I know it's been some time since I put out one of these, and I hope the wait is worth it to the few people following my work. I actually wrote 85% of this material months and months ago, but got distracted with other things before I had a chance to finish it. I just set aside some time today and pushed myself to complete the work. Sadly this time I have no online version of the film to link to, but if anyone owns the film themselves as I do, I have included time stamps to find each cue as usual.
For those who don't own the film but would appreciate a preview of the score, here is a simply gorgeous 5:20 suite of the score's central regret-filled love theme compiled by Zooba some time ago, the bulk of which consists of the substantial sequence I titled "Lost Love / Too Late for Us", followed by the brief finale/end credits cue:
https://www.youtube.com/watch?v=jo4jD5xF3YAThe film itself is really pretty good, considering it was a "B" picture. Impressively stark black and white cinematography, strong lead performances by George Montgomery and Diane Brewster, a unique and memorable villain, and some quirky touches like the constant infernal saloon player piano which helps to furnish an interesting, if not very musically enjoyable, main title sequence. For me only Tom Pittman's (Carl) performance is a bit annoying and over the top at times, with his transformation from boy to tough-talking gunslinger a bit of a stretch. But overall the film is a very mature and different take on the west.
WARNING: These notes contain SPOILERS!
0:01 - 0:09 1. Fanfare :08
A unique fanfare by Goldsmith heralds the Warner Bros. logo, similar to how his unique fanfare would accompany the Universal logo five years later for Lonely Are the Brave. However, unlike that later film, this fanfare has a secret, in that it actually is a brief encapsulation of the theme for the main character, Marshal Clay Morgan (nicknamed "Black Patch" due to the eyepatch he wears).
0:10 - 0:35 2. The Horse :25
A subdued but uneasy accompanies a slow pan across the empty wilderness, until a horse passes into view. Eight seconds in, the second major character theme (eventually revealed to be for Hank Danner) is introduced on low flute. This brief cue ends with the interruption of a gunshot sounding, which startles the horse.
0:40 - 1:14 3. The Rider :34
As a man comes into view, an arresting musical idea is introduced: a fateful brass fanfare (tinged with a bit of darkness), accompanied by a somewhat shifty-sounding phrase on low-end piano (a sound which would become a familiar Goldsmith trademark). A muted echo of the fanfare then plays on woodwinds, the piano phrase repeating again, followed by a final repetition of the fanfare, now more fragmented and played tensely, urgently on strings as the man suddenly rides away. On closer examination, this repeating shifty piano phrase turns out to actually be a development of Hank Danner's theme, introduced on flute in the previous cue.
1:15 - 3:03 Saloon Piano Source (Main Title) 1:48
A painfully out-of-tune piano plays from a saloon (first barely audible, then louder) as the film transitions to a small western town. Then, surprisingly, the main title sequence begins, with the same source music continuing! In fact, we are introduced to the title protagonist (played by George Montgomery as the large credit on the screen tells us), not with any sort of fanfare or heroic theme, but with honky-tonk piano music. (The same goes for Jerry Goldsmith's very first onscreen feature film composing credit.) This unconventional main title sequence continues through shots of what is revealed to be an automatic player piano — in fact is is more than just a piano, with cymbals, tambourine, and drum also being shaken and struck mechanically rather than being played by a human being. As musically unappealing as this cue is, it still may have been written by Goldsmith and is uniquely conceived. This source music is suddenly extinguished as the credits cease and a man is punched out between the pair of saloon doors.
3:45 - 4:51 4. Two Arrivals 1:06
On first listen, this cue introduces hints of a romantic theme on strings and clarinet as a lovely woman (later revealed to be Helen Danner) arrives by stage. However, Goldsmith is in fact being very efficient with his introductions of thematic material: the clarinet element at the beginning is actually the first subtle appearance of a theme for local boy Carl (nicknamed "Flytrap"), who helps Helen Danner unload her luggage -- her own theme actually doesn't enter until about eight seconds in, intertwining with Carl's and hinting at the future relationship between them. Soon the music transitions to cover a later arrival in town of the mysterious man from the beginning shot of the film, this time first represented by the shifty piano figure, more ominously played than before, followed by a more subdued setting of the accompanying "fate" fanfare as he hitches his horse to a post and looks around town, finally walking into a saloon as the music trails away.
9:37 - 11:12 5. The Danners 1:35
In a bit of a plot twist, the mystery man is revealed as Hank Danner, Helen's husband. As he asks for a room in the hotel and discovers his wife has already arrived in town unexpectedly early, her lovely warm music starts to play. Despite a few uncertain moments in the music as Danner shows a bit of jealously, his wife’s warm music continues to dominate the scene, swelling as they embrace at the end.
11:11 - 11:21 More Piano Source :10
The player piano keeps going. Seems to be the main source of atmosphere in this town.
14:00 - 15:33 6. Old Married Man 1:33
Clay meets his old friends at their hotel room. He is immediately taken aback that Helen has married Hank, as she was apparently an old flame of his. Clay's theme, only briefly hinted out in the fanfare beginning the score, is now developed as a beautiful long-lined melody, full of melancholy and regret, functioning here as a bit of a "lost love" theme for his old relationship.
15:31 - 16:16 Even More Piano Source :45
Does that infernal contraption ever stop?
16:17 - 18:00 7. Lost Love 1:43
Delicate harp leads back into the poignant theme for Clay and Helen’s lost relationship, developed more extensively on strings as they think about each other.
18:01 - 20:45 8. Too Late for Us 2:44
An initially more nebulous cue immediately follows, further developing Clay's theme as Helen sneaks out of her hotel room to go speak with him. The music swells with their love theme in full flower as they embrace, but then growing more tense and pained as Clay explains how he has changed and why he didn’t return to her years before (“I’ve seen too much war and killing…”) It is one of the score's greatest highlights.
23:11 - 24:08 9. I’d Know Him :58
A hint of Hank’s fanfare plays ominously as a deputy from a neighboring town claims he can identify on sight the robber who held up the town bank. The uneasy piano figure soon joins underneath tense brass, and as Clay, the deputy, and the neighboring town’s sheriff head off to visit Hank, Clay's theme plays briefly a couple of times, but Hank’s piano figure interrupts both times. When Hank emerges from the hotel a brief standoff occurs and the music grows more tense, before he ultimately surrenders his gun to Clay, his piano motif slowing down and transferring to low strings before coming to a rest.
26:13 - 27:16 10. Hank Jailed 1:03
A very Herrmannesque three note motif repeats several times interspersed with hints of Clay’s theme as he leads Hank to the jail cell.
29:13 - 30:18 Yet More of That Darn Source Music 1:05
This now accompanies a more typical saloon scene, as the visiting deputy tells the shady saloon owner Frenchy all about the money which was stolen and apparently hidden.
31:42 - 32:01 11. The Deal :19
One of Frenchy’s men sneaks to speak with Hank in his jail cell, convincing him to give up the location of the money in exchange for help escaping from jail. This brief suspense cue begins just as the man convinces Hank by bringing up Helen, but seems to end prematurely after it underscores the money being dug up. This cue probably went on longer as originally written, so it is fortunate the original written scores survive.
33:23 - 34:33 Harpsichord Source 1:10
Frenchy plays his harpsichord as he plots to double cross Hank, setting him up with champagne-soaked bullets which won’t fire.
36:40 - 39:48 12. Jail Break, Murder, and Framing 3:08
This brilliant cue is another true highlight of the score. Subdued strings intone Hank's theme as Clay returns after riding to seek out a lawyer for his old friend. Hank’s rumbles underneath in its shifty piano variation as he goes through with his escape, pulling a gun on Clay. The score erupts out of string-laden suspense into an exciting action cue as they fight, with Hank's theme fragmenting, becoming an underlying action ostinato as well as playing urgently on high strings as Hank ultimately escapes on his horse but is shot in the back by Frenchy’s confederate, Holman. The thrilling music continues as the town erupts into chaos, Helen and other arriving on the scene as Clay seems to take the blame for Hank’s death, hints of Hank’s fanfare and theme, as Clay's own sad theme, playing as the now subdued cue fades into more harpsichord source music.
39:46 - 39:53 Harpsichord Flourish :07
Pleased with the way his plan has turned out, Frenchy briefly plays a little flourish on his harpsichord (we see only his hands on the keys), before the soundtrack returns to score.
39:53 - 41:31 13. Detective Work 1:38
In this brilliant but subtle aftermath cue, Hank's theme forms an underlying repeated pattern as Clay's theme eerily plays above it on strings, with Hank's theme briefly coming into the foreground near the end as Clay makes an important discovery.
41:30 - 41:51 More Harpsichord :21
Frenchy continues playing nonchalantly as Clay enters and confronts him.
42:54 - 43:19 14. Judgement :25
A dark development of Clay's theme plays for a montage sequence of sorts as one townsperson after another condemns the Marshal for his apparent murder of Hank.
45:59 - 46:08 Happy Harpsichord A :09
Frenchy plays cheerfully as he contemplates the missing money.
46:06 - 47:14 15. Inheritance 1:08
Carl's clarinet reappears as he goes to check on Helen. Strings capture Helen’s distressed mood (she refuses to eat) while only two ominous repeated low piano notes hint at Hank's Theme and dark possibilities as she tells the curious teenage boy that he can take Hank’s guns and other belongings.
47:58 - 48:45 16. I Know What You Did :47
Carl confronts Clay briefly on the staircase, before Clay has an emotional meeting with Helen, asking her to believe him that he was not responsible for Hank’s death. The cue is a reflective one which focuses on further developing Clay’s theme.
50:20 - 51:56 Sensitive Source 1:36
“Don’t over crank her, she’s sensitive,” someone in the saloon says about the player piano contraption, before we are treated to the return of its lovely sound. As Clay walks through the saloon and enters Frenchy’s quarters, the sound of the harpsichord joins in as Frenchy plays.
51:56 - 52:36 17. Fine Lad :40
Carl's clarinet theme tentatively returns as he knocks on Helen’s door and enters, continuing through a bit of dialogue for the hotel owner who reveals his fondness for the "fine lad".
52:35 - 52:46 Noise :11
A brief bit of piano contraption source leads into another montage of townspeople spreading gossip about Carl and Helen.
53:15 - 53:22 Happy Harpsichord B :07
Frenchy is downright gleeful as he sees things going his way.
53:22 - 54:07 18. Gun Practice :45
After a brief hint of Hank's theme, a partly-playful and innocent, partly ominous development of Carl's theme (with prominent flute part) underscores him childishly playing with his new gun as if it were a toy.
58:53 - 59:02 19. Competition :09
Brief but powerful descending brass play a hint of Carl's theme, suddenly almost unrecognizable, capturing the audience’s shock at his fast draw in a competition.
59:01 - 59:46 Still Saloon Source :45
This further saloon source as Carl talks to Frenchy’s henchman overlaps with another dramatic cue as Carl challenges Clay to move aside for him.
59:43 - 60:15 20. Confrontation :32
A brief dramatic cue based on their two themes plays as Clay refuses to respond to Carl's challenge and simply walks away, which unfortunately undermines his reputation further (just before the end, we are shown school kids have made a mocking blackboard drawing of him).
62:18 - 63:20 Harpsichord Hell 1:02
63:37 - 64:59 Player Piano Playtime 1:22
These two source cues cover Carl’s continued corruption by Frenchy and his henchman.
66:15 - 67:12 21. I’ll Meet You Even :57
A sudden swirl of strings opens this cue as Clay confronts the rowdy Carl in the street, the latter's theme playing in more threatening fashion.
67:33 - 67:51 22. Black Patch, Yellow Patch! :18
Carl's theme continues to develop on low strings and threatening brass as he insults Clay after being let out of jail.
67:52 - 71:42 23. Leaving 3:50
Helen’s theme returns to lead off an uncertain cue, joined by a development of Carl's theme as he enters her room while she packs to leave. The music grows more dramatic as Carl’s infatuation with Helen becomes evident to her and she rebuffs his advances, causing him to leave in anger, accompanied by an agitated action variant on his material. Sympathetic strings take over a pained varient of his theme a minute before the end as Carl collapses on the ground in despair, and the cue ultimately ends with more threatening low strings as Frenchy begins to beat his familiar prostitute Kitty, whom he coldly plans to leave behind.
71:42 - 72:42, 72:48 - 74:23, 74:42 - 75:07, 75:15 - 75:36 End of the Saloon
The last extended sequence of saloon source music accompanies Kitty’s steps towards revenge against Frenchy and Frenchy’s goading of Carl into a confrontation with Clay, interspersed with silent interludes as Clay sits in quiet contemplation in his office.
76:28 - 80:26 24. Final Confrontation 3:58
Angry bursts of brass herald Carl's exit from the saloon with a hint of his theme, followed by extended suspense music as brass continues to play over strummed harp, as Carl walks along to street towards Clay’s house. This music is interspersed with brief flute punctuations as Clay waits tensely in his chair. The brass snarls as Carl arrives at the house and calls for “Black Patch” to come outside and meet him in the street, throwing rocks at his windows and continuing to insult him. Carl's theme gains in intensity as it alternates briefly with Clay’s sad theme in a much more subdued guise, while the Marshal straps on his gun and reluctantly goes outside. (There is even a brief moment where Hank's theme is played.) Low rumbling piano tensely underscores their standoff in the street, raising in pitch near the end of the cue as Carl gives Clay a countdown and draws his gun. The cue ends as Clay refuses to draw in return, followed by Helen running in with the news she just received from Kitty about who was really responsible for Hank’s death.
81:28 - 82:36 25. A Job (End Credits) 1:08
The final cue begins with a hopeful variant of Carl's theme played by solo flute, as he finally drops his gun, his rage toward Clay diffused as he is finally convinced he’s been manipulated against his former friend. As Clay picks up the gun and returns it to him, saying, “C’mon Carl…we got a job to do,” his theme plays one final time, swelling warmly on strings, as the two of them finally walk off together to confront the villains, ending at last with a callback to the fanfare variation which opened the score. Unconventionally, the end credits appear as they depart for the saloon; the film does not consider it necessary to have some final action sequence wherein Frenchy gets his comeuppance.
TOTAL SCORE TIME: 32:33
(The complete original score if recorded as written would likely be at least a little longer, as it sounded as if some music was dialed out early on the soundtrack. This number also excludes all of the very repetitive source music, which may or may not have been penned in part by Goldsmith.)
This score has a great number of highlights and it would be so marvelous to get a new complete recording of this paired with Face of a Fugitive (1959). Westerns as a genre tend to sell, and on top of that these are two completely unreleased (not even represented on a single compilation) yet superb scores which show the young Goldsmith already at the top of his craft. Given the popular genre and composer, a pairing of these two "lost" scores would probably have greater sales potential than most titles, as well as lower costs since they are by and large written for a smaller and more intimate ensemble than usual. There would also be no expensive and time-consuming "reconstruction by ear" process on these (as there was for The Salamander and QB VII) since the full written scores have been confirmed by James Fitzpatrick and others to survive in the Academy library.
If Intrada or Tribute (haven't you heard? They may be coming back!) decides to tackle this project I would be happy to revise these track by track notes and offer them for free to the label for use in their liner notes booklet.
Yavar
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Other threads in this series:
FACE OF A FUGITIVE (1959) Advance Liner Notes:
viewtopic.php?f=4&t=6958TAKE HER, SHE'S MINE (1963) Complete Score Breakdown:
viewtopic.php?f=4&t=6966THE MAN (1972) Advance Liner Notes:
viewtopic.php?f=4&t=6967CRAWLSPACE (1972) Advance Liner Notes:
viewtopic.php?f=4&t=7213DO NOT FOLD, SPINDLE, OR MUTILATE (1971) Complete Score Breakdown:
viewtopic.php?f=4&t=7216The Waltons: THE CEREMONY (1972) Complete Score Breakdown:
viewtopic.php?f=4&t=7219DAMNATION ALLEY (1977) Advance Liner Notes:
viewtopic.php?f=4&t=7223PURSUIT (1972) Advance Liner Notes:
viewtopic.php?f=4&t=7236
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