Cinemaventure

The concept of artificial life has existed for hundreds of years, such as the myth of Pygmalion and Galeta. The most famous story is Mary Shelly's Frankenstein . But before that there was the tale of the Golem; a man of clay brought to life. The Jews of the Prague ghetto were to be forced out on orders of the emperor. Rabbi Loew, using mystic arts, created the Golem as the protector of the Jews. But the Golem soon rebelled and threatened everyone. German director Paul Wegener filmed the story three times, in 1915, 1917 and 1920. Only the third film, The Golem and How He Came Into the World , remains and it is well worth seeing. Kino offers a restored print that is quite lovely. Rabbi Low (Albert Steinruck). aided by his servant (Ernst Deutsch), in an impressive scene, summon a demon who gives them the word needed to bring the inanimate statue to life. The Golem saves the Emperor from death and the greatful ruler rescinds his order of expulsion. But the Golem enjoys life and refuses

The end of the Sixties pretty much ended the period of the Epic film, with a few exceptions. Disaster films became the rage. But one of the last of the big Epics came out in 1970. That was Waterloo , an Italian-Soviet Union co-production, produced by Dino De Laurentiis and directed by Sergei Bondarchuk, famous for his huge production of War And Peace . The film featured an international cast headed by Rod Steiger as Napoleon and Christopher Plummer as Wellington. The exterior battle scenes were filmed in the Ukraine. Others in the cast included Dan O'Herlihy, Virginia McKenna, Jack Hawkins and Orson Welles. More importantly for lovers of spectacle the Soviet Army provided around 15,000 troops to portray the French and Allied armies. Jack Hawkins had lost his voice to cancer and was dubbed by Robert Rietty. I have seen a couple of sources claiming he was dubbed by his friend Charles Gray, and the egotistical Rich Little claimed he did the dubbing in an appearance on the Tonight Show

Probably the earliest piece of movie music I became aware of was "The Song From Moulin Rouge" but that was because we had the 78 RPM recording and you heard it on the radio all the time. I certainly didn't see the movie until many years later. The first movie I saw where I became aware of the music and wanted a record of the theme was Giant (1956). I fell in love with the movie (at 8-years old) and the music. The next two movies to catch my ear were in 1957, Night Passage , scored by Tiomkin, and The Seventh Voyage of Sinbad , scored by Hermann. Now, fifty years later, I still love these scores. I have also grown to appreciate many other composers such as A. Newman, Rozsa, Korngold, Steiner, Waxman, E. Bernstein, Goldsmith and Barry. However, I have come to the conclusion that my favorite film composer is Dimitri Tiomkin. It wasn't a conscious decision, but the realization that if I have the choice of a recording of Tiomkin or another composer I usually choose Tiomki

Greetings to anyone who may stumble on this. I've been writing on Science Fiction related topics for a while and on film for another blogger, so I decided to use this forum for Movie and related topics. Growing up in the Fifties I got to see lots of great, near-great and pretty awful movies in my home-town theaters. House Of Wax, Them!, The Ten Commandments are only a few. I first started paying attention to the theme and background music with Giant, Night Passage , and The Seventh Voyage of Sinbad . I got hooked by Tiomkin and Herrmann early on. Seventh Voyage of Sinbad and Twenty Million Miles to Earth got me wanting to see any movie with the name Ray Harryhausen attached. I hope any readers will find this blog readable at the least, and maybe it will prompt some good memories of the time when movies were worth watching. So, check back soon.