Hugo Friedhofer’s Boy On A Dolphin (1957)

Friday, 21 November 2008

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There is an impressive tradition of soundtrack music for the world beneath the sea. While Bernard Herrmann’s Beneath The 12 Mile Reef (1953) may be unsurpassable, Hugo Friedhofer’s score for Boy On A Dolphin (1957) employs orchestral timbre in an (almost) equally sensuous and impressionistic manner. These scores are the children of Debussy’s La Mer.

Several sections of Friedhofer’s score, particularly the source cues, draw on traditional Greek music. A lively dance in 7/4 accompanies the opening panoramic CinemaScope images of islands in the Aegean: Hydra, Delos, Poros, Mykonos, Rhodes.

Sophia Loren, Alan Ladd and Clifton Webb star in what is basically a Greek travelogue designed to take advantage of the wide CinemaScope frame. The story, from a 1955 novel by David Divine, involves the discovery of an ancient statue off the coast of Hydra, and the fight for ownership.

Unfortunately the film has as yet eluded an official DVD release. A 42 minute mono soundtrack LP and CD has existed for years as an import, but a couple of months ago the Intrada label went into the vault to create a complete CD in stereo (The Intrada webpage has sound clips in Real Audio).

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Unfortunately the edition, limited to just 1500 copies, sold out almost immediately. I hope Intrada do a second edition.

See reviews of the Intrada CD by Mark R. Hasan at KQEK, Clark Douglas at Movie Music UK, Thomas L. Kiefner at Golden Scores, sdtom at Film Music: The Neglected Art plus the message thread at the Intrada Soundtrack Forum.

Here’s a clip from the underwater scene after the main title song, unfortunately presented in a very low quality pan-and-scan edition. But the cues are gorgeous.


Self-education and the Great Books of the Western World

Saturday, 15 November 2008

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Self-education seems to have been big business in postwar America. A look through the pages of a middle-class magazine like Playboy reminds us that the popular conception of the good life combined not only hi-fi, booze, tobacco, fast cars and tits but also access to literature and ideas. While many veterans were entering college on the G.I. Bill, others were stocking the bookcase with The Great Books of the Western World.

The New York Times, Chicago Tribune and Wall Street Journal have published reviews of a new book by Alex Beam, The Rise, Fall, and Curious Afterlife of the Great Books. It looks like an interesting read, with enough gossip and irreverence to rile serious-minded folks.

I own a near-complete secondhand set of the first edition of the GBOTWW. I’m missing Shakespeare (vols. 26 & 27), which is fine because I own the excellent 1974 Riverside edition, and Plotinus (vol. 17), which I don’t see myself wanting to read anytime soon. The set was so cheapily acquired that any of the standard reservations (poor translations, no annotations, ugly double-columned type, Anglo-centricity) were rendered irrelevant. The English language texts are generally fine: Paradise Lost and Moby Dick, in particular, are single-columned and very readable books. But I have consistently gone to better texts for works in translation: Dante (Mark Musa in verse as opposed to C. E. Norton in prose), Homer (Lattimore for the Iliad and Fagles for the Odyssey), Montaigne (Frame) and Cervantes (the recent Edith Grossman Don Quixote in a sturdy Ecco hardcover).

The Great Books – fifty-four volumes from Homer to Freud, originally published in 1952 – was compiled by Robert Hutchins and Mortimer J. Adler. It’s easy to make fun of Hutchins and Adler’s earnestness and self-importance (see Dwight MacDonald’s contempory review for the New Yorker). And I’m sure neither Hutchins or Adler intended that this forebidding enshrinement of the monuments of Western culture should find its ultimate success via hard-sell door-to-door salesmen. But that is what happened. Here is Time magazine in 1962:

Learn Now, Pay Later. To reach the butcher and baker, [national sales manager Kenneth M.] Harden set about building an indefatigable, door-to-door sales force. Operating out of Los Angeles, Harden set up a course at which new salesmen learned how to use the Syntopticon and to pronounce the names of the authors (reading them is not required).

In the field, Harden’s salesmen offered the Great Books (sold in sets costing from $298 to $1,175, depending on binding) for as little as $10 down and $10 a month, and threw in a bookcase and a Bible or dictionary to boot. In chart-studded sales broadsides, they talked earnestly of the importance of a liberal education for children, and displayed Great Books reading lists for youngsters. To help spread the Great Books idea, more than 50,000 adults were signed up in Great Books discussion groups (run by the non-profit Great Books Foundation).

It’s clear that most of those thousands of sets were dusted rather than read. In addition to the supposed unreadability of the editions, MacDonald pointed out that in 1952 most of the titles were easily available in cheap reprints, and almost all the rest for less than the GBOTWW rate of five dollars each volume. This is even true today. Is there a single book on the list that could not be found secondhand from an online seller for less than a fiver?

But let’s put aside these quibbles and look to a more general malaise. The self-education impulse – at least that based around the study of some sort of Western canon rooted in the works of classical Greece, Rome, and post-medieval Europe – has now vanished from the mainstream. Of course there are still serious readers out there, and the desire for self-education is still strong enough to make best-sellers of polemics by people like Harold Bloom (The Western Canon: The Books and Schools of the Ages, 1994). Indeed, new sets of the Great Books are still for sale (US$995 at amazon.com), although no longer sold door-to-door. But at some point the auto-didactic aspirations of the middle-class consumer eroded. What is to blame? The usual explanation is the dumbing down of contemporary life, and nobody can really argue with that in an age of widespread functional illiteracy. But what else? University education became more accessible to the middle class – theoretically reducing the demand for self-education in the classics – but ironically as more people (and more kinds of people) entered the academy, the humanities abandoned its reverence for canonical books and began to explore works of other cultures, minority voices, pop culture, etc.

It’s boring to defend the Hutchens/Adler vision of the canon – sorted, commodified and yet still stuffily inaccessible. The high/low culture divide is often fraudulent and useless, which is not to say there shouldn’t be a hierarchy of literary value. There must be. History continues to decide it. History asserts the fundamental importance of some or most of the books these men enshrined in their quixotic list, as well as hundreds of other books.

But the sad truth is that today, in almost all fields except postgraduate academia (and sometimes not even there), an intellectual grounding in the Great Books (or, rather, the great books) is essentially useless cultural capital. The only viable motive for self-education today is intellectual curiosity. So the middle class have opted out.

[Update 24/11/08: See a related discussion, with my comments, at Robert McHenry's blog at Britannica.]


Drop acid, not bombs: Hippie movie trailers

Friday, 14 November 2008

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Following on from my Bondsploitation post, I now present a collection of trailers from hippie-themed movies. First up is a total winner:

An American Hippie In Israel (Amos Sefer, 1972)

(for a high quality 179mb .mov version, go directly here)

AAHII is an obscure Israeli film which has not yet merited an Internet Movie Database entry. In fact, it seems almost too good (or rather too beautifully awful) to be true. Could this be a faked trailer a la Machete by Roberto Rodriguez? No, apparently it’s genuine and supposedly available from Grindhouse Releasing.

Next up…

More (Barbet Schroeder, 1969)

“The” Pink Floyd provided the soundtracks to two counter-cultural Barbet Schroeder films: this and La Vallée (1972; released on LP as Obscured By Clouds). More was shot on the island of Ibiza in the days before it became an overdeveloped tourist destination. Back when it was, like, pure, man. So anyone for LSD, sun-worship, and Mimsy Farmer?

Pink Floyd were pretty ubiquitous in the apocalyptic hippie movie soundtrack field. Listen here to Roger Waters’ trademark bloodcurdler:

Zabriskie Point (Michelangelo Antonioni, 1970)

And while we’re at it, something more honestly exploitative…

Psych-Out (Richard Rush, 1968)

These are the PLEASURE LOVERS! They’ll ask for a dime with hungry eyes…but they’ll give you love – for NOTHING!

Starring Jack Nicholson and Susan Strasberg.

Peace and love.


Elvis Costello: When I Was Cruel No. 2

Saturday, 8 November 2008

“She was selling speedboats in a tradeshow when he met her.”

No one does spite like…

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Original version from When I Was Cruel, 2002.