June 29: Bernard Herrmann and Ray Harryhausen

Composer Bernard Herrmann and special effects creator Ray Harryhausen shared a birthday–June 29. Herrmann was born in 1911 and died in 1975, while Harryhausen was born in 1920 and died in 2013. (I did a tribute to Harryhausen here.) The two artists collaborated on four films. My first exposure to both men was THE 7TH VOYAGE OF SINBAD, which I saw in a theater when I was five years old. It took a few years for me to learn their names, but I became a huge fan of both by the time I was an adolescent. Following SINBAD, they collaborated on THE THREE WORLDS OF GULLIVER (1960), MYSTERIOUS ISLAND (1961) and JASON AND THE ARGONAUTS (1963). I saw GULLIVER and JASON in theaters when they came out as well, but I would have to wait till a TV showing on Thanksgiving in 1964 to catch MYSTERIOUS ISLAND, which became my favorite of the four. I would eventually see all of Harryhausen’s films and all but two of those that Herrmann composed the scores for.

Seven years ago, I did a piece on Herrmann’s centennial on the J-pop blog I was doing then. Harryhausen was still alive at the time. I’ve pasted that piece here in its entirety:

Favorite Classic Movie Blogathon: PORTRAIT OF JENNIE (1948)

This post is my contribution to the My Favorite Classic Movie Blogathon in support of the first National Classic Movie Day. The home page for the blogathon can be found here:

http://www.classicfilmtvcafe.com/2015/03/a-blogathon-in-celebration-of-inaugural.html

Since a couple of the favorites I would have picked were already taken by other bloggers (e.g. THE BEST YEARS OF OUR LIVES and CASABLANCA), I opted for PORTRAIT OF JENNIE (1948), which I saw for the first time as an adult and quickly became a favorite after a TV viewing and a big-screen viewing. I wrote a piece about it after the big-screen showing, which took place 24 years ago yesterday, and, since the piece has never been published, I decided to use it as my entry in this Blogathon. The emphasis is on the film’s use of New York City locations and how they contribute to the romantic and otherworldly aura of the film. Without further ado, here is the original essay:

VHS Discoveries: Italian Genre Films from Hercules to Bronson

My first exposure to English-dubbed Italian genre films was when I saw TV commercials for “sword ‘n’ sandal” movies when I was a child, including HERCULES, HERCULES UNCHAINED, THE LAST DAYS OF POMPEII and THE COLOSSUS OF RHODES. I didn’t get to see any of these in theaters at the time but would eventually see all of them on TV. The first film of this type I would see on the big screen was GOLIATH AND THE BARBARIANS, starring “Hercules” himself, Steve Reeves, and it played on a double bill with JET OVER THE ATLANTIC, a low-budget black-and-white American thriller set on an airplane, in January 1960, when I was six years old. Two years later, I saw several more Italian mini-spectacles when I began patronizing the Tremont Theater, which offered triple features of movies that had already played every other theater. Among the films I saw there were THE TROJAN HORSE, also starring Reeves; THE MONGOLS, starring Jack Palance and Anita Ekberg; LAST OF THE VIKINGS, starring Cameron Mitchell; and THE MINOTAUR, starring American Olympic athlete Bob Mathias. On March 10, 1963, I saw my first all-Italian double feature, SAMSON AND THE SEVEN MIRACLES OF THE WORLD and WARRIORS FIVE, chronicled here on March 10, 2013 in my blog entry entitled, “March 10, 1963: The Making of a Film Buff.”

(Steve Reeves as Aeneas in THE TROJAN HORSE)

Happy Birthday, Ennio Morricone!

I’ve been eager to do a tribute to Italian film composer Ennio Morricone for some time now. Upon watching EXORCIST II: THE HERETIC on VHS last month, it struck me how much a part of the cinematic landscape Morricone was in my peak moviegoing years, particularly the 1970s. So today, on the occasion of the maestro’s 84^th birthday, I want to recount highlights of my long relationship with the music of one of my favorite film composers.