Tribute Film Classics Presents: ‘The Prince and the Pauper’ Score


Tribute Film Classics (TFC)—composed of John Morgan, Anna Bonn, and William Stromberg—is proof that not everyone in Tinseltown chooses to ‘go Hollywood’. These diligent musicians recently released another exquisite recording, the complete Erich Wolfgang Korngold score to the 1937 Errol Flynn classic adaptation of the 1882 Mark Twain novel, The Prince and the Pauper (available from this vendor).

Here’s what I wrote in an online column about TFC when they started up last year:

“One need not be a fan of the literary-themed pictures to enjoy the first two recordings … definitive compact disc editions of composer Bernard Herrmann’s scores for Mysterious Island and Fahrenheit 451. The CDs alone are impressive.

“Besides the score for Francois Truffaut’s 1966 adaptation of a novel about a totalitarian regime that bans books, Universal’s Fahrenheit 451, TFC offers the complete 61-track score for Mysterious Island. The release includes entire cue cuts, with notes by TFC principal William Stromberg, who conducted the Moscow Symphony Orchestra’s performance, and TFC co-founders Anna (Mrs. Stromberg) Bonn and John Morgan. Their approach is admirably meticulous.

“The 1961 adventure classic, Mysterious Island (Columbia Pictures), based on the novel by French writer Jules Verne, features two Union prisoners of war (POWs) who escape in a hot-air balloon during the American Civil War. They drift to the titular fantasy isle, encountering giant creatures, a volcano, an earthquake, a honeycomb and another famous Verne character, Captain Nemo (Mr. Verne’s Mysterious Island is a sequel to his 20,000 Leagues Under the Sea).

“Mr. Herrmann’s memorable music accentuates the movie’s thrills and the accompanying 32-page booklet is more intelligent and informative than most books, with time stamps and notes on chords, instruments and scenes. That doesn’t really do this labor of love, which must be seen to be appreciated, justice. The same caliber of top production values is present on TFC’s booklet for Mr. Herrmann’s complete Fahrenheit 451 score, which includes notes from author Ray Bradbury. Both CDs are a rare accomplishment in today’s movie-related products: they take motion pictures—their artists, scores and history—seriously.”

So does The Prince and the Pauper, recorded in Moscow, Russia. It is another outstanding accomplishment.

Screen Shot: ‘District 9’

An unusual film, District 9, opens this Friday. Sony’s alien-themed movie is full of blood and gore, with the usual horror elements. Depicted in a grainy, pseudo-documentary style, the first third of the picture is satirical, with interview snippets that backtrack on an alien visitation that hovers a mothership over Johannesburg, South Africa, depositing a bunch of sick, unwanted extra-terrestrials in the slums.

The plot concerns Wikus, an almost idiotic but decent bureaucrat who is assigned to infiltrate the encampment of the title, evict the aliens, and appease the city’s racially mixed population—all of whom appear to be united in wanting the aliens booted out. Something goes wrong, of course, and near-imbecile Wikus becomes transformed by the experience. Literally.

So does District 9, which until then feels like an odd, cynical short. Disparate plot points—an ominously powerful United Nations type authority, Nigerian thugs, and a government-controlled health care system with the ethics to match—combine for what’s practically an old-fashioned buddy action thriller. Enter a whiz kid, add dark humor, genetics and weapons, with a father-son bond, and you get Alien Nation meets Enemy Mine meets The Fly.

Once the action picks up (“Go! Drive!”) and world government stooge Wikus and an alien named Chris calculate mutual self-interest and take on the automatons, things get interesting. By the time a bug-eyed alien sputters in subtitles to “go down and initiate the binary commands,” you know it isn’t the typical sci-fi horror pic. District 9, which is not for the faint-hearted, feels unfinished, and it doesn’t exactly take off (not with Wikus at the core), but this strange planet earth offers food for thought about who’s human, who’s not, and the forces that alienate us.

Screen Shot: ‘The Time Traveler’s Wife’

Though it’s a bit too clever and it lacks depth, this weekend’s romance starring Eric Bana and Rachel McAdams is fine for a weekend matinee. The Time Traveler’s Wife does a nice job of setting a serious tone for two loners in love, who diligently work at their relationship, which is saddled with a handicap that he’s frequently out traveling in time, a fact which is beyond his control. That’s it, really, which ultimately bogs the film down, since he cannot change the facts of reality and he doesn’t do anything terribly interesting outside of building his relationship with her, whom he meets when she’s a young girl (which mimics the couple in The Curious Case of Benjamin Button). They meet in a meadow, gradually earn one another’s trust, and McAdams and Bana hold one’s attention. The attractive couple’s captivating interplay dominates the refreshingly adult-themed movie. The hook is that time travel is merely another relationship obstacle to be navigated. Whether these two indomitable souls make it work creates a certain low level of tension, which keeps The Time Traveler’s Wife from exploring something deeper. Seeing Rachel McAdams and Eric Bana (two favorites actors) in strong screen performances is its best reward.

Movie Review: ‘The Lives of Others’

With the rising threat of an American government-controlled society, I’m adding my 2006 Box Office Mojo review of the most powerfully accurate film about totalitarianism in recent years: The Lives of Others. I am including my DVD notes.

Read the review here.

Back from Boston

Back from Boston and catching up. I gained new knowledge in several lectures and courses, visited with friends and family, and I met some of my classmates for the first time. More on OCON later—I know I’m still behind on posts—and other stuff. I did see a movie, which I recommend: Public Enemies. Not a great film, and it’s directed by Michael Mann, who tends to portray villains as heroes and vice versa, but it’s a solid gangster movie, not too graphic, and the Marion Cotillard character holds it together. Johnny Depp plays Chicago gangtser John Dillinger with a bit too much of an ‘Elvis‘ impersonation for my tastes and Christian Bale is fine but underdeveloped (he plays the good guy), though he does pull off the movie’s most emotional scene, in which his policeman character reclaims his own moral authority from an incompetent government agency.

The role of government continues to expand. President Obama’s at it again with another attempt to nationalize an American industry—this time, the medical profession. In six months, he has quasi-nationalized banks, insurance companies and the automotive industry and his health care reform, such as and whatever it is, will undoubtedly move the nation toward economic fascism. Having written about medical policy for 15 years and having been on the forefront of protecting individual rights in medicine, I see that legislation to control each American’s medical treatment is coming. The showdown is likely to be the most crucial political battle since slavery. And socialized medicine is exactly that, so this is urgent.

One of the nation’s least important—yet overhyped—battles is the Watergate dustup, which at least gave us a decent president, Gerald R. Ford. I recently read his off-the-record thoughts and memories in Write It When I’m Gone: Remarkable Off-the-Record Conversations with Gerald R. Ford by Thomas M. DeFrank. Covering the tense days before the former Michigan congressman became President of the United States when Richard M. Nixon resigned in August of 1974 through President Ford’s final days, DeFrank’s unique arrangement with the 38th president results in recollections and conversations that are often fascinating. President Ford was a pragmatist and he wasn’t around long enough to shape the direction of his Republican Party—which buckled to the religionist faction in 1978—or the nation. But, whether he was confronting Communists over the U.S.S. Mayaguez, refusing to bail out New York City, or granting a pardon to a disgraced former President Nixon, which was the unequivocally proper course of action, President Ford emerges as the best president of the late 20th century. Though he briefly served in the White House before narrowly losing to a “born-again” Christian fundamentalist named James Earl Carter, Jr., Jerry Ford was a great American and a good president. Write It When I’m Gone (he actually told DeFrank: “Write it when I’m dead”) shows an ambitious, deliberative and thoughtful man who generally understood the nation’s founding principles and government’s proper role. Jerry Ford’s razor-thin loss to Jimmy Carter in 1976 reminds us of the power of one’s political choices to shape history and our future.