TCM has a night of spy films on Jan. 25

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Turner Classic Movies will show five spy films the evening of Jan. 25 and early-morning hours of Jan. 26.

Here’s the lineup. All times EST.

8 p.m.: Arabesque (1966), directed by Stanley Donen: Donen had a success with 1963’s Charade, a suspense film that included a bit of humor. That movie also included a score by Henry Mancini and titles by Maurice Binder.

Mancini and Binder reunited with Donen on Arabesque, with Gregory Peck as a university professor who gets involved with spies as well as a woman played by Sophia Loren.

Also present was Charade scripter Peter Stone. However, Stone took an alias (Pierre Marton) and shared the screenplay credit with Julian Mitchell and Stanley Price.

 10 p.m.: The Ipcress File (1965), directed by Sidney J. Furie: James Bond co-producer Harry Saltzman launched a second, less flamboyant, spy film series based on Len Deighton’s novels. This was a source of tension with Saltzman’s 007 partner, Albert R. Broccoli.

The name of Deighton’s spy wasn’t disclosed in the novel that’s the basis of this movie. The character, as played by Michael Caine, was christened Harry Palmer for the film.

For the first of three Palmer films, Saltzman hired a number of 007 film crew members, including composer John Barry, production designer Ken Adam and editor Peter Hunt.

12 a.m.: Our Man Flint (1966), directed by Delbert Mann: The first of two spy comedies with James Coburn as Derek Flint.

The movie takes nothing seriously, with an organization called ZOWIE (Zonal Organization for World Intelligence and Espionage). ZOWIE is headed by Kramden (Lee J. Cobb), who gets exasperated when he’s forced to recruit Flint (who wouldn’t follow orders when Kramden knew him during their military days). Kramden has no choice because ZOWIE computers have pinpointed Flint as the only man who can foil a plot by Galaxy.

The best things about the movie are Coburn’s winning performance as Flint and Jerry Goldsmith’s score. Goldsmith’s music elevates the proceedings. In terms of production values, it looks only slightly more expensive than the television series produced at the time by 20th Century Fox.

2 a.m.: Our Man in Havana (1959), directed by Carol Reed:  The director again collaborates with Graham Greene, who adapts one of his novels. Vacuum cleaaner salesman Alec Guiness is recruited by British spook Noel Coward to do some spying in Cuba before the revolution. The cast includes Maureen O’Hara, Burl Ives and Ernie Kovacks.

4 a.m.: The Prize (1963), directed by Mark Robson: A spy tale starring Paul Newman centered around the Nobel Prizes being awarded in Stockholm. The script is by Ernest Lehman, who wrote 1959’s North by Northwest. Here Lehman adapts an Irving Wallace novel. The cast includes Leo G. Carroll, who was also in North by Northwest and who would shortly take the role of Alexander Waverly in The Man From U.N.C.L.E. Jerry Goldsmith provided the score.

Shoutout to Mark Henderson who brought this up on Facebook.

 

A few thoughts about the U.N.C.L.E. Blu Ray

U.N.C.L.E. movie poster

U.N.C.L.E. movie poster

The blog made an preliminary examination of The Man From U.N.C.L.E. Blu Ray disc which went on sale today. Some random observations:

Some interesting content in the extras: For example, one of the extras shows how some of the stunts were performed. In an early sequence, Gaby (Alicia Vikander) and Solo (Henry Cavill) are in a car which Gaby appears to be driving. For much of the sequence, there was a stunt driver in a cage atop the car. There was also judicious use of “green screen” CGI.

Technology: In the original series, Sam Rolfe, who scripted the U.N.C.L.E. pilot, said he wanted the tech to be about 15 year ahead of what was available at the time. During the original show, the tech went beyond that, including vaporizers and mind-reading machines. Meanwhile, in one of the extras, co-scripter and co-producer Lionel Wigram said the idea in the movie was to keep the tech as close to the early 1960s as possible.

A bittersweet line: Also in the extras, Armie Hammer says he hopes the movie will lead to more U.N.C.L.E. film adventures. Given how the movie flopped, that’s not likely to happen.

Lens flares: Director Guy Ritchie appeared to adopt a visual signature of fellow director J.J. Abrams, particularly in the opening sequence in East Berlin and later when Solo is tortured by a former Nazi. But there’s even more of the visual technique through much of the movie.

Oops: At the 38:44 mark, you can see very faint shadow of a boom microphone on the door to Illya’s hotel room in Rome when Solo comes calling. To be honest, the Spy Commander missed this detail the five times he saw the movie in the theater. But it’s the kind of thing you can catch up with when you can pause and rewind.

“Have the chair warmed up”: This line was used twice, albeit in subtitles, and foreshadows a sequence when Solo is tortured by the former Nazi. Again, the kind of thing that’s easier to catch when you can pause and rewind.

Daniel Pemberton’s score: Still one of the best things about the movie. Director Ritchie didn’t want to mimic a John Barry James Bond score and it was one of the best decisions he made.

The Jerry Goldsmith U.N.C.L.E. theme: Ritchie really, really didn’t want it in the movie and Pemberton barely placed a few notes in it. In the end, it really wouldn’t have mattered to throw the original U.N.C.L.E. fans a bone and include it in the end titles.

It’s still one of the best entries in 2015’s “Year of the Spy.” Yes, it changed the back stories of Solo and Illya. Still, the movie got the most of its relatively modest $75 million production budget.

 

U.N.C.L.E. movie underwhelms in U.S. opening

U.N.C.L.E. movie poster

U.N.C.L.E. movie poster

UPDATE (Aug. 17) — Revised figures on Monday, ACCORDING TO THE NUMBERS WEBSITE, put The Man From U.N.C.L.E. movie at $13.4 million, compared to $60.2 million for Straight Outta Compton.

(ORIGINAL POST): The Man From U.N.C.L.E. underperformed in the United States and Canada, finishing No. 3 in its debut weekend with estimated ticket sales of $13.5 million, according to THE HOLLYWOOD REPORTER.

Guy Ritchie’s reinterpretation of the 1964-68 television series trailed Straight Outta Compton, a film about the rap group N.W.A. at $56.1 million and Mission: Impossible Rogue Nation, in its third weekend of release.

The Tom Cruise M:I film had estimate weekend ticket sales of $17 million, according to A TWEET from Exhibitors Relations.

Straight Outta Compton initially was estimated to produce a $30 million opening weekend and is coming in at almost twice that. It also was also shown on 2,757 screens, compared with U.N.C.L.E.’s 3,638, according to the Box Office Mojo website.

Over the weekend on social media, there was some debate about all this. Those who were annoyed (or worse) that the movie didn’t retain the series’ secret headquarters, Jerry Goldsmith theme (only a few notes were used in the film), or who wanted different casting, etc., said the results validated their positions.

The answer, though, may be more simple than that. It could be that outside of the aging U.N.C.L.E. fan base (including folks such as the Spy Commander) and the younger Henry Cavill fan base, there weren’t that many people who wanted to see the movie.

Warner Bros. can’t be blamed for a lack of marketing support. The studio bought ads all over U.S. television the past few weeks. For example, it paid for a two-minute ad on the ABC prime-time telecast of the ESPN ESPY awards. The spot ran shortly before transgender ex-athlete Caitlyn Jenner picked up an award for sports courage, the main highlight of the show.

Would having Jerry Goldsmith’s full theme boosted the box office take? If a great Goldsmith theme had that much impact, the 1973 series Hawkins on CBS would have lasted longer than a season and the 1975 Archer series (as in Ross Macdonald’s Lew Archer) on NBC would have run longer than six episodes.

Would having the secret HQs, complete with Del Floria’s tailor shop have changed the outcome? 2015 audiences already had a secret HQs in Kingsman: The Secret Service. It was basically an updated version of the U.N.C.L.E. secret HQs of the show.

Would having, say, Jon Hamm, the star of the now-completed Mad Men series, as Napoleon Solo instead of Henry Cavill changed things?

Hamm’s Million Dollar Arm in 2014 was No. 4 its opening weekend in the U.S. at $10.5 million, according to Box Office Mojo. It finished with worldwide box office of $38.3 million. Of course, to be fair, he also was the voice of Herb Overkill in Minions, which had worldwide box office of more than $900 million.

Would having cameos by Robert Vaughn or David McCallum, the stars of the original show, increased ticket sales significantly? Would ticket sales double or triple? Or would they have risen by 1 percent or less? Meanwhile, McCallum endorsed the film in a Fox News interview and that doesn’t seem to have had much impact.

For Warner Bros., the best hope for the film may be in overseas markets. The DEADLINE: HOLLYWOOD website reported there were early signs of a better reception in various countries, including Russia.

REVIEW: Guy Ritchie adds an edge to U.N.C.L.E.

U.N.C.L.E. movie poster

U.N.C.L.E. movie poster

Director Guy Ritchie, after stripping out some familiar memes from his version of The Man From U.N.C.L.E., adds in some edge that often wasn’t present in the 1964-68 television series.

It mostly works, although things don’t really kick in until the film’s second half. The first half is a little flat.

The proceedings get reinvigorated when Henry Cavill’s Napoleon Solo finds himself in peril starting at the midway point of the movie. From that point on, both Cavill and Armie Hammer’s version of Illya Kuryakin get more traction. Make no mistake. The movie remains light and breezy, but there’s a feeling of increased stakes.

The second half also is when Hugh Grant’s Waverly, a cagey British spymaster, starts to have a slightly bigger role. Grant, who turned 53 when U.N.C.L.E. was in production, is decades younger than Leo G. Carroll was when he played Waverly in the series. But Grant’s version is just as manipulative, if not more so, than the original.

Ritchie, who co-wrote the script with Lionel Wigram, essentially tore down the original show. No secret headquarters, no vast worldwide organization. Even if a sequel is made, it’s doubtful any of that would make a comeback in a Guy Ritchie U.N.C.L.E. universe.

Instead, the writers emphasize the basic characters — Solo, Kuryakin and Waverly. Even here, there are notable differences from the show. Solo’s still a womanizer who likes the finer things in life, but has a back story of being an art thief. Kuryakin is given a back story even more at odds with the show (which had very little background for the character).

Ritchie also emphasizes the Cold War setting in a way the original didn’t. It’s the initial layer of edge added by the director. The story begins in East Berlin as Solo, here a CIA agent, is assigned to “extract” Gaby Teller (Alicia Vikander), a mechanic whose estranged father is a missing nuclear scientist.

That’s the beginning of a long sequence where Solo and Gaby are pursued by the seemingly indestructible Kuryakin, here a KGB operative. Things move quickly and it holds the viewer’s interest.

By comparison, the rest of the first half, while not bogging down, doesn’t move as quickly. We get the set up.

A mysterious organization is close to building an atomic bomb. The U.S. and Soviet Union decide they have to work together. Solo and Kuryakin size each other up (an excuse to add more of the back story the screenwriters have devised). Gaby is to be part of the mission because she has an uncle who works for the company run by evil mastermind Victoria (Elizabeth Debicki).

Besides all that exposition, Ritchie is setting things up for the second half, but not in a straight forward way.

The director pays lip service to U.N.C.L.E.’s idea of having an “innocent” be part of the plot. Instead, it’s sleight of hand, introducing a complication that — stop me if you’ve heard this before — adds edge to the film.

Despite all the alterations in their backgrounds, Cavill and Hammer do provide recognizable versions of Solo and Kuryakin. Each one ups the other equally. Each saves the other’s life. They eventually do operate as a a team.

Once Solo gets captured — and is being tortured by a former Nazi who’s pretty adept at it — the preliminaries are over and film gets down to business. Cavill is suitably suave and the British actor is convincing enough as an American who thinks his way out of trouble as much as he fights.

Hammer’s Kuryakin, or rather “Edgier Illya,” is falling for Gaby and Hammer does fine taking advantage of those scenes. “Edgier Illya” has more than a few psychological problems, and Hammer gets to play with that also.

For those who’ve never seen the original series, there really isn’t a need to catch up before seeing the film. For fans of the show, the ones who accept the film as an alternative reality will like it just fine.

One of the highlights of the movie is Daniel Pemberton’s score. It’s more Lalo Schifrin than John Barry, but that fits with Ritchie’s alternate universe U.N.C.L.E.

Some notes, mostly for fans of the show. Norman Felton (1913-2012), the executive producer of the series, is credited as an “executive consultant.” Sam Rolfe (1924-1993), who developed the series and was its first-season producer, receives no credit. Meanwhile, the 1965 Hugo Montenegro arrangement of Jerry Goldsmith’s theme is heard for *maybe* five seconds when Solo is checking radio stations while in a truck.

Also, for James Bond fans, a character gets to share the name of a minor villain in Thunderball, although here it’s spelled Count Lippi.

Finally, the end titles show dossiers of the principal characters. It’s an effect similar to, but more subtle than, the little scenes that occur in the end titles of Marvel Studios movies. Fans of the show will likely want to review them to see even more differences, particularly with Waverly’s.

For the Spy Commander, the movie was a tossup in the first half, but the second charged things up. GRADE: B-Plus.

Daniel Pemberton: U.N.C.L.E. score avoids 007 sound

Daniel Pemberton's Twitter icon

Daniel Pemberton’s Twitter icon

Composer Daniel Pemberton said that director Guy Ritchie wanted The Man From U.N.C.L.E. movie score to avoid the James Bond film sound.

Also, in an interview with The Spy Command, Pemberton said Jerry Goldsmith’s theme to the original 1964-68 television series is present in the film, but only makes a cameo appearance.

Pemberton joins a long list of U.N.C.L.E. composers, including Goldsmith and Lalo Schifrin, who scored two episodes and did the second-season arrangement of Goldsmith’s theme.

Pemberton’s U.N.C.L.E. score received a rave review July 29 on the Films on Wax website, which said the score included “wonderful music that is a hell of a lot of fun.”

Here’s the text of the interview.

SPY COMMANDER: How did you become involved in scoring The Man From U.N.C.L.E.?

PEMBERTON: I’d just finished the Ridley Scott film The Counselor and as a result there was a bit more interest in me as a composer suddenly. I had a meeting at Warner Bros. in the US and they mentioned that Guy (Ritchie) was doing U.N.C.L.E. I was a big fan of the idea so they asked me to get a showreel together.

So I did that but I didn’t think my reel was actually that good. It certainly wasn’t ‘Hollywood slick’ — it had a load of crazy stuff I’d done for TV and video games more than my movie scores. This, however, turned out to be a blessing in disguise. Basically, Guy had heard pretty much every showreel in Hollywood and he was fed up because he said they all sounded the same. Mine was the only one that sounded different apparently. So we had a meeting, I hung out on set and was offered the job. Wowzers.

QUESTION: You’re on record as being a fan of Lalo Schifin. How would you describe the influence Schifrin had on your work?

PEMBERTON: I really love Lalo’s stuff. I actually met him when I was 21 and interviewed him for a magazine called The Wire. He was such a charming guy. Kinda weird when I think about it now — I am a fellow U.N.C.L.E. composer! I would have never have guessed at the time.

I think it was the mix of great grooves and musicality mixed with all that exotic instrumentation of those scores of his that really connected with me. One of my fav cues was always ‘Jim On The Move’ from the M:I TV series. It had such a cool piano solo. I made sure we got one track on the U.N.C.L.E. album (Escape From East Berlin) that had a crazy keyboard solo on it — you can’t beat ’em!

QUESTION: The original U.N.C.L.E. series included scores by a number of talented composers. Did you research the series any before doing your score for the U.N.C.L.E. movie?

Not that much. I saw a few and was familiar with some of the music already. There’s that slightly ouch one (Spy Commander note: The Return of The Man From U.N.C.L.E. TV movie in 1983) where George Lazenby turns up but they obviously can’t call him James Bond so they come up with all these slightly amusing ways to insinuate that yes, it’s James Bond and not basically George Lazenby in a tuxedo. But Guy wanted a fresh take on it so it wasn’t a vital part of the process. I wanted to respect what I thought were the cool aspects of the series musically but give them a new twist rather than slavishly replicate them, as I think any composer of the time would have done as well.

QUESTION:  The Man From U.N.C.L.E. movie is a period piece, set in the 1960s. Did you do any research concerning the ’60s before scoring the movie?

PEMBERTON: Oh yeah. Well I had been a massive fan of all the ’60s spy scores anyway growing up so there wasn’t a lot of research to do on that front. I’d already done it. But in terms of getting a really great authentic ’60s sound, yes I did tons.

I hooked up with a great engineer and mixer at Abbey Road called Sam Okell. Sam is basically a complete gear nerd and is really into 1960s recording processes. So we did tons of research on those. What would be cool? Which ones are worth spending the time on and which ones could we do better now?

We used so much great gear — old REDD mixing desks (look it up!) which are these insane mixers that look like they are from a Soviet nuclear facility. You’d record stuff through them and it would sound fantastic. We did stuff down to tape, even used the echo chamber room in Abbey Road to get reverb on a few tracks.

I also did lots of research into getting the sounds right. I remember really loving the bass sound on Serge Gainsbourg’s Melody Nelson album and by a really weird coincidence a friend of mine is married to Jane Birkin’s brother. He’s this hive of info on everything and he had a load of stuff about the recording process on that album in his giant shed. So I said, ‘Thank you very much,’ and sat down with that for quite a while!

Also the musicians would bring their own spin on things. The flute we used was actually the one from The Jungle Book. Dave the flautist had bought it off the guy years ago. We also hired in a great 1960s Harpsichord. I would totally buy one for myself if it wasn’t for the fact that within about three hours it was out of tune. The tuner had gone home and we were running out of time on a cue and I was like, ‘Shit!! We have to get this done before the tuning just totally goes!!’

QUESTION: How is The Man From U.N.C.L.E. movie different than James Bond films?

PEMBERTON: I’d say U.N.C.L.E. has a bit more of a heart to it in a way. I love Bond so much but it’s very aggressive in some respects. With U.N.C.L.E. I think there’s a bit more warmth and also a bit more lightness. With this film we definitely played against the action in a number of places whereas with Bond it would be played very straight.

Guy was very insistent it DIDN’T sound like Bond which I think is the template for any sort of spy cliche these days. So that was good. It meant we probably didn’t use as much brass as I originally thought we would but I think it gives our film a very different sonic palette. There’s one cue ‘Into The Lair’ which Guy was like, ‘It’s a bit Bondy – but I’ll let you have it,’ as it was all the big tremolo strings John Barry was so great at.

I think with Bond one of its greatest strengths and also weaknesses is the template for the sound is so mapped out. You know what you’re going to get pretty much before you even see the film. Whereas with U.N.C.L.E. I think you have no idea. Which is fun because it means you can always pull the odd surprise — like the screaming buggy chase cue — out of the bag! For me, I love it when a film score surprises you..

QUESTION: Were there any surprises once you started work on the U.N.C.L.E. movie?

I think originally I imagined it to be more thematic and traditional score based. But it soon became apparent Guy wanted to do it differently and make the cues more like stand alone tracks. Which, once I’d worked that out, was great!

It was a very very long process. I worked alongside the edit right from the beginning which is fantastic in that you can really help influence the movie and write original music rather than copy temp, but also very, very intense. I would actually write multiple ideas for every scene. Every scene I probably scored in about three, four or five different ways.

Guy wanted to try everything out he could. He has an amazing editor called James Herbert who is also brilliant at coming up with ideas and they would just be thrown at me all the time. So I had to work really really fast and make things appear out of nowhere, sometimes in an evening. But the end result is so good it’s a process I would definitely go through again. I am up for U.N.C.L.E. 2, 3 and so on if they do them!

QUESTION: Besides Lalo Schifrin, are there any other composers you’d consider an influence?

Oh so many. OK here we go with just some random names: John Barry, Edwin Astley, Ennio Morriconne, Serge Gainsbourg, Nina Rota, Francis Lai, Quincy Jones, Jerry Goldsmith, The Beatles, erm this could go on for ages…

QUESTION: Were you able to incorporate Jerry Goldsmith’s U.N.C.L.E. theme into your score?

Ah! The million dollar question! I was keen to get it in somewhere and for a while it was at the end of the film. But a lot of people — and I think these were people and an audience who were not familiar with its history — felt it didn’t feel right for the tone of the rest of the film. They didn’t know the track or recognize it.

Guy was very keen for this to be a fresh new take on U.N.C.L.E. and you have to respect his vision as a director on that. But I was still keen we got it in there somewhere as Jerry is one of the greats and I know the fans would want it.

At one stage, we had a couple of the bad guys whistling it — I’d recorded it in a session and everything. But that got ditched. It was last minutes before we hit the sound stage and I was bemoaning the fact it wasn’t in there at all to James the editor and he came up with a genius idea — the radio!

There’s a scene where Solo switches stations on a radio. So we got one of the stations playing the Hugo Montenegro version. He hears it but decides, this time, it’s not for him and changes the station. So I like that because this is a new Solo, a new U.N.C.L.E., but there’s a homage in there to the past — it’s really like a musical cameo rather than a starring role.

And put it this way — you can go rewatch The Avengers or The Saint which both really got the theme in there but were, for me, somewhat suspect films. Or you can just absorb the fun of this film because I think everyone has done a great job. SO yeah do the last one..!

Note from the Spy Commander: Daniel Pemberton’s current project is scoring the film Steve Jobs.

One U.N.C.L.E. composer wishes another happy birthday

Composer Lalo Schifrin celebrates his 83rd birthday today. One up-and-coming composer, Daniel Pemberton, took to Twitter to send a birthday greeting:

Schifrin is best known for composing the theme for Mission: Impossible as well as scores for such movies as Bullitt.

However, he also composed scores for two episodes of The Man From U.N.C.L.E. and his arrangment of Jerry Goldsmith’s U.N.C.L.E. theme was used for that show’s second season (1965-66). Pemberton — born in 1978, a decade after the series went off the air — composed the score for The Man From U.N.C.L.E. movie that’s coming out in mid-August.

Separately, Amazon.com has started taking pre-orders FOR THE U.N.C.L.E. MOVIE SOUNDTRACK, to be released on Aug. 7. It’s listed as “various artists.” However, Pemberton sent A TWEET EARLIER THIS MONTH that he was involved with production of the soundtrack album.

Will The Man From U.N.C.L.E. movie have dash?

The Man From U.N.C.L.E. teaser poster

The Man From U.N.C.L.E. teaser poster

The Henry Cavill Online website has TRANSCRIBED ALL OF EMPIRE MAGAZINE’S recent story on The Man From U.N.C.L.E. movie.

As a result, there are a few more details compared with other summaries posted recently.

Among the tidbits: director Guy Ritchie says he’s “not really a fan” of the original 1964-68 television series but he liked the basic components. “Just as I did with Sherlock (Holmes), I felt I could reinvent this,” he told Empire. The other main tidbit is that Hugh Grant, the new version of Alexander Waverly, did see the show, to the point of owning an U.N.C.L.E. toy car.

Anyway, Ritchie’s comments, while sharper, are consistent with another interview he gave to Empire last year.

So, with less than three months before the movie’s Aug. 14 premier, there really aren’t a lot of unanswered questions. There’s the detail of whether Jerry Goldsmith’s U.N.C.L.E. theme will be unused. But the far larger question is will the U.N.C.L.E. movie have dash?

Dash was a word Norman Felton, the executive producer of the television show, used to describe the feel of the series. It probably wasn’t so much the dictionary definition (“run or travel somewhere in a great hurry”) as a reference to “dashing” (“stylish or fashionable.”). In any case, it stuck and was something Felton’s colleagues always remembered. CLICK HERE for an interview with Sam Rolfe, the show’s developer, for an example.

Essentially, the U.N.C.L.E. movie has been stripped of its memes. No secret headquarters (Kingsman: The Secret Service utilized a very U.N.C.L.E.ish HQ). No evil organization Thrush (Marvel, in movies and TV shows is using Hydra, created in 1965 and inspired by Thrush).

Instead, the movie strips Napoleon Solo and Illya Kuryakin to their essentials. Even there, some parts have been altered (Solo has a history of having once been an art thief).

In the Empire story, Ritchie says, “I suppose I wanted to make a spy movie of sorts… It was the first thing since Sherlock to which I’ve had a visceral reaction.”

But will it still have dash? We’ll have to see.

Jerry Goldsmith and the 1954 Casino Royale

Barry Nelson in 1954's Casino Royale

Barry Nelson in 1954’s Casino Royale

UPDATE (March 22): Jon Burlingame’s research indicates Casino Royale was all “tracked” music, with Jerry Goldsmith just selecting previously recorded musical cues. See below in the original post where Goldsmith describes the process. Meanwhile, the post has been re-titled.

ORIGINAL POST: As we’ve noted before, the 1954 television broadcast on CBS of Casino Royale doesn’t get a lot of respect from James Bond fans. But did that first adaptation of an Ian Fleming story include music by a future superstar movie composer?

The composer in question is Jerry Goldsmith (1929-2004). In 2002, Goldsmith gave an interview to journalist Jon Burlingame about his career. One of Goldsmith’s first efforts was on the CBS series Climax!, a series of one-hour live television dramas.

BURLINGAME: How did you get Climax!? Did they feel you were ready?

GOLDSMITH: No, they did’t know anything. This was the very early days of television. Music was even more infantile. Music was the bastard child…it was a necessity but it was the most unimportant necessity…At that point, CBS, they had me sort of on staff. They said they were going to put me under contract and I’m going to be responsible for the music on Climax! Basically, it was going to be recorded music.

BURLINGAME: So you were supposed to be picking cues?

GOLDSMITH: Yeah.

BURLINGAME: Just as you had done on (CBS) radio?

GOLDSMITH: Yeah.

At this point, it sounds like Goldsmith was more of a music supervisor for Climax! and wasn’t doing original work. Yet there are more details in the interview.

To avoid union penalties, “Whatever I wrote for CBS would immediately be recorded in Europe as track music,” Goldsmith told Burlingame in 2002. “I actually wrote music for the (CBS) library.”

At the same time, directors wanted music tailored for the Climax! episodes, Goldsmith said in the interview. According to Goldsmith, there’d be a mix of some new music (with very few instruments) with the track music.

Here’s the key thing. Burlingame pressed Goldsmith about the first Climax! episode he wrote music for. “I remember it was the second broadcast. We had an alto flute, and me playing the piano and organ. That was it.”

Burlingame asked again what the show was. Goldsmith didn’t specify. “I did three years…I did 36 a year…It became mostly original after a while.” Later, Goldsmith says “the first show I did” was The Long Goodbye. Goldsmith doesn’t mention this but The Long Goodbye was was the first episode of Climax! (One of that episode’s highlights, Goldsmith says, is an actor whose character was supposed to be killed gets up and walks off.)

The Climax! adaptation of Casino Royale, with Barry Nelson as an American Bond, was the show’s third broadcast, ON OCT. 21, 1954. While there are copies of the broadcast out there, some have shortened end titles, which don’t include complete end titles. The IMDB.com entry for the broadcast credits Goldsmith with the music, but IMDB.com relies on volunteers to enter information.

Goldsmith did indeed get music credits for later Climax! broadcasts, including Dr. Jekyll and Mr. Hyde, in which he received a “special music composed and conducted by” credit. In Keep Me in Mind, he’s listed as musical director.

Here’s the 2002 interview. The part about Climax! starts around the 16:00 mark, with the reference to The Long Goodbye around the 28:00 mark. The interview lasts almost two hours:

U.N.C.L.E. music future and past

Composer Daniel Pemberton took to Twitter to say the recording of The Man From U.N.C.L.E. movie score was wrapping up on Oct. 12.

Not many details beyond that, but Pemberton has been Tweeting pictures from the recording session. The Tweets included a short video of the orchestra warming up. In response to one of Pemberton’s Tweets, musician Grant Olding responded, “it’s quite a messy theme.”

Perhaps it’s a reference to Jerry Goldsmith’s original theme for the 1964-68 television series. We’ll see. The movie won’t be released until August 2015.

Meanwhile, a highlight of last month’s Golden Anniversary Affair that celebrated the 50th anniversary of the original show was a live performance of U.N.C.L.E. music.

Some highlights were uploaded to YouTube by Arthur Greenwald, who was there:

U.N.C.L.E. movie score recording starts Sept. 24

Shoutout to @laneyboggs2001 at Twitter who re-Tweeted the composer as the postings went online.

Daniel Pemberton, composer for The Man From U.N.C.L.E. movie, took to Twitter to announce he’ll begin recording his score tomorrow, Sept. 24.

Pemberton follows in the footsteps of Jerry Goldsmith (who scored the pilot for the 1964-68 television series and composed its theme music), Morton Stevens, Lalo Schifrin, Gerald Fried and others as U.N.C.L.E. composers. Pemberton didn’t provide a lot of details. For example, he didn’t say if Goldsmith’s theme is incorporated into the score.

Still, after reshoots and test screenings, news — delivered one day after the show’s 50th anniversary — showed how the movie’s post production is proceeding. It’s scheduled to be released in August 2015.

Here are three of the Twitter postings: