Elmer Bernstein Big Jake Tricks Little Jake Again Going Home
Reviews: Big Jake
Composer:Elmer Bernstein
Usher: Elmer Bernstein
Performer: The Hollywood Symphony Orchestra
Manufacturer: Prometheus
Catalog Number: PCR 512
Dan Goldwasser | SOUNTRACK.Internet
Elmer Bernstein will forever be, at least in my mind, one of the best composers for a western moving-picture show ever. It'due south probably because of his brilliant score in 1960 to The Magnificent Seven that the idea of what an American western should sound like was engraved in my encephalon. Over the side by side decade Bernstein would score approximately sixty projects, including a slew of westerns, incluing a few for legendary actor John Wayne. One time of these films was called Big Jake. The film focused on an old rancher (Wayne) whose grandson is kidnapped and held for bribe. Bernstein didn't hold back when it came to the score, providing a musical tapestry that uses enough of themes and a seemingly infinite assortment of musical styles – all while keeping it in the classic "Bernstein western."
The "Main Title" cue is an amazing conglomeration of almost all of the styles and themes Bernstein will use in the score. Starting out with a jaunty plough-of-the-century motif, it segues into a sweeping orchestral theme, then a pounding (if not slightly stereotypical) Indian motif, a heroic western theme, and a softer dramatic tune. In "Delilah's View / The Riders" Bernstein uses a tune that sounds similar to bits of the Simon and Garfunkle song "Scarborough Off-white", and variations on the classic melody "Frere Jacques" is also used throughout the score. Some cues are filled with pulse-pounding, hard-hitting orchestral action ("Massacre / Petty Jake / Mexico", "Survey / Ambush / Buzzards"), others are filled with sweeping orchestral melody ("On The Motion", "All Jake and Raider"), and others contain tense drama ("On The Trail", "Getting Old").
Bernstein's fashion is well represented – there are things near this score that sound stylistically familiar – ordinarily due to the orchestration choices and tempo. All that'southward missing is the Ondes-Martenot! "On The Way / Onward Jake" is worth checking out, every bit well as the 11-minute long finale, "Tricks / Little Jake Again / Going Habitation". Simply while the score ends in that location, the music doesn't! Five source cues are too provided on this release for our enjoyment, and while they're not necessarily worth hooting and hollering about, their inclusion is a dainty touch, if just for completions sake.
The original recording of Big Jake has, until now, never been released. As part of their limited edition series, Prometheus Records has taken the original mono source tapes, cleaned them up (as all-time as they could), and packaged them very nicely into a solid hour of musical enjoyment. The functioning by the Hollywood Symphony Orchestra is good – only not swell. Withal, with informative liner notes past James Southall and many enjoyable moments, this score deserves to be in the drove of any Bernstein afficionado.
Great score! Exciting, tuneful. And it has one of those "moments!"
Readers may recall I mention this ane in "nailing the moments," that place where I spotlight movie scenes scored to perfection. Scenes no 1 could've done better.
Elmer Bernstein "nails the moment" in Large JAKE, big fourth dimension! And he does it without even touching his principal themes!
Merely first, a look at how Bernstein attacks the score from two sides without the usual practiced guy bad guy stuff.
Protagonists are large Jake McCandles (John Wayne) and John Fain (Richard Boone).ÊKidnapped grandson, crumbling rancher out to become him back. Two sons (Christopher Mitchum, Patrick Wayne) assistance grandpa Wayne deliver a ransom, provide physical action. Outlaw Fain and gang make things tough, violent. "They asked for aureate" shouted a line higher up Boone'south artwork on posters. "They gave 'em lead instead," said the one over Wayne and visitor. Something like that.
George Sherman directs, Maureen O'Hara adds sparkle. But information technology's about action. Outdoor activeness, meaner, bloodier than the usual John Wayne fare.
Interestingly, Bernstein provides two themes (expected) merely makes them both noble, stalwart tunes (unexpected). Wayne's skilful guy melody is heroic, typically Wayne, typically Bernstein. But equally impressive is Boone's bad guy theme. No minor key, dissonant stuff here. Boone'due south tune packs an imposing, quasi-noble punch. Interesting idea!
Of all Bernstein'due south westerns (notable ones include MAGNIFICENT Vii, COMANCHEROS, SONS OF KATIE Elder, Truthful Grit), BIG JAKE has the almost striking action music. Fight scenes have edge, energy to spare. But they've got something else. By using both main themes, juxtaposing them one after the other (never on top of each other) Bernstein creates action music with an unusual melodic camber. Y'all detect it underneath the noisy bullets, horse whinnies and death cries on screen. You experience the two protagonists are equally matched, upward for the battle, "getting it on."
The "Principal Title" needs explanation for those unfamiliar with the pic. Plough-of-the-century events play on screen, erstwhile-time newsreel style. In that location's narration, music to match. Moving images alternate with freeze frames as credits announced. Without fanfare, Bernstein's primary ideas (Mitchum's motorbike tune, the riding theme, Big Jake's theme, etc.) mix with silent flick stuff, support the montage. Of a sudden a shift to reality, shots of Fain's roughshod gang. Here Bernstein plays a trump card, Fain's music in an expressive, somewhat elegiac guise. Narration continues, tells us about the outlaw gang. Bernstein sees them as the terminal of their breed.
The McCandles ranch minus Jake, a housemaid watching riders in the distance. Fain's gang approaches. Typical ranch work is scored with a Copland-esque rodeo of activity. An abrupt shift, Fain'south theme salutes in fully exposed, triumphant manner. It'southward "Delilah's View/The Riders," a display of memorable music playing for what we know are vicious killers.
The outlaws arrive, kill the hands, kidnap the boy, demand bribe. Bernstein delivers his first of iii major action prepare pieces. The "Massacre" mixes aggressive music with Fain'south impressive tune on French horn. The setting is violent, the orchestral fabric chaotic, but the noble melody cuts in, darts well-nigh.
In the 2nd action set piece ("Survey/Ambush/Buzzards") Bernstein scores a clash between posse and outlaws again with emphasis on Fain's theme. The killers overpower the posse, sting them. So does Bernstein.
It's during the 3rd activeness set piece that Bernstein shifts the tide. An 11-infinitesimal track ("Tricks/Little Jake Again/Going Home") follows the battle of Jake and sons vs. Fain and gang. Bernstein tips the musical calibration, quotes portions of Jake's tune as things unfold. When the moving-picture show wraps, Bernstein affords a brief, rousing flourish of Jake's theme in full.
And that "nailed moment?"
Interestingly, it doesn't occur during the frequent displays of violence or action, but rather in one brief, tender moment. Jake'due south group meets with Fain'due south gang for a trade. Fain doesn't know Jake is the boy's granddad, assumes he's merely a hired gun delivering the bribe.
"Reunion."
Jake requests to see his grandson before parting with the strong box. Fain agrees, brings the male child out, head covered. Bernstein scores this with nary a theme at all. Instead, a gentle progression of harmonies sets the tone. Jake commands Fain to show him the goods, remove the head cover. Fain pulls the cloth away, a face appears.
Bernstein "nails the moment." In fairness, so does John Wayne, giving the tenderest expression of his long career. In the brief and gentle scene, Jake sees his grandson at final. Bernstein colors it with a cursory new line for solo violin, one of the warmest snippets of musical scoring e'er done.
This express edition CD features a world premiere of the original soundtrack. Source tapes were in terrific shape, but mono. Mid-range sound dominates. Every bit such, a additional low end seems intrusive, muddying the works. You lot may detect it desirable to reduce the bass.
Prometheus delivered the album only in fourth dimension for Christmas. What a nowadays!
Source: https://elmerbernstein.com/reviews/big-jake-reviews/
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