Listening to Stanley Kubrick by Christine Lee Gengaro Page B
Authors: Christine Lee Gengaro
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Death and Transfiguration , the gong symbolizes the moment of death. In his Treatise on Instrumentation , Hector Berlioz states, “The gong or tamtam is used only in compositions of a mournful character or in dramatic scenes of the utmost horror.” Hector Berlioz and Richard Strauss, Treatise on Instrumentation, trans. Theodore Front (New York: Dover Publications, 1991), 395.
28. Irene Thirer, “Screen View,” New York Post , March 27, 1953, 58.
29. Samuel L. Singer, “24-Year-Old Is ‘Factotum’ of New Film,” Philadelphia Inquirer , Sunday Morning, July 26, 1953, 16.
30. Interview with Joseph Gelmis, “The Film Director as Superstar,” The Kubrick Site , http://www.visual-memory.co.uk/amk/doc/0069.html .
31. Bernd Schultheis, “Expanse of Possibilities: Stanley Kubrick’s Soundtracks in Notes,” Stanley Kubrick Catalogue , 2nd ed. (Frankfurt am Main: Deutsches Filmmuseum, 2007), 267.
32. Copyright 1954, King’s Crown Music.
33. Gene D. Phillips and Rodney Hill, “Gerald Fried,” in Encyclopedia of Stanley Kubrick (New York: Checkmark Books, 2002), 125.
34. Iris was played by Ruth Sobotka, Kubrick’s wife at the time. She was a professional dancer.
35. Quoted in Phillips and Hill, Encyclopedia of Stanley Kubrick , 126.
36. Rainer Crone, Stanley Kubrick Drama and Shadows: Photographs 1945–1950 (London: Phaidon, 2005), 132.
37. Schultheis, “Expanse of Possibilities,” 267.
38. “Interview with Gerald Fried,” Archive of American Television , http://emmytvlegends.org/interviews/people/gerald-fried .
39. Schultheis, “Expanse of Possibilities,” 267.
40. In some versions of the film, La Marseillaise was replaced by a percussion track. Because it was viewed as being a negative portrayal of the French military, the film stirred up controversy in France and some of its allied countries.
41. Translation mine.
42. Gerrit Bodde, Die Musik in den Filmen von Stanley Kubrick (Osnabrück: Der Andere Verlag, 2002), 37. Translation mine.
43. “Interview with Gerald Fried,” Archive of American Television .
44. “Interview with Gerald Fried,” Archive of American Television.
45. Quoted in Caryl Flinn, Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music (Princeton, NJ: Princeton University Press, 1992), 37.
46. Michel Ciment, Kubrick: The Definitive Edition , trans. Gilbert Adair (New York: Faber and Faber, 1999), 177.
47. In this episode of Star Trek , which is the first episode of season two, Spock must return to his home planet of Vulcan to marry his berothed, T’Pring. In love with another man, she chooses kal-if-fee, a fight to the death between Spock and—instead of her lover—Captain Kirk. Fried scored the whole episode, but his battle music is the most famous portion.
48. The music has been in many instances but is notable in the film The Cable Guy (1996) and the television show Futurama . In both cases, the music was associated with battles.
Chapter Two
Love Themes, Leitmotifs, and Pop Music
Spartacus , Lolita , Dr. Strangelove , and Full Metal Jacket
The four films covered in this chapter encompass a number of different scoring techniques. The score for Spartacus (1960) was written by a single composer in response to the narrative of the film and the requests of the director. Lolita (1962) combines newly written underscore with orchestral arrangements of a preexistent tune as the musical centerpiece. Dr. Strangelove (1964) features two preexistent popular tunes used in ironic contexts and varied orchestrations of a military song. Full Metal Jacket (1987)—made more than two decades later than Dr. Strangelove —uses a similar template of minimal new underscore and the ironic use of preexistent tunes. In the intervening years between Dr. Strangelove and Full Metal Jacket , Kubrick changed the way he scored his films, using a new paradigm of preexistent and contemporary art music. 2001: A Space Odyssey , A Clockwork Orange , Barry Lyndon , The Shining , and indeed
28. Irene Thirer, “Screen View,” New York Post , March 27, 1953, 58.
29. Samuel L. Singer, “24-Year-Old Is ‘Factotum’ of New Film,” Philadelphia Inquirer , Sunday Morning, July 26, 1953, 16.
30. Interview with Joseph Gelmis, “The Film Director as Superstar,” The Kubrick Site , http://www.visual-memory.co.uk/amk/doc/0069.html .
31. Bernd Schultheis, “Expanse of Possibilities: Stanley Kubrick’s Soundtracks in Notes,” Stanley Kubrick Catalogue , 2nd ed. (Frankfurt am Main: Deutsches Filmmuseum, 2007), 267.
32. Copyright 1954, King’s Crown Music.
33. Gene D. Phillips and Rodney Hill, “Gerald Fried,” in Encyclopedia of Stanley Kubrick (New York: Checkmark Books, 2002), 125.
34. Iris was played by Ruth Sobotka, Kubrick’s wife at the time. She was a professional dancer.
35. Quoted in Phillips and Hill, Encyclopedia of Stanley Kubrick , 126.
36. Rainer Crone, Stanley Kubrick Drama and Shadows: Photographs 1945–1950 (London: Phaidon, 2005), 132.
37. Schultheis, “Expanse of Possibilities,” 267.
38. “Interview with Gerald Fried,” Archive of American Television , http://emmytvlegends.org/interviews/people/gerald-fried .
39. Schultheis, “Expanse of Possibilities,” 267.
40. In some versions of the film, La Marseillaise was replaced by a percussion track. Because it was viewed as being a negative portrayal of the French military, the film stirred up controversy in France and some of its allied countries.
41. Translation mine.
42. Gerrit Bodde, Die Musik in den Filmen von Stanley Kubrick (Osnabrück: Der Andere Verlag, 2002), 37. Translation mine.
43. “Interview with Gerald Fried,” Archive of American Television .
44. “Interview with Gerald Fried,” Archive of American Television.
45. Quoted in Caryl Flinn, Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music (Princeton, NJ: Princeton University Press, 1992), 37.
46. Michel Ciment, Kubrick: The Definitive Edition , trans. Gilbert Adair (New York: Faber and Faber, 1999), 177.
47. In this episode of Star Trek , which is the first episode of season two, Spock must return to his home planet of Vulcan to marry his berothed, T’Pring. In love with another man, she chooses kal-if-fee, a fight to the death between Spock and—instead of her lover—Captain Kirk. Fried scored the whole episode, but his battle music is the most famous portion.
48. The music has been in many instances but is notable in the film The Cable Guy (1996) and the television show Futurama . In both cases, the music was associated with battles.
Chapter Two
Love Themes, Leitmotifs, and Pop Music
Spartacus , Lolita , Dr. Strangelove , and Full Metal Jacket
The four films covered in this chapter encompass a number of different scoring techniques. The score for Spartacus (1960) was written by a single composer in response to the narrative of the film and the requests of the director. Lolita (1962) combines newly written underscore with orchestral arrangements of a preexistent tune as the musical centerpiece. Dr. Strangelove (1964) features two preexistent popular tunes used in ironic contexts and varied orchestrations of a military song. Full Metal Jacket (1987)—made more than two decades later than Dr. Strangelove —uses a similar template of minimal new underscore and the ironic use of preexistent tunes. In the intervening years between Dr. Strangelove and Full Metal Jacket , Kubrick changed the way he scored his films, using a new paradigm of preexistent and contemporary art music. 2001: A Space Odyssey , A Clockwork Orange , Barry Lyndon , The Shining , and indeed
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