But that wasn't all. There's this lovely scene, see, with him and his charming Austrian 'daughter' convincingly played by a very young Natalie Wood (hair dyed Austrian blond) and within a few bars of the cue I thought to myself, deja vu. I mean the music was new to the ears but the father/daughter scene and the orchestral arrangement with the "music box" sound had me saying, hey, this is "Molly and Dad" in A Summer Place but it's like 15 years before the latter, judging from Miss Wood's age. Then I got thinking a little more and sheesh, there's nothing like an old-fashioned wall to wall score in an old-fashioned Warner Bros.-type weeper, to boot.

Well, from this last aspect alone you probably figure the same way I put 2+2 together and yep, it turns out that this was indeed another Max Steiner extravanganza. You might even call it Yet Another Patented Obtrusive Steiner Effort And All but damn, the music for me was yet another fabulous multi-themed melodic tapestry that sent this picture soaring even as it accented moments of pathos and heartbreak.

There is a "mentor" scene between the Welles character and a young man of 20 played by a young Richard Long that with the music...it's simply one of those it-just-doesn't-get-any-better-than-this motion picture moments.