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Real Heft From Hefti
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Topic: Real Heft From Hefti
joan hue
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Tonight TCM showed DUEL AT DIABLO, a western staring a studly James Garner and a
rather miscast Sidney Poitier. Pretty good western, but its crowning jewel is its filmscore
by Neal Hefti. Most of the members on this board are pretty young. This movie was made in 1966, but if you get a chance, see it on TV or rent it from a video store. The main theme played on guitars and brass is memorable. The theme undergoes superb variations especially in action sequences (the music in the chase scenes is marvelous) and in sad moments. This is a rather unknown western score but truly a fine and unique thematic filmscore. Check it out. That’s an order from MOM!![Message edited by joan hue on 10-10-2003]
posted 10-10-2003 09:59 PM PT (US) mgh
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I agree with you, Joan. This is a wonderful score; I am listening to it right now.
posted 10-11-2003 04:12 AM PT (US) Gae
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I loved Hefti's scores to How to Murder your wife (which was on TV last weekend) and The Odd Couple.
Both films demonstrate Hefti's ability at crafting not only memorably catchy music but also music that reinforces the comedic moments of the films. His music adds that extra panache to the performances of the stars and to those scenes of both a dramatic and comedic nature. I sometimes try to imagine films like these without the score and I realise that they would be much less effective. For example, when we witness Jack Lemon's enactment's of Bud Branigan's comic strip scenes, some of the actual activities onscreen are quite serious looking and yet with Hefti's comic Carnival-type music playing, complete with slide whistle effects,we are left in no doubt as to the intention of the scene and the music brings out the comic intentions. Similarly, his choice of comedic British Imperialistic sounding funeral music for the scenes of the indignant Terry Thomas as he threatens resignation are moments of musical genius and supplement Thomas' performance perfectly.
In both these films (as well as Diablo) the music also has a TUNE that can be hummed or whistled, which works well for these type of 60's comic book/theatrical movies.Gae
[Message edited by Gae on 10-11-2003]
posted 10-11-2003 07:06 AM PT (US) Graham Watt
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I agree, DUEL AT DIABLO is a great score. Other hefty Heftis are his marvellously swinging themes for LAST OF THE RED HOT LOVERS (Alan Arkin, funny film, Neil Simon) and the wonderfully propulsive NEW FACE IN HELL (George Peppard movie maybe - I still remember those main credits). And HARLOW - smoochy theme, all dance close now.It never ceases to amaze me how so many jazz composers absolutely hit the nail on the head dramatically. Look at Quincy Jones, Dave Grusin, Oliver Nelson, Gil Mellé, Lalo Schifrin... jazz is largely freeform and improvisational, but those guys, and Hefti too, just seemed to get to the heart of the movie, whilst demonstrating a real formal, though idiosyncratic, approach.
FSM did a short interview with Neal Hefti a few years ago. He couldn't remember much about his movies, sadly.
posted 10-12-2003 03:05 PM PT (US) SirT
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Let's not forget the great Johnny Mandel.Though I am not a jazz expert, it seems to me musicians like Nelson, Jones, Schifrin, or Mandel who are top arrangers have developed a taste and a talent for elaborate, complex and sophisticated music.
Scores that own more to the improvisational form would be Miles Davis' "Ascenseur pour l'Echafaud" and the excellent Eddie Sauter/Stan Getz's "Mickey One".
[Message edited by SirT on 10-13-2003]
posted 10-12-2003 11:47 PM PT (US) Graham Watt
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Didn't mean to overlook Johnny Mandel there, Sir T. Another excellent composer. You're right, it's probably their background as arrangers that trained all those people to do such great, sophisticated music. Some might think that a background as an arranger would result in compositions of the elevater music variety, but not so (except for source music cues written for scenes of people in elevators). Everybody mentioned so far has done loads of really interestingly textured scores, often leaning towards the avant-garde. I wonder how much the fact that most of them are actual instrumentalists as well as composer-arrangers influences the overall high quality of their work.I think we could make room for one of the very best of the bunch here - Jerry Fielding. That guy was just amazing.
posted 10-13-2003 01:46 PM PT (US) Old Infopop Software by UBB