I've seen two episodes so far (both first season) of NAKED CITY that used significant portions of Leonard Bernstein's ON THE WATERFRONT music in their scores. I was very surprised that Bernstein's contract with Columbia apparently did not prohibit re-use of the WATERFRONT music in subsequent films or television programs (NAKED CITY was produced by Screen Gems).
I can just imagine Harry Cohn hearing that Bernstein wanted exclusive restriction. "He wants WHAT?! Who the BLEEP does he think OWNS this BLEEPIN studio!? He ain't BLEEPIN' Beethoven, ya know!"
I enjoyed The Naked City TV series when it came out, wonderful shows. I wrote a short comment on Amazon about the series. I bought the Box set to the series: 10 dvds to 40 episodes. It was a great TV film noir series.
Funny how we think when we are little kids. When the TV show was on my local station as a kid I watched it hoping to see some naked ladies. What did I know, man was I disappointed
I enjoyed The Naked City TV series when it came out, wonderful shows. I wrote a short comment on Amazon about the series. I bought the Box set to the series: 10 dvds to 40 episodes. It was a great TV film noir series.
I have the complete series box set on order. LOVE the show, especially for all the great NY actors who show up, often in very early roles of their careers.
I enjoyed The Naked City TV series when it came out, wonderful shows. I wrote a short comment on Amazon about the series. I bought the Box set to the series: 10 dvds to 40 episodes. It was a great TV film noir series.
I have only faint memories of the series, but I doubt that anything on fifties television would fall inside the definition of film noir. Pessimisn? Cynicism? Corruption? Nocturnal settings? Expressionistic lighting and music? Downbeat endings? For that matter, the original movie, a documentary-style, slice-of-life police procedural, doesn't really belong to the noir universe either.
It wasn't unusual for studios to recycle film scores as they owned the rights, not the composer (which is probably one of the reasons Bernstein never did another original film score).
In fact, in 1958, Columbia re-used Bernstein's Waterfront score for an Anita Ekberg film called Screaming Mimi.
