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Newman wrote the music in 1931 for the Goldwyn film, STREET SCENE. The score for that film was quite short. There was a main title that led into a rendition of "East Side, West Side." Shortly thereafter, there is a great montage that chronicles the hours between late-night cavorting and the following dawn, which starts with Newman's orchestral continuation of a song being sung by one of the characters late at night ("I Can't Give You Anything But Love, Baby"), then leads into a fantasia based on the "Street Scene" theme as the shots show the city waking up the next day... shades being lifted, milk being delivered, etc. For those of you familiar with 1935's THE GOLDDIGGERS OF 1935, and its "Lullaby of Broadway number," you get the general idea. There is one short dramatic cue when a husband figures out his wife is cheating on him and he kills the lover. Then, there is the end title music. It's a short score, but still a landmark.
When Newman worked at Fox, Zanuck loved that STREET SCENE theme and requested it be used just about whenever a film took place in a big city. It shows up in KISS OF DEATH, CRY OF THE CITY, and famously, as an onscreen musical prologue in HOW TO MARRY A MILLIONAIRE, in which Newman conducts the Fox orchestra on screen in a concert arrangement of the STREET SCENE theme. It also shows up in a couple of noirs scored by other composers. One of them is Cyril Mockridge's WHERE THE SIDEWALK ENDS.
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Posted: |
Nov 7, 2015 - 4:01 PM
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By: |
Primo
(Member)
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Newman wrote the music in 1931 for the Goldwyn film, STREET SCENE. The score for that film was quite short. There was a main title that led into a rendition of "East Side, West Side." Shortly thereafter, there is a great montage that chronicles the hours between late-night cavorting and the following dawn, which starts with Newman's orchestral continuation of a song being sung by one of the characters late at night ("I Can't Give You Anything But Love, Baby"), then leads into a fantasia based on the "Street Scene" theme as the shots show the city waking up the next day... shades being lifted, milk being delivered, etc. For those of you familiar with 1935's THE GOLDDIGGERS OF 1935, and its "Lullaby of Broadway number," you get the general idea. There is one short dramatic cue when a husband figures out his wife is cheating on him and he kills the lover. Then, there is the end title music. It's a short score, but still a landmark.
When Newman worked at Fox, Zanuck loved that STREET SCENE theme and requested it be used just about whenever a film took place in a big city. It shows up in KISS OF DEATH, CRY OF THE CITY, and famously, as an onscreen musical prologue in HOW TO MARRY A MILLIONAIRE, in which Newman conducts the Fox orchestra on screen in a concert arrangement of the STREET SCENE theme. It also shows up in a couple of noirs scored by other composers. One of them is Cyril Mockridge's WHERE THE SIDEWALK ENDS.
Predating your examples is "I Wake Up Screaming" used immediately after the Fox fanfare as the title music. I wonder if there are more examples that even predate this.
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