By K. J. Donnelly (auth.)
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Extra info for British Film Music and Film Musicals
Minney: I do not say that psychology and the work of the great artists and composers should have no place at all in a film. They should. 16 Levy was interested directly in the craft of music in the cinema, in music enhancing the film through blending with it rather than being an almost separate attraction lumped together with the film. The 1930s Gainsborough comedies, vehicles starring either Tom Walls, Jack Hulbert or Will Hay, have unassuming film music that is largely of the quickly produced and highly functional variety.
A good example of the intermittent continuation of the British film music tradition is evident in Gormenghast (2000 BBC), where Richard Rodney Bennett’s impressive score sits alongside some “featured” ritual music by John Tavener, one of the most respected British art music composers. Television drama appears to have responded to aesthetic developments in feature films. Since the decline of the film musical, there is more music in “non-musical” films, and British films now contain more music than ever.
In contrast, Maurice Jarre’s music for two films directed by David Lean, Lawrence of Arabia (1962) and Dr. Zhivago (1965 UK/US), are British Film Music 31 commanding orchestral scores in their own right and suitably epic elements of the films. 50 Lawrence of Arabia relies on large-scale orchestral forces for its impressive sound but attempts some Arabic-flavoured sections, while Dr. Zhivago utilizes the characteristically Russian timbre of the balalaika for some of its melodies as well as some Russian-style choral passages.
British Film Music and Film Musicals by K. J. Donnelly (auth.)
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