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QUEENIE
Composed and Conducted by GEORGES DELERUE
INTRADA Special Collection Vol. 304
Airing on ABC over two nights in May of 1987, Queenie was based on Michael Korda’s fictionalized account of actress Merle Oberon, second wife of his uncle, Sir Alexander Korda. Oberon, often celebrated for her “exotic beauty,” claimed to the end of her life that she was an Englishwoman born and raised in Tasmania. She was, in fact, born in Bombay, and her mother was Ceylonese, and Queenie was terrified that knowledge of her mixed-race heritage might destroy her career. The miniseries of Queenie throws in plenty of drama along the way: poverty, prejudice, rape, an unjust accusation of murder—all before Queenie Kelley (Mia Sara) flees her native India for England, where, after further travails, she approaches film stardom.
One of the more striking elements of Queenie is its score by Georges Delerue. His musical signatures—the boundless energy, that razor-sharp psychological acuity, and an unsurpassed romantic lyricism, as described by Julie Kirgo in her liner notes— are on lavish display in his score for Queenie, which is instantly recognizable as classic Delerue. The film’s setting in India allowed him to introduce some rich new colorings to his music, particularly in the string and percussion departments. Sitars and tablas—or sound-alikes—are significant components of this score, along with bowed string instruments and struck bass.
The score is presented here from the original session masters stored at 20th Century Fox in pristine condition, primarily in stereo with a few tracks taken from the 3-track split mono elements mixed by Mike Matessino so that they blend seamlessly into the stereo program. The album also includes an alternate main title that serves as an overture to the album.
INTRADA Special Collection Vol. 304
Retail Price: $19.99
SHIPS 12/15
For track listing and sound samples, please visit
http://store.intrada.com/s.nl/it.A/id.9330/.f
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Note from Roger:
For those that know the film, I don't want you to be thrown off when you find out the main title isn't on the album. Neither the main title or the alternate main title featured on the album were used. Instead, the filmmakers took the finale, cut, chopped and looped it to create an editorial Frankenstein for the film's main title. Fear not, though, the finale is there in tact so the music is there -- it's just not where you expect it to be at the opening. So both main titles are something you haven't heard if you've watched the film.
http://www.intrada.net/phpBB2/viewtopic.php?p=71331#p71331
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