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 Posted:   Sep 30, 2013 - 3:38 PM   
 By:   edwzoomom   (Member)

There was about 15 minutes of original tracks released on CINEMA Records back in the 70's. Flip side is Waxman's OBJECTIVE BURMA.

Ray, I actually located copies of this on Amazon - used of course. I am not one to buy used vinyl but it is nice to see that gems like these are still available. Thanks for the info.

 
 Posted:   Oct 1, 2013 - 7:19 AM   
 By:   WILLIAMDMCCRUM   (Member)

There was also a "suite" from "REBECCA" on the R.C.A. Charles Gerhardt recording of the "Classic Film Scores of Franz Waxman".
Very well done too!



Another performance of this suite on the Denon label, a CD called 'Europe Goes to Hollywood' with John Scott conducting the RPO (Denon DO-74570).

 
 Posted:   Oct 1, 2013 - 7:27 AM   
 By:   WILLIAMDMCCRUM   (Member)

However, times have changed, especially for women. I just struggle with Fontaine's character. She is so simpy, drippy, and a constant hand-wringing total wimp. I just want her to tell Danvers, "Hey, I'm your boss so back off or your fired." I want her to confront her husband's callous behaviors. I want her to have some GUTS and backbone. I know, I know. If she'd been brave instead of wimpy, the plot wouldn't have worked, but I still struggle with her self-imposed helplessness. My problem or my bad.


It's an old, well-worn template of the 'Bluebeard' variety, where a woman finds a locked door to parts of her husband's psyche. That's the 'journey' that character makes that matters, so it's not primarily to be seen as a 'story' with characters, but a sort of psychological allegory. Every married woman has a bit of puzzling to do over past hidden rooms in the hubby's psyche, the slaying of 'Mommy', etc., etc.. It's more about the process of getting TO the sort of independent woman's psyche, so she can't and shouldn't be that at the start. Another aspect is that she doesn't represent a woman at all, but rather an 'anima' part of Olivier's character, whose influence eventually kicks over the bogies from his past.

 
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