 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I was hinting at Lockyer too with the Dalek. I had first thought of Barry Gray, who doesn't look like that, but Í didn't have to stray far.
How about this fellow then?
He was an important film composer but often isn't regarded as such. He did only score films, because he did not live to see the rise of television. He used the melody of "Oh Tannenbaum" in a context few would ever dream of - and certainly in one of least politically correct films ever made [although it was actually toned down from the novel on which it was based]. He wrote film scores at a time when where was no Prokofiev or Bartók to rip-off, only Wagner (which he did) and Brahms.
|
|
|
|
|
|
Blimey! Malcolm LOCKupYERdaughters! I'd never have got that in a million years. I obviously don't take after my mother, who won the Private Eye crossword last year.
Is that Cyclops'? It's a magic one full of rude words and red herrings about politics. 'takes me about 90 minutes, but I've only sent in the answers about twice ... didn't win.
I did, tongue-in-cheek complain to Lord Gnome and Cyclops once about a Xmas clue that was actually an anagram of Santa with a V on the end (Satnav). Santa was a 'sled operator'. I said, 'How do you expect us to get this clue, when Santa drives a SLEIGH? A sleigh is not a sled'. I got an email back ... 'Sorry to have misled you, but you must surely realise that in these times of economic downturn, even Santa must downsize.'
You have to love it.
|
|
|
|
|
|
|
|
|
|
He was an important film composer but often isn't regarded as such. He did only score films, because he did not live to see the rise of television.
If he was before Prok and Bela, then he must have been involved in early 'silent' theatre scores. But when you say he 'isn't regarded as' a cinema composer, yet only scored films I take it that means he DID score other concert works, and that the 'only' refers just to visual and drmataic scoring.
He ain't Darius, and he ain't Arthur H, so who does that leave?
|
|
|
|
|
|
Oh, now I have it thanks to clue above.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Oh, that IS an easy one - one of my favourite composers, Walter Scharf
|
|
|
|
|
|
I know this one.
And spot the sly trick of reversing the pic so it doesn't turn up on Google Scan ...
There's at least one FSM-er who loves this man dearly.
Lots of travel music from this guy.
|
|
|
|
|
|
'See that ...?
we posted simultaneously.
AND JAMES IS THAT GUY!
|
|
|
|
|
|
I knew that was far too easy. Walter Scharf, indeed.
He was the "house composer" for Jerry Lewis for a number of years, scored a hit single with the song from BEN (performed by Michael Jackson!), and even Elvis the Pelvis was too respectful to call him anything but "Mr. Scharf", long after Scharf had told him to call him Walter. And yes, those Jacques Cousteau travelogues.
His autobiography, "Composed and Conducted by Walter Scharf", is an entertaining read, even though it's not terribly detailed when it comes to the minutiae of film scoring, or the films Scharf worked on. It's more about the personalities of the people he worked for/with.
The next man always wanted to be one of the great American composers, but it wasn't going to happen. He had to pander below his station ALL of his career - and I do mean ALL of his career. But he did work with Erich Wolfgang Korngold!
|
|
|
|
|
|
Colossal! Amazing! Albert Glasser ??
|
|
|
|
|
|
18 minutes. EIGHTEEN MINUTES!!! - I think he would have been so proud.
Yes, Albert Glasser. He must have been a dear (if overwhelming) man.
Never mind, I still got plenty of ideas.
Our next man gave another composer, who went on to become of the most celebrated film composers in history, his start. Ironically, in concert music HE is the one who really "matters".
|
|
|
|
|
|
"Foxtrots .... FOXTROTS!??"
|
|
|
|
|
|
"Foxtrots .... FOXTROTS!??"
Ah, well, judging by William's clue, it must be Arthur Honegger this time. But I wouldn't have known...
|
|
|
|
|
|
Indeed, Arthur Honegger, the Napoléon and Les Misérables composer who convinced Miklós Rózsa to earn a living in film music.
Our next man shared the fate of many film composers in the 1950s and 60s, scoring tons of B-features and the occasional A, most often not even getting a credit as he wasn't the only composer on those films. One film he did get a credit for is one of his more striking scores, but for a movie that was the only one for its producer/director that lost money.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
