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Hi Everyone,
Thanks for your suggestions posted in the "FSM Going Shopping" thread -- and thanks to Chris1770 for collating them into alphabetical order.
This exercise has been extremely useful in organizing our plans, and we've begun to research many of the titles and put together our proposal to Warner Bros. (This is exclusively for WB-owned titles so the titles below marked "Not owned by Warner Bros." may come out at some other time; they're just not relevant now.)
As always, we're keeping our plans "top secret" (not the Maurice Jarre score) but I thought I would share with you this list of titles that we definitely will NOT release -- at least not anytime soon -- mostly due to lost master tapes.
Read 'em and weep -- although we reserve the right to correct any of this information.
IMPORTANT: Just because I did NOT put it on this list, does **NOT**!!! mean we are in fact releasing the title! Many of the other suggestions are also problematic if not impossible -- but I didn't want to get into the explanations...or I was not able to get confirmation of the problems. The following are "easy" because they are explained simply, and there is, alas, no hope. Or little hope (see below).
LK
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Adam's Rib: No elements.
Beast From 20,000 Fathoms: No elements.
A Big Hand for the Little Lady: No elements.
Black Patch: No elements.
Blowing Wild: Not owned by Warner Bros.
The Bribe: There is one cue lasting 22 seconds that survives from this Rozsa score. However, we will discount the CD to $9.99 because it is a 22-second release.
Chato's Land: Not owned by Warner Bros. (Owned by United Artists, which is current MGM film company).
Children of the Damned: No elements.
The Command: No elements.
Command Decision: No elements.
The Cowboys: I don't know what kind of issues might exist due to the Varese CD. Frankly I'm not one to try and mess with another label's projects.
The Deadly Trackers: Here's where I know people aren't really asking for things they want, but just typing off of lists. This score was tracked from The Wild Bunch.
The Devils: No elements.
A Doll's House: Not owned by Warner Bros.
Drum Beat: Not owned by Warner Bros.
Enchantment: No elements (there is nothing on RKO films -- The Thing and On Dangerous Ground came from acetates in private collections).
Escape in the Desert: No elements.
Far From the Madding Crowd: Only album master, previously released by Chapter III (which means I'm not inclined to do an identical reissue).
The Fixer: No elements.
Giant: Album rights are with Capitol Records.
Gunn: Not owned by Warner Bros. (owned by Paramount).
Hotel Paradiso & The Comedians (Rosenthal scores): Album masters only, previously released by Chapter III.
How, When and With Whom: Not owned by Warner Bros.
Invasion of the Body Snatchers (original): Owned by Paramount.
The Loved One: No elements.
The Mechanic: Owned by United Artists (current MGM).
Miss Marples films: no elements.
The Naked and the Dead: No elements.
Permission to Kill: Not owned by Warner Bros.
The Red House: No elements.
Ryan's Daughter: Album master only, previously released by Chapter III.
Scorpio: Owned by United Artists (current MGM).
The Sea Gypsies: No elements.
Shalako: Owned by Disney.
Some Came Running: Friends, I have bad news...This is an obvious choice to release but there are some problems with the master tapes that may make a release impossible. It has to do with a missing channel (due to an improper transfer years ago) and it ruins half the recording because the piano is missing. Unfortunately, the LP is a re-recording and Elmer Bernstein did not have a tape of the OST in his private collection. Needless to say if any of you tape trading zealots have a bead on some source, come forward NOW.
Splendor in the Grass: No elements (argh!!!).
Tarzan's Fight for Life: No elements.
Them: No elements.
The Valley of Gwangi: No elements at studio. There is a bad-sounding mono tape floating around of around 23 minutes. Does anyone know how it originated? I would happily include it with something else but I would want to get the best possible source.
Village of the Damned: No elements.
The VIPs: Album only, prev. released by Chapter III.
The Wind and the Lion: Album rights with Arista in perpetuity.
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Also sad news about the Marples, but maybe Ron Goodwin had some tapes outside of England, which have yet to be discovered...
When Ron Goodwin did the reconstruction for his suite on the Label X release he hadn't access to the Marple scores or the original tapes at all. They've been considered as lost for many years now. He did the reconstruction by ear when watching the films (according to the liner notes).
I'm happy that the NOT-LIST isn't as long as it could have been. But just wait for the MGM titles.
Personally I mourn the loss of THE FIXER by Maurice Jarre very much (at least we have a newly recoreded suite by Silva Screen). THE LOVED ONE by John Addision would have made a quirky release.
Thanks to you, Lukas, for asking us.
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Posted: |
Aug 9, 2006 - 7:28 AM
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By: |
manderley
(Member)
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......A sad, but not totally unexpected summary of the state of film music preservation from the recent past.
I AM surprised about the loss of RYAN'S DAUGHTER and FAR FROM THE MADDING CROWD, but I suppose it goes with the territory. It appears that much of the MGM British Studio's score masters were destroyed, probably en masse and probably around the time the James Aubrey regime started disassembling the various elements of MGM production in the early 1970s. 
Re: SHALAKO......
The soundtrack to SHALAKO was, I believe, on Philips Records. Also on Philips around this time were, as I recall, LE VOYAGE EN BALLON/STOWAWAY IN THE SKY (a lovely score eventually released on a now oop CD), MAYERLING (Lai), and LOVE IS A BALL (Legrand). There are probably others I've forgotten. I wonder where are, or who now owns, the Philips masters and if they could be licensed by Lukas. It isn't as if these would be massive market sales items for Philips these days.
Re: SOME CAME RUNNING.....
Lukas, does the music/fx track element still exist? George Feltenstein has had some limited success in digitally combining the final music/fx track (in sections where there weren't sound effects) with the existing music-only stems for underscore and parts of several of the old musicals. You might be able to save a few more cues of SOME CAME RUNNING this way and add them to what could be saved otherwise. Though probably in mono (the film was released in mono), when combined with the other stereo elements the result is fairly satisfactory.
Lukas, it should also be pointed out that this Bernstein score seems to be one that many people ask for and would buy. If the only thing missing is, basically, the piano track, have you ever considered going into production for a day and RECORDING the missing piano tracks? I suggest calling up John Williams! Maybe he'd do it for a lark! 
Re: ENCHANTMENT.....
This film, with its wonderful Friedhofer score, was a Samuel Goldwyn production only DISTRIBUTED by RK0 back in the forties. It was never in the RKO library, and is now, for the present controlled by MGM/Sony.
Re: THE RED HOUSE.....
This film was an independent production released by United Artists and was never in the MGM/Turner or WB or RKO library. It is now in public domain....and from what I can tell, is probably missing its camera negative, let alone its music score.
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At least the two MGM Rózsa titles on this list are fairly minor efforts; Lukas's silence on the others suggests, then, that the others are just waiting on the vaults' shelves for mastering to CD.
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Personally I mourn the loss of THE FIXER by Maurice Jarre very much (at least we have a newly recoreded suite by Silva Screen).
I too am saddened... that was the title that really jumped off the page for me. Time for a complete re-recording.
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I am wondering that the early 50s Tiomkin scores I CONFESS and DIAL M FOR MURDER are not in Lukas' list above, whereas more recent WB scores like BIG HAND FOR THE LITTLE LADY are apparently gone forever.
Does this mean that there is still some hope for existent original tapes of I CONFESS (although from 1953!) or is it just one of those problematic titles where there is no confirmation yet from WB about lost elements?
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So I cross my fingers for Mancini's THE GREAT RACE!
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At least the two MGM Rózsa titles on this list are fairly minor efforts; Lukas's silence on the others suggests, then, that the others are just waiting on the vaults' shelves for mastering to CD.
AAHHHHHHHHHH!!! What did I say? Just because I did not mention something does not mean we are doing it. There are many other titles on the list that are also problematic for reasons or rights or elements or both, but not so clear-cut that I could write about it. My silence on the others does not suggest anything.
LK
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Who is the responsible producer at EMI? Maybe they could put out an anthology....
Also sad news about the Marples, but maybe Ron Goodwin had some tapes outside of England, which have yet to be discovered...
We checked the Goodwin archives, nothing on the Marples or Children of the Damned.
lk
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Two things - V.I.P.s says only album master is around. What happened to the tapes offered by Musicko?
I may be wrong, but it seemed that he did in fact have the album version, perhaps with a mislabeled timing on the log which caused the confusion.
lk
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I am wondering that the early 50s Tiomkin scores I CONFESS and DIAL M FOR MURDER are not in Lukas' list above, whereas more recent WB scores like BIG HAND FOR THE LITTLE LADY are apparently gone forever.
Does this mean that there is still some hope for existent original tapes of I CONFESS (although from 1953!) or is it just one of those problematic titles where there is no confirmation yet from WB about lost elements?
There are in fact no studio elements for I Confess or Dial M for Murder but there may be acetate transfers at the Dimitri Tiomkin Collection at USC. In fact, search for yourself, their inventory is online!
http://www.dimitritiomkin.com/search_adv.cfm
lk
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. I can understand rights to certain scores being owned by other studios, but for no elements to exist for a number of scores is really bad. 
archivists think they can throw these tapes away and no one will care. 
