has lots more but that isn't a legal soundtrack.  SPARTACUS is probably North's greatest film score masterpiece. Why can't it receive a commercial release? After all, CLEOPATRA received the royal production with a special edition CD.  Certainly SPARTACUS deserves the same treatment.

There are a few measures of the beautiful love theme from SPARTACUS, signed by Alex North, included in the book, A Guide to Film Music - Songs and Scores.  

To order the film music book and accompanying CDR, go to:

Music Titles from PineTree Press

For more information about this great film composer, click on this link:

alexnorthmusic.com

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2003

 16th Annual Sammy Awards      

Click on each title for a link to the review of that CD.

If you have comments or questions, write to:

Film Music Review

And now let's open the envelopes for the 16th Annual Sammy Awards for film music from 2003...

First Envelope:  

Best Original Film Score

SEABISCUIT (Music by Randy Newman).  Decca B0000772-12.

[Editor's Choice, Best of the Month for July 2003]

This year there have been a few scores that stand above the pack (see Best & Worst of 2003).  Of those, I think Randy Newman's score is the best of the bunch. I also believe SEABISCUIT was the best film of the year.  My decision is based on not only how the music underscores the film but also how well the CD soundtrack functions as a listening experience.  In the final analysis, this magnificent score succeeds both in the film and as a soundtrack CD.

Just like the underrated race horse, Randy Newman's wonderful score comes across the finishing line a big winner!   

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Second Envelope:  

    Best Original or Arranged Film Song

"The Scarlet Tide" from COLD MOUNTAIN (Music by Elvis Costello/ Lyrics by Henry Burnett).  DMZ/Columbia/Sony Music Soundtrax CK 86843.

Once again I'll say it -- this category hasn't produced many  really distinctive efforts over the past few years. But this year's crop is different.  There were several songs that really grew on me (pardon the pun).  One is the poignnant "Going Home,"sung by Mary Fahl from the vastly underrated--at least by film critics--GODS AND GENERALS (see description below).    

Then there are what I believe are the best two songs, both featured in COLD MOUNTAIN.  One is "You Will Be My Ain True Love" (music & lyrics by Sting). The other one is "The Scarlet Tide."  Both songs are sung with simple beauty by Alison Krauss.  It was a tough choice between these two very good songs.  I chose the one that seems to suit the somber mood of lost love better.     

And so, "The Scarlet Tide,"sung so sensitively by Alison Krauss, gets this year's Sammy for best movie song.

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Third Envelope:    

Best Song Compilation

A MIGHTY WIND 

[Editor's Choice, Best of the Month for June 2003]

Though this has been called a "mockamentary" of the '60s folk music scene, it contains some of the most enjoyable songs of recent years. Every one of the songs on the soundtrack is worth a listen, from the hilarious opening "Old Joe's Place"to the tender ballad "A Kiss at the End of the Rainbow" to the final rousing title song.  The CD was well produced by CJ Vanston, with T Bone Burnett of "O Brother, Where Art Thou?" fame as Executive Producer.  All the songwriters deserve high praise for their work.  One of the real surprises is Eugene Levy, known for his strictly comedic film roles such as AMERICAN PIE.  On the CD, Levy shows his great talent as a songwriter and singer.  Many of the songwriters are also in the film itself.  A MIGHTY WIND is a real hootenany of fine folk songs.

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Fourth Envelope:  

     Platinum Award for Most Overlooked Score of the Year

This special award is given to...

GODS AND GENERALS - Film Score by John Frizzell and Randy Edelman. Sony Classical/Sony Music Soundtrax SK 87891.

[Editor's Choice, Best of the Month for February 2003]

This was a film that garnered intense dislike by film critics-- one Boston Globe critic even named it the worst film of the year. Compared to what?  How about all those crude comedies and dreary dramas made over the year? At least GODS AND GENERALS was a serious, well made film. Yes, it was slow moving at times and didn't focus exclusively on the slavery issue, but the Civil War was fought over more than that conflict.  It was also about States Rights. Having attended a screening with an audience who watched the entire film of almost 4 hours without complaining or leaving, I can't understand why the critics disliked this film so much.  A few even disliked the score.   Well, that's their opinion.  I didn't find the film boring and have watched it several times. The songs by Mary Fahl and Bob Dylan are also well done and actually pertain to the film for a change (the soundtrack also includes a nice bonus DVD with songs from the film).

The score itself is monumental.  Just listen to the Main Title (with orchestra and chorus) and you'll get an idea of how much this score is truly inspiring.  Equally impressive are the quieter tracks, like "You Must Not Worry For Us" and "You'll Thank Me in the Morning."    

I cannot say enough in praise of this great score. Don't let the cynical critics steer you away from this superb score.  Listen to GODS AND GENERALS soundtrack and also watch the film on DVD or video.  Then decide if it doesn't move you.    

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Fifth Envelope:  

 Golden Earplug Award for Worst Film Score - A Tie!

THE LIFE OF DAVID GALE  (Music by Alex and Jake Parker).  Decca 48348-2.

This was an easy choice because not only is the soundtrack bad but so is the film.  With the exception on only one or two tracks, this soundtrack sounds very unpleasant. I don't know why anyone would want to listen to such ugliness, unless they are a glutton for punishment.  Even the CD art design is ugly.  

MYSTIC RIVER (Music by Clint Eastwood).  

It's a well acted and well directed film, but Eastwood has failed miserably as a composer.  His simple four note theme is repeated over and over again with little dramatic impact.  And it's performed by the Boston Symphony Orchestra no less!  

It's an example of the director trying to feast on too much of the film's menu. Here's a tip for Mr. Eastwood: leave you limited music talents off the table and ask Lennie Newhaus or some other film composer to do the score next time.

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Sixth Envelope:  

Lifetime Achievement Award for a significant past film composer and songwriter -

Bronislau Kaper

born: Warsaw, Poland, 5 February 1902

died:  25 April 1983

He may not be a houshold name to film lovers.  Yet his music should bring back memories.  He composed for about 100 films and also wrote several memorable film songs as well, such as "All God's Chillun Got Rhythm" and "Cosi Cosa"--both for Marx Brothers comedies.    

Kaper was an excellent pianist who came to Hollywood about 1935.  At first he was asked just to write songs. At MGM in 1936, he wrote the title song for SAN FRANCISCO, which is now a standard.  In the 1940s he began to compose scores for such MGM films as: BATAAN (1943), GASLIGHT (1944), and GREEN DOLPHIN STREET (1947)--the theme is a favorite among jazz musicians.  Then in the 1950s he continued with THE RED BADGE OF COURAGE (1951) and LILI (1953) - his only Oscar winning score.  In the 1960s he composed scores for such films as: BUTTERFIELD 8 (1960) and MUTINY ON THE BOUNTY (1962) - his only other Oscar nomination.  His last film scores were COUNTERPOINT and A FLEA IN HER EAR, both in 1968.

Kaper's own favorite was LILI.  Most people remember the song, "Hi-Lili, Hi-Lo" which, according to Rhino record producer George Feltenstein, was ineligible for an Oscar because its lyrics "had been printed in a 1930s magazine as a poem by screenwriter Helen Deutsch." Kaper said that his score for LILI was special because he got to write both the score, including ballet music, and all the songs.  He said:

"as immodest as this may sound, my score became the life of the movie.  When it was completed and before I scored it, the film was considered unreleasable by many people at the studio."  

So on the 50th anniversary of his Oscar-winning score, it's a big Hi-Lili, Hi-Lo for Bronisalu Kaper--a composer everyone should know!  

Here are a few CDs worth checking into:

--First, there are excerpts from three of his best scores (INVITATION, LILI, MUTINY ON THE BOUNTY) on this excellent Rhino 2 CD set, produced by George Feltenstein:

THE LION'S ROAR: CLASSIC M-G-M FILM SCORES, 1935-1965

--Kaper's only sci-fi score was for the monster classic: THEM! (1954).  There is a generous suite [27:13] from this film (restored by Kathleen Mayne) on a CD titled: "Monstrous Movie Music."  It is performed by The Radio Symphony Orchestra of Cracow, conducted by Masatoshi Mitsumoto.  The CD producer is David Schecter.   This is well worth having if you're a '50s sci-fi fan.  For information how to order, go to:  Monstrous Movie Music

Two other memorable scores by Kaper have been released by Film Score Monthly in their excellent series:

HOME FROM THE HILL and MUTINY ON THE BOUNTY (3 CD Box Set)

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2002

 15th Annual Sammy Awards      

9 March 2003

Click on each title for a link to the review of that CD.  

And now

let's open the envelopes--to read the scores, songs, and Lifetime Achievement chosen for the 15th Annual Sammy Awards...

First Envelope:  

Best Original Film Score

FAR FROM HEAVEN (Music by Elmer Bernstein).  Varese Sarabande 302 066 421 2.

[Editor's Choice, Best of the Month - November 2002]

As I said in my review - "What a pleasure to hear such a glorious score by one of  the grand film music masters!"  FAR FROM HEAVEN comes from a composer who has been turning out well crafted scores for over 50 years.  In a year when there were many exceptional film scores, Elmer Bernstein's score stands at the very top of them all.  

One of the simplest yet most touching scores from recent years.

 A masterpiece of film scoring.   

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Second Envelope:  

    Best Original or Arranged Film Song

"I Move On" from CHICAGO (Music by John Kander/ Lyrics by Fred Ebb).  Epic/Sony Music Soundtrax EK 87018.

With the exception of Randy Newman's wonderful songs, this category hasn't been producing many distinctive efforts over the past few years.  This year's crop is not much different.  But there is one song that stands out above the others.   

That song is "I Move On" from CHICAGO, which is based on the Broadway hit show.  

"I Move On" was written especially for the film so it qualifies as a movie song.   It's also in the same style as the other energetic songs by Kander and Ebb featured in this movie.

The song is well performed by Ms. Catherine Zeta-Jones and Renee Zellweger in the film and on the soundtrack.  It features a really snappy arrangement by Doug Besterman and Paul Bogaev.  

CHICAGO has already won lots of awards and this song deserves to be among them.  

And so, "I Move On" gets this year's Sammy for best movie song.

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Third Envelope:  

Best Song/Score Compilation

FRIDA - Various Ethnic Songs/ Film Score by Elliot Goldenthal.  DG/UMG Soundtracks 289 474 150-2

The soundtrack CD case is a bit misleading because it doesn't state that 12 of the tracks are actually songs, and 9 of them are not composed by Mr. Goldenthal.  Yet, what he did compose is a richly woven score that blends in with the songs like the bright colors of Mexican clothing.

The sound quality on the soundtrack CD is excellent, with rich bass that really brings out the guitars and percussive instruments.  This collection of songs is as hot as Mexican chili peppers.  

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Fourth Envelope:  

     Platinum Award for Most Overlooked Score of the Year

This special award is given to...

SIGNS - Film Score by James Newton Howard. Hollywood Records 2061-62368-2.

[Editor's Choice, Best of the Month - September 2002]

James Newton Howard has proven himself to be one of the most distinctive voices in the film music community today.  This is the third film he has scored for M. Night Shyamalan.  The previous two were: THE SIXTH SENSE and UNBREAKABLE.  While both of these scores were of high quality, this latest one is the best of the three.  

I think that SIGNS was one of the best films and scores of 2002.  It is on my Top Ten List of  Best Scores.

Yet, other than soundtrack collectors, this soundtrack has been overlooked by others - especially the critics.  

I believe that James Newton Howard's score for SIGNS deserves special praise for its superb craftsmanship.

That's why I've selected it for the Most Overlooked Score of 2002.  

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Fifth Envelope:  

 Golden Earplug Award for Worst Film Score

DIE ANOTHER DAY  (Music by David Arnold).  Warner Bros 48348-2.

Earlier this year, I picked the ALI score, with music by Lisa Gerrard and Pieter Bourke, as the Worst Score of 2002. Now I believe that DIE ANOTHER DAY is even worse and has sunk to the bottom of the trash pile.

The James Bond series has been running on higher octane gas lately, but is getting far less per gallon with its unmemorable loud music cues. This is not only true of the film's contrived action sequences, but also the music.  To my mind, the best Bond music will remain that done by John Barry.  

The DIE ANOTHER DAY score by David Arnold is an embarrassment of loud lackluster themes.   He has done better work on other films.  Arnold can't even do much with Monty Norman's famous Bond theme, which has a horrid remix by Paul Oakenfold.  

I had to turn down the volume when listening to most of this headache inducing soundtrack.  

So this lousy DIE ANOTHER DAY score has earned the dishonor of getting my "Golden Earplug Award."    

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Sixth Envelope:

  Golden Earmuff Award for Worst Film Song

And it's a two time LOSER for the James Bond film...  

because the worst movie song goes to -

"Die Another Day" from DIE ANOTHER DAY (Written by Madonna and Mirwais Ahmadzai).  Sung by Madonna.

Just what is this song supposed to be?  It sounds more like a defect in the playback than a song.

To quote reviewer Steve Kennedy:  Madonna’s title song moves to the top of the list as the single worst song for a Bond film. It is indescribably bad on so many levels from its incohesiveness to the simply pathetic attempt at lyric writing.  

I agree with Steve's assessment of this song. This is an awful movie song.  It does nothing for the film and is a terrible soundtrack CD opener.  

The song may sound cool to Madonna's groupie fans, but for me it was just junk music.

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Seventh Envelope:

Lifetime Achievement Award for a significant past film composer and songwriter

John (Johnny) Green

born: 10 October 1908

died: 15 May 1989

He had a long and distinguished career as songwriter, arranger, film composer, and conductor. As a songwriter, he was known for such standards as: "Body and Soul" and "Out Of Nowhere."  

John Green was head of the M-G-M Music Department from 1949 to 1958.

He received 4 Academy Awards for his adaptation or arranging of film musicals:

EASTER PARADE (1948)

AN AMERICAN IN PARIS (1951)

WEST SIDE STORY (1961)

OLIVER! (1968)

He also received Academy Award nominations for other musicals:

FIESTA (1947); THE GREAT CARUSO (1951); HIGH SOCIETY (1956); and BYE, BYE BIRDIE (1963).

John Green was also nominated for several highly respected non-musical films:

RAINTREE COUNTY (1957)

THEY SHOOT HORSES, DON'T THEY (1969) - with Al Woodbury

Note:  Most of the above information collected from Fred Karlin's book, Listening to Movies.

Green's autograph  and the opening notes from RAINTREE COUNTY are found in -

A Guide to Film Music - Songs and Scores

There is also a chapter on John Green in the 2nd edition of this excellent book,

Music For The Movies by Tony Thomas (Silman-James Press, 1997)

To order a copy, go to

Recommended Film Music Books

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2001

 14th Annual Sammy Awards      

To celebrate the new millennium, for the first time there are six Sammy categories.

To read about the Sammy Awards, go to 14 March 2001 at:  www.filmscoremonthly.com/articles/

10 March 2002  

The Sammy Awards have been announced for the best and worst movie music of the past year.

I have chosen them based on how they work or don't work in a film and also as a listening experience on CD.  

What follows are the scores & songs which I have chosen for the 14th Annual Sammy Awards.

Best Original Film Score:

A.I.: ARTIFICIAL INTELLIGENCE (Music by John Williams).  Warner Sunset/Warner Bros 9 48096-2.  [Editor's Choice, Best of the Month - July 2001]  

Let me say right off that I believe this is one of the greatest scores that John Williams has composed in recent years.  It recalls two of his earlier sci-fi scores: CLOSE ENCOUNTERS OF THE THIRD KIND and E.T.  

The score to A.I. is even more developed and the themes are more brilliantly handled.  Just listen to tracks 8 and 9 on the CD, especially the gorgeous cantilena "Monica's Theme," and see if your not moved in some way.  I was moved to tears by the beauty of this simple theme, as sung as a vocalise so beautifully by Barbara Bonney.  This theme was used as the basis of the song "For Always" (lyrics by Cynthia Weil), which for some reason was not included in the movie. That's too bad because it's a very good song.  On the CD, the song is sung twice.  Once with diva Lara Fabian, and the second time she's joined by another high voltage singer: Josh Groban.  These performances were produced and arranged by David Foster.  

Much has been made about A.I. being the work of two directors:  Stanley Kubrick and Steven Spielberg. But after watching the DVD of this film, I believe it's just as much about the close relationship of Steven Spielberg working with John Williams and other technicians behind the scenes.  That's what makes this film so successful.  At first, I didn't find the film very successful. Now I think the film and the score deserve to be praised.  In time, I believe the film will become a cult classic.  But of the two, it's the score that shines the brightest.

This is surely one of John Williams's greatest film scores so far.  A masterpiece.   

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Best Original or Arranged Film Song:

"Until" from KATE & LEOPOLD (Music & Lyrics by Sting). Milan73138-35982-2

Continuing the trend of singer-songwriters writing movie songs, like previous Oscar winners - Elton John and Bob Dylan - this lovely song is a perfect accompaniment to a frothy romantic comedy starring Meg Ryan and Hugh Jackman.  The song may be too sentimental for jaded rock or rap fans, but I thought it fit the film's story quite well.  The relaxed score by Rolfe Kent is also very appealing.

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Best Song Compilation

DOWN FROM THE MOUNTAIN - Various Artists. Lost Highway 088 170 221-2.

This is the followup CD to the enormously popular songtrack for O BROTHER WHERE ART THOU? (chosen for last year's Sammy - see below).  

DOWN FROM THE MOUNTAIN is from concert at Nashville's historic Ryman Auditorium in May of 2000.  A documentary film was made by Nick Doob, Chris Hegedus, and D.A. Pennebaker. This songtrack is from that film. It needs to be mentioned that not all the music from the concert is on the CD.  You'll need to get the DVD to hear it all. Only a few of the concert performers (Emmylou Harris, Alison Krauss, Gillian Welch, Chris Thomas King) were included in O BROTHER WHERE ART THOU?  So this songtrack has different songs than the ones used in the popular Coen Brothers film.  But all of these songs are a joy to hear.  There's no electric guitars or other amplifications to overwhelm the performers, just the fiddles, banjos, guitars and other acoustic instruments.  The musicians are all folk performers and what a pleasure to hear them in such an honest to goodness live concert.  This is good old-fashioned enjoyable grass roots music.

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Golden Earplug Award:  Worst Film Score

HANNIBAL  (Music by Hans Zimmer).  Decca 289 467 696-2.

What is it about Hans Zimmer?  He seems to have a split personality.  On one hand, he can compose scores that are impressively robust, as in GLADIATOR.  Then he takes on films like MISSION: IMPOSSIBLE 2 (a previous Golden Earplug Award recipient).  And now there's HANNIBAL.  For me, they were both poorly conceived scores for equally bad films.  

For HANNIBAL he had help from others too - Klaus Badelt, Patrick Cassidy, and that classical oldtimer, Johann Sebastian. Bach.    

For me, this was a very unpleasant listening experice.  It was really depressing and dreary stuff.  

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Golden Earmuff Award:  Worst Film Song

"Come What May" from MOULIN ROUGE (Music & Lyrics by David Baerwald).  Interscope Records 06949 3228 2.

There are  those who love this so-called "musical."  I can only say that for me this was a horrible excuse for a musical. Much of it was like watching a music video with the fast forward button pushed down on the remote.  Frenetic it sure is, but for what purpose? The songs are borrowed from all sorts of places and are mostly annoying.  If vintage songwriters like Eden Ahbez ("Nature Boy"), Rodgers & Hammerstein ("The Sound of Music") and Styne & Robin ("Diamonds Are A Girl's Best Friend") were still alive, they would probably sue for defamation of their songs!  

The song that gets the most attention in MOULIN ROUGE is a new one: "Come What May," as sung by Ewan McGregor and Nicole Kidman. McGregor has a good voice but he tends to punch it up too much.  As for the whispery-voiced Kidman, let's just say she gives it her best shot and misses the target every time.  If you listen to MOULIN ROUGE 2, you'll hear what I mean. As a movie song, "Come What May" is just plain gooey.  Unfortunately it keeps coming back in the movie. The song is also overproduced, with the singers screaming out the song to compete with the orchestra.

On MR 2, there are a few good instrumental arrangements by Craig Armstrong and Chris Elliott (both for "Your Song"). "One Day I'll Fly Away" is okay but the Tony Phillips remix isn't even in the movie!

What bothered me the most were the sound mixes. Why do the technicians insist on always overwhelming the singers? They are constantly drowned out by the poorly mixed sound balances between the voices and the orchestra.  That's really apparent on "Come What May." In the movie, this song is mixed way too LOUD.

Someone pass me those soundproofed earmuffs!

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Lifetime Achievement Award for a significant past film composer

Hugo Friedhofer

born: 3 May 1902

Died: 17 May 1981

This year marks the centennial of Hugo Friedhofer's birth.  So it's an appropriate time to name him for the Lifetime Achievement Award.

He was known as much for his skillful orchestrations and arranging as for his well crafted film scores. When I interviewed Aaron Copland about his film scores, he agreed that Hugo Friedhofer was one of the expert orchestrators in Hollywood.

Friedhofer was born in San Franciso and was the son of a cellist.  He also studied cello and eventually played in a orchestra at a silent movie theater.  He began arranging for the theater orchestra.  Eventually he got a job at the Fox studio, where he did mostly orchestrations for other composers.  Thanks to an offer from Leo Forbstein, Friedhofer joined the Warner Bros. music department in 1935.  There he worked on scores mostly from the two music giants of that studio: Erich Wolfgang Korngold and Max Steiner.  In 1938, Friedhofer composed his first score, THE ADVENTURES OF MARCO POLO.  After that, he composed some 70 film scores, including such memorable ones as: BROKEN ARROW, THE RAINS OF RANCHIPUR, THE SUN ALSO RISES, VERA CRUZ, and THE YOUNG LIONS.

He received 9 Oscar nominations, and won an Oscar for his score to THE BEST YEARS OF OUR LIVES from 1946, one of the best scores of Hollywood's Golden Age.

To read a review of two Friedhofer scores from the 1950's (BETWEEN HEAVEN AND HELL & SOLDIER OF FORTUNE), go to:  CD Reviews (2002)

Here are a few recommended books that discuss this composer's film music work:

The Art of Film Music.  George Burt (paperback, 1996) - focus on THE BEST YEARS OF OUR LIVES.

Hugo Friedhofer: The Best Years of His Life.   Linda Danley, editor (Hardcover, 1999)

The Invisible Art of Film Music.  By Lawrence E. MacDonald (paperback, 1998)

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2000

 13th Annual Sammy Awards      

First, I want to pay tribute to one of Hollywood's greatest living film composers, Elmer Bernstein.  This year marks his 50th anniversary in the film music world.  His first score was SATURDAY'S HERO in 1951.  From that year until now, he has demonstrated his enormous talent in creating scores for just about any type of film - from epics to westerns to comedies to dramas.  To learn more about his long, distinguished career, go to: www.elmerbernstein.com

I consider Elmer Bernstein along with Jerry Goldsmith and John Williams as the Big Three of today's film composers.  But none of them had a particularly great year for scores.  That's also true for most other composers.  There were not a lot of good scores and songs in 2000. While it wasn't a banner year for film music, there were some standouts - see my choices for Best and Worst of 2000 (including DVDs).

From those soundtracks, I have chosen these for the 13th Annual Sammy Awards -

Best Film Score:

CROUCHING TIGER, HIDDEN DRAGON (Music by Tan Dun).

Sony Classical/Sony Music Soundtrax SK 89347.  [Editor's Choice, Best of the Month - December 2000]

A highly inventive score with sensitive cello playing by Yo-Yo Ma and other expert soloists on Chinese instruments.  The only drawback is the obligatory pop song, "A Love Before Time," even though it is based on Tan Dun's main theme.  The song is sung in both English and Mandarin by CoCo Lee.  Not a bad song but it is jarring to hear it after such a mystical finale to the film.  One of the best Asian film scores yet written and the first time an Asian born composer has been named for a Sammy.

Best Original or Arranged Film Song:

"A Fool in Love" from MEET THE PARENTS (Music & Lyrics by Randy Newman).

Dreamworks 0044-50286-2.

This is the second year in a row for a Randy Newman song.  Last year I chose "When She Loved Me" from TOY STORY 2.  "A Fool in Love" is a charming and ironic song in the tradition of past Oscar winning songwriters like Carly Simon's "Let the River Run" (awarded the First Sammy Award - see 1988 below).  He now has received 14 Oscar nominations and has yet to win. Hopefully, this will be his year. Come on Academy voters, give Randy Newman his well-deserved Oscar!

Best Song Compilation:

O BROTHER, WHERE ART THOU?  

Mercury Records 088 170-069-2. [Songtrack of Special Merit]

George Clooney sings?  Not really.  He does do a good job of lip-syncing for "I Am A Man Of Constant Sorrow" (sung by Dan Tyminski) and other songs, as one of The Soggy Bottom Boys.  T Bone Burnett's choice of down home folk, blues and gospel songs is excellent.  Some of  the performers sound quaint, like Harry McClintock's "Big Rock Candy Mountain" and Norman Blake's "You Are My Sunshine" (one of the first songs I remember hearing on radio, sung by Gene Autry).  There are also more popular singers like Alison Kraus, Emmylou Harris, and Ralph Stanley, who gives an utterly chilling performance of "O Death." Only complaint is the overly cutesy and almost unreadable CD booklet.  But the music is the thing. An outstanding compilation of grass roots Americana.

Golden Earplug for Worst Film Score:

MISSION: IMPOSSSIBLE 2 (Music by Hans Zimmer).  

Hollywood Records HR-62277-2.

How is it possible to compose one of the best scores and also the worst in the SAME Year? Well, Hans Zimmer has accomplished that unwelcome task.  I chose his score for GLADIATOR, which is better than the film, as one of the Best of 2000.  But his score to M:I 2 is surely one of the worst he has yet composed.  The soundtrack is incredibly jarring, moving wildly between quieter Latin-flavored guitar moments and hard rock blasts.  Some younger listeners, who also liked the terrible film with that millionaire pretty boy, Tom Cruise, will probably try to defend this soundtrack.  Go ahead and do so.  For me, it was a real stinkeroo. 

This year, a new category is added that names a soundtrack which deserves highest praise for its composer -

Platinum Award for Most Overlooked Score:

ON THE BEACH (Music by Christopher Gordon).  

Varese Sarabande 302 066 153 2 (Editor's Choice, Best of the Month - September 2000).

I'm very pleased to begin this new category with this great overlooked score.  I first read about the soundtrack on the Internet when record producer Robert Townson complained that it had sold only a few hundred copies.  I was curious so I bought a copy. From the first time I listened to this superb soundtrack, I was moved to tears by the eloquence of the music for this made for cable TV movie.  Unfortunately, the underscoring can barely be heard in the movie itself.  But if you listen to the soundtrack, and I strongly urge you to do so, the compelling music may move you as much as it did for me.  This is a score that is so good that portions of it should be heard in a concert hall.  When I suggested that possibility to Gordon, he agreed and said it was in the works.  In the meantime, get this soundtrack and you'll hear how a young composer can compose a magnificent score even when the movie is no better than mediocre.   

Lifetime Achievement for a significant past film composer:

Victor Young (1900-1956)

He was one of the most prolific of all Golden Age film composers with over 350 scores to his credit. But he was more than just a composer.  He was also a violinist, arranger, conductor and songwriter.  To name just a few of his great movie theme songs:  "Stella by Starlight" (lyrics by Ned Washington); "My Foolish Heart" (lyrics by Ned Washington); and "Around the World" (lyrics by Harold Adamson).

Young received 22 Oscar nominations, among them were these film scores:  THE DARK COMMAND (1940); FOR WHOM THE BELL TOLLS (1943); LOVE LETTERS (1945); and SAMSON AND DELILAH (1949).  He received only one Oscar for AROUND THE WORLD IN EIGHTY DAYS. Unfortunately, it was awarded posthumously, since he had died in 1956.

During his twenty year career from the 1930s to '50s, he composed over 350 film scores, almost all of them for Paramount Pictures.  And he wrote for all kinds of films - comedies, musicals, dramas and westerns.  Among his early scores were three for my favorite cowboy film star, Hopalong Cassidy, starring William Boyd - see  Cowboy Song Corral

These are a few CDs I would recommend of his film scores:

AROUND THE WORLD IN EIGHTY DAYS.  Music Composed and Conducted by Victor Young.  MCA Records MCAD-31134.  His last score and one of his greatest achievements.

The Classic Film Music of VICTOR YOUNG - Moscow Symphony Orchestra and Chorus, William T. Stromberg, conductor.  Digital World Premiere Recordings of  Prelude from THE GREATEST SHOW ON EARTH (orchestration by George Parrish); suite from THE UNINVITED (reconstruction by John Morgan); suite from GULLIVER'S TRAVELS (reconstruction by John Morgan); and suite from BRIGHT LEAF (orchestration by Leo Shuken and Sidney Cutter).  Marco Polo CD, 1998.  Chosen as Best of the Month for April 1999  

THE QUIET MAN (1952 soundtrack)

MURDER AND MAYHEM (Includes THE UNINVITED)

RIO GRANDE. Original Soundtrack recorded in 1950.  Conducted by Victor Young.

SHANE - A TRIBUTE TO VICTOR YOUNG .   New Zealand Symphony Orchestra, Richard Kaufman, conductor.  Includes suites from SHANE, FOR WHOM THE BELL TOLLS, SAMSON AND DELILAH, THE QUIET MAN, Tribute to Victor Young (arranged & orchestrated by Henry Mancini), and AROUND THE WORLD IN EIGHTY DAYS.  Koch Classics 3-7365-2 H1, 1996.  A wonderful collection, beautifully performed and recorded. Highest rating in MusicHound Soundtracks - The Essential Album Guide to Film, Television and Stage Music.

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1999

The 12th Annual Sammy Awards were announced on 12 March 2000.

To read the column, "Annual Sammy Awards Announced," go to Film Score Monthly web site at:  www.filmscoremonthly.com/articles/2000/23_Mar

The Sammys were mentioned in Michael Blowen's lively movie column, "Action!," in the Boston Sunday Globe on 26 March 2000. 

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Best Original Score:     

THE RED VIOLIN  (Music by John Corigliano).  Sony Classical CD ASK 63010 (66:11) - Editor's Choice, Best of the Month, May 1999.

A superb and well crafted score, with a beautiful main theme that is interwoven thoughout this intriguing film. The soloist is the highly regarded classical violinist, Joshua Bell.  While this score may appeal more to classical music listeners, it remains the most effective underscoring in a film released in the US during 1999. 

Best Original or Arranged Movie Song:

"When She Loved Me"  (Music and Lyrics by Randy Newman) from TOY STORY 2. Walt Disney Records CD 60647-7 (48:16).

Heartfelt song about a doll's loss of  her young owner in key scene of this delightful Pixar animated film.  Randy Newman has been nominated 13 times for an Academy Award and has yet to receive one.  He is long overdue and deserves to win for this beautiful song.

Best Song Compilation:

THE IRON GIANT - Rhino Records CD R2 75943 (41:21).

Outstanding collection of 1950 rock ("Blast Off" by The Tyrones); rockabilly ("I've Got a Rocekt in My Pocket" by Jimmy Lloyd); doo wop (classic "Searchin'" by The Coasters); novelty ("Salt Peanuts" by The Nutty Squirrels); jazz ("Comin' Home Baby" by Mel Torme); and pop songs ("Destination Moon" by The Ames Brothers).  The songs are are cleverly fit into the appropriate scenes in this very enjoyable animated feature.  This compilation provides good listening on its own and includes two tracks from Michael Kamen's very good score.

Golden Earmuff Award for Worst Use of a Movie Song:

"Blame Canada" (Music by Marc Shaiman/ Lyrics by Trey Parker) from SOUTH PARK: BIGGER, LONGER AND UNCUT. Atlantic CD 83199-2 (50:37). 

A dopey monotonous song passed off as parody in this poorly executed animated mess. The other songs aren't much better in this overly praised comedy, which uses cheap obscenities and insults to convey their "humor."  A new low in bad taste in movie songs.  Don't blame Canada, blame the songwriters!! 

Lifetime Achievement for a significant past film composer:

Franz Waxman (1906-1967)

One of the great masters of Golden Age film composers, known for his diverse scores from THE BRIDE OF FRANKENSTEIN (1935) to TARAS BULBA (1962).  He received back-to-back Oscars in 1950-51 for SUNSET BOULEVARD and A PLACE IN THE SUN - with its ravishing themes.  One of his most romantic scores was MR. SKEFFINGTON (1944).  Other well-known scores from the 1940s are: REBECCA (1940); SUSPICION (1941); OBJECTIVE BURMA (1945); HUMORESQUE;  and from the 1950s:  PRINCE VALIANT (1954); MISTER ROBERTS (1955); THE SPIRIT OF ST. LOUIS (1957); and THE NUN'S STORY (1959).

Note:  Franz Waxman was one of 6 Hollywood composers to be honored on a recent 33 cents stamp issue from the US Postal Service.  The other five Hollywood composers are: Bernard Herrmann, Erich Wolfgang Korngold, Alfred Newman, Max Steiner, and Dimitri Tiomkin - all five have already been named for "Lifetime Achievement Awards." 

1998

The 11th Annual Sammy Awards were announced on March 7, 1999.

Unlike the Oscars,  there are no really embarrassing exhibitions to sit through.  

And so, let's have the envelopes please for

Best Original Score:

SAVING PRIVATE RYAN (Music by John Williams).  Dreamworks CD DRMD-50046 (64:15).  

I ended my review of this score in August 1998 by saying: "Williams continues to expand his horizons and turn out some of the best film music of our time."  SPR has a subdued yet powerfully evocative score, ending with the memorably poignant "Hymn to the Fallen." Another milestone score by the most respected film composer of our day.  Since 1988, John Williams has received 7 Sammys (5 for his scores, 2 for his songs), more than any other film composer.

John Williams also has been named   TOP COMPOSER OF 1998. 

Best Original or Arranged Movie Song:

 "When You Believe" (Music and lyrics by Stephen Schwartz) from THE PRINCE OF EGYPT.  Dreamworks CD DRMD-50041 (76:10).  

The song is very effectively used in the animated feature, with sensitive singing by Michelle Pfeiffer and Sally Dworsky.  The pop version by Mariah Carey and Whitney Houston is overproduced but is highly charged and makes a strong impression.  The Hans Zimmer score is also very good.

Best Song Compilation:

PLEASANTVILLE.  Sony Music Soundtrax OK 69626 (47:44).

With the exception of the two songs lazily warbled by Fiona Apple, this is a wonderful collection of vintage 1950's songs by Robert and Johnny, Gene Vincent, Larry Williams, Billy Ward & The Dominoes, Etta James, Buddy Holly & The Crickets, and Elvis Presley.  There are also jazz instrumentals by Dave Brubeck and Miles Davis.  The songs are well incorporated into the fantasy story.  The wonderful Randy Newman soundtrack is available separately.     

Golden Earmuff Award for Worst Use of a Movie Song:

"I Don't Want to Miss a Thing" (music and lyrics by Diane Warren) from ARMAGEDDON.  

Put on your ear-muffs before listening to this screaming vocal!  This is supposed to signify scenes of love and marriage?  As performed in loud and monotonous fashion by Aerosmith, the song is heard briefly during the film, and then again during the end credits. The score by Trevor Rabin is equally uninventive, but then so is the laughable dialogue and acting in this BLOW 'EM UP sci-fi stinkeroo.  It's the top grossing film of the year and the song was Oscar nominated. But that doesn't mean it's worth listening to this horrible song. Soundtracks like this one are mostly for rock song collectors. To hype the song even more, the Aerosmith music video is included on the Laserdisc.  Just another promotion for a way over-the-top dumb movie song.         

Lifetime Achievement for a  significant past film composer:

Dimitri Tiomkin (1894-1979)

This great Golden Age film composer received 4 Oscars:  Song - "Do Not Forsake Me, Oh My Darlin'" lyrics by Ned Washington; and Score to HIGH NOON (1952); THE HIGH AND THE MIGHTY (1954); THE OLD MAN AND THE SEA (1958).  Though he came from the Russian symphonic tradition, he was known especially for his American westerns (RED RIVER, GUNFIGHT AT OK CORRAL, THE ALAMO) and epic scores (LOST HORIZON, THE FALL OF THE ROMAN EMPIRE).   

He was surely a film music GIANT - a 1956 movie featuring one of his epic scores.  

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Film Music Review readers were invited to list their choices for 1998.  

Here are the ones the scores and songs sent in...

Best Original Score:  THE TRUMAN SHOW; LES MISERABLES; LOST IN SPACE.

Best Original or Arranged Song:  "The Prayer" (from QUEST FOR CAMELOT); "Through Heaven's Eyes" (from THE PRINCE OF EGYPT); "I Want to Spend My Lifetime Loving You" (from THE MASK OF ZORRO).

Golden Ear-Muff for Worst Song or Score:  "Storm" (from THE AVENGERS); "Playing with the Big Boys Now" (from THE PRINCE OF EGYPT);  MIGHTY JOE YOUNG (Score by James Horner).

Lifetime Achievement for past film composers: Hugo Friedhofer; Bronislau Kaper, Victor Young.

1997

The 10th Annual Sammy Awards have been announced.

You can read my guest column at the Film Score Monthly web site: "The Envelopes Please! The Sammy Awards for Top 5 Film Scores of 1997" (March 11, 1998).  See also "More Sammy Awards" (March 26).  

To read both columns, go to: http://www.filmscoremonthly.com/fsd.html

Best Score:  

SEVEN YEARS IN TIBET (Music by John Williams)  - A beautiful and subtle score for a most enjoyable film, filled with rich emotional textures and a soaring string theme, enhanced by Yo Yo Ma's brilliant cello playing.  Sony CD SK 60271.

Best Song:

"Journey to the Past" from ANASTASIA (Music: Stephen Flaherty; Lyrics: Lynn Ahrens) -  Sung on the soundtrack by Liz Callaway and a rock version by Aaliyah. Atlantic CD 83053-2.

To celebrate the 10th anniversary of the SAMMYs this year, a new category is being added, to reflect the popularity of  songs used in films as source music:

Best Song Compilation:  

L.A. CONFIDENTIAL - Vintage songs sung by Johnny Mercer, Dean Martin, Chet Baker, Betty Hutton, Lee Wiley, Kay Starr, Joni James; plus instrumentals by the Gerry Mulligan Quartet and the Jackie Gleason Orchestra. The songs are effectively used in the film to represent a locale or mood.   Restless CD 01877-72946-2.   Unfortunately, the CD is very skimpy at only 35 minutes.  The Jerry Goldsmith score CD is not any better.  Why charge full price for a CD with only a half-hour of music?  

Lifetime Achievement:  

Harry Warren (1893-1981) - popular Hollywood songwriter who won 3 Oscars for his songs:  "Lullaby of Broadway" from GOLD DIGGERS OF 1935, "You'll Never Know" from HELLO, FRISCO, HELLO (1943), and "On the Atchisenon, Topeka and the Santa Fe" from THE HARVEY GIRLS (1946).

 

1996

These are the 9th Annual Sammy Awards:

Best Song:

 "10,000 Miles" (arranged by Mary Chapin Carpenter, Mark Isham, John Jennings) from FLY AWAY HOME.  A beautifully arranged old folk song used to accompany the soaring flight of the geese from Canada to North Carolina.

Best Score:

FLY AWAY HOME (music by Mark Isham).  A score full of lovely subtle moments.

Lifetime Achievement:

Erich Wolfgang Korngold (1897-1957) - celebrating the centennial of his birth, a Vienese wunderkind whose film scores are highly romantic and memorable.   He received two Oscars for his early scores:: ANTHONY ADVERSE (1936); THE ADVENTURES OF ROBIN HOOD (1938).  His other great scores of the 1940s, include:  THE SEA HAWK (1940) & KINGS ROW (1942).

1995

The 8th Annual Sammy Awards:

Best Song:

 "Moonlight" (music: John Williams; lyrics: Alan & Marilyn Bergman) from SABRINA.  A smooth and silky song used to heighten the growing romance that develops.    

Best Score:

 RESTORATION (music by James Newton Howard).  A superb period score, effectively incorporating music of Henry Purcell.

Lifetime Achievement:

 Miklos Rozsa (1907-1995) - A Golden Age master, known especially for his mystery and epic film scores.  He received 3 Oscars:  SPELLBOUND (1945); A DOUBLE LIFE (1947); BEN-HUR (1959).

1994

The 7th Annual Sammy Awards:

Best Song:

"Circle of Life" (music: Elton John; lyrics: Tim Rice).  Grand and majestic opening song in this blockbuster animated Disney film.  

Best Score:

THE LION KING (music by Hans Zimmer).  Very effective score used to great effect in the fast-paced action scenes and also in the more reflective moments, including a subtle quote from Mozart.            

Lifetime Achievement:

James Van Heusen  - songwriter who teamed up with 2 different lyricists for his Academy Awards.  He received 4 Oscars: "Swinging on a Star" (lyrics: Johnny Burke)(1944); "All the Way" (1957); "High Hopes" (1959); "Call Me Irresponsible" (1963) - last 3 songs have lyrics by Sammy Cahn. 

1993

The 6th Annual Sammy Awards:

Best Song:

 "When I Fall in Love" (music: Victor Young; lyrics: Edward Heyman/ arranged by Jeremy Lubbock in SLEEPLESS IN SEATTLE).  Lovely arrangement of this 1950s song.

Best Score:

 SCHINDLER'S LIST (music by John Williams).  A poignant and highly sensitive score that acts to reinforce both the horrors and the triumphs of the film.

Lifetime Achievement:

 Max Steiner (1888-1971)  - pioneer film composer of some of the most popular films, who composed over 200 scores, especially for RKO and Warner Bros. He received 3 Oscars: THE INFORMER (1935); NOW, VOYAGER (1942); SINCE YOU WENT AWAY (1944).  He composed for all sorts of films, including westerns, such as THE DIED WITH THEIR BOOTS ON (1941) - Best of the Month Soundtrack, April 1999.  His most famous score, GONE WITH THE WIND, didn't get an Oscar. Why not?  STAGECOACH, with its arrangement of cowboy songs by 4 different composers, got the Oscar instead.  Like in the western...Steiner was robbed!

1992