PERFORMING ARTS : First-Class Hollywood Composers : Six makers of film music will at last get their own stamps this week. - latimes PERFORMING ARTS : First-Class Hollywood Composers : Six makers of film music will at last get their own stamps this week. September 12, 1999 |JON BURLINGAME | Jon Burlingame is an occasional contributor to Calendar Six of the movies' greatest composers--men whose music was far better known than their names--are about to receive an unprecedented degree of nationwide face time: Their images on postage stamps. Max Steiner, Erich Wolfgang Korngold, Alfred Newman, Franz Waxman, Bernard Herrmann and Dimitri Tiomkin are featured in the Hollywood Composers series of 33-cent stamps to be unveiled in ceremonies at 10 a.m. Thursday at the Hollywood Bowl. Film historian Leonard Maltin will host the event, which will feature American Film Institute director Jean Picker Firstenberg as speaker and John Mauceri conducting the Hollywood Bowl Orchestra in an "open rehearsal" of music by the six Oscar-winning composers, who are best known for their work during Hollywood's golden age.

The mini-concert will include music from such classics as "Gone With the Wind," "The Adventures of Robin Hood" and "Vertigo." More than 1,500 youngsters from Los Angeles-area schools are expected to attend, and the event is free and open to the public. For film music champions like Mauceri, who often programs movie scores at the Bowl, the recognition is long overdue. "After many years of neglect, and sometimes worse than neglect, the composers of film music are being treated as American heroes, along with athletes, presidents and political figures of all kinds," he said. "It means that they are being recognized along with other people of achievement in the United States." David Newman, son of Alfred Newman and a Hollywood composer himself, said he felt that "the whole industry is being honored" with this event. According to Azeezaly Jaffer, executive director of stamp services for the U.S. Postal Service, the six Hollywood Composers stamps, along with six Broadway Songwriters stamps to be released next week, are the last in the Legends of American Music series launched in 1993 with the best-selling Elvis Presley stamp.

Jaffer said that the selection and design process dates back to 1991 with the initial recommendations of the Citizens Stamp Advisory Committee, which were screened by musicologists at the Smithsonian Institution and other experts. "They've been talking about it for several years," said Olivia Tiomkin Douglas, Tiomkin's widow, by phone from her home near London. "We thought it was something that probably would never come off. It's almost unbelievable." John W. Waxman, Franz Waxman's son, thinks his father would be "really thrilled that his adopted country has embraced him in this way. Here is a man who came from a country where the only people who ever appeared on stamps were dictators or dogs." In fact, four of the six composers were European emigres. Steiner and Korngold were Austrian, Waxman was German, Tiomkin a Russian. Herrmann was a New Yorker and Newman was born in New Haven, Conn. All six arrived in Hollywood within a 10-year period (1929-39) and, while three of them also enjoyed careers in concert music, all owed their lasting fame to the movies.

Steiner and Newman came to Hollywood after enormous success as Broadway conductors in the '20s. The prolific Steiner (1888-1971) counted among his works for 300 films such seminal scores as "King Kong" and "Gone With the Wind." He spent nearly 30 years at Warner Bros., where he cleverly interpolated the song "As Time Goes By" throughout "Casablanca," accompanied Bette Davis' romantic adventures in "Now, Voyager" and rode the pop charts to success (at the age of 71) with the theme for "A Summer Place." Newman (1900-1970) was the most honored composer in Hollywood history, winning nine Oscars out of 45 nominations.

Musical director of 20th Century Fox throughout the '40s and '50s, he was widely considered the finest conductor in movies and composed such memorable scores as "Wuthering Heights," "All About Eve" and "How the West Was Won." He seemed especially inspired by religious subjects, notably "The Song of Bernadette," "The Robe" and "The Greatest Story Ever Told." Newman was the patriarch of a composing dynasty that includes brothers Lionel and Emil, sons David and Thomas, daughter Maria and nephew Randy. Korngold (1897-1957) was already a renowned composer in his native Vienna before making Hollywood his home in the late '30s. He considered film music "operas without singing" and wrote wildly romantic scores for such Errol Flynn swashbucklers as "Captain Blood," "The Adventures of Robin Hood," "The Private Lives of Elizabeth and Essex" and "The Sea Hawk." The current revival of interest in his concert music (including such operas as "Die tote Stadt") came about after a series of '70s albums of his film music.

Captain Blood (1935) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error After being wrongly convicted as a traitor, Peter Blood, an English physician, is sent to exile in the British colonies of the Caribbean, where he becomes a pirate. Director: From $2.99 (SD) on Amazon Video ON DISC a list of 41 titles created 14 Mar 2011 a list of 30 titles created 25 Mar 2011 a list of 41 titles created 07 Feb 2012 a list of 32 titles created 26 Jun 2013 a list of 43 titles created 08 Feb 2015 Search for " Captain Blood " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 5 Oscars.

See more awards » Videos 1 2 3 4 5 6 7 8 9 10 7.8/10 X Geoffrey Thorpe, a buccaneer, is hired by Queen Elizabeth I to nag the Spanish Armada. The Armada is waiting for the attack on England and Thorpe surprises them with attacks on their galleons where he shows his skills on the sword. Director: Michael Curtiz When Prince John and the Norman Lords begin oppressing the Saxon masses in King Richard's absence, a Saxon lord fights back as the outlaw leader of a rebel guerrilla army. Directors: Michael Curtiz, William Keighley Stars: Errol Flynn, Olivia de Havilland, Basil Rathbone A major countermands orders and attacks to avenge a previous massacre of men, women, and children. Director: Michael Curtiz A Texas cattle agent witnesses first hand, the brutal lawlessness of Dodge City and takes the job of sheriff to clean the town up.

Director: Michael Curtiz A highly fictionalized account of the life of George Armstrong Custer from his arrival at West Point in 1857 to his death at the battle of the Little Big Horn in 1876. He has little ... See full summary » Director: Raoul Walsh A depiction of the love/hate relationship between Queen Elizabeth I and Robert Devereux, the Earl of Essex. Director: Michael Curtiz In 1854, Jeb Stuart, George Custer and other graduates from West Point are posted to Kansas to help pacify the territory before railroad construction to Santa Fe can resume. Director: Michael Curtiz A platoon of special ops are tasked to parachute into the remote Burmese jungle and destroy a strategic Japanese radar station, but getting out isn't as easy. Director: Raoul Walsh Midshipman Roger Byam joins Captain Bligh and Fletcher Christian aboard HMS Bounty for a voyage to Tahiti. Bligh proves to be a brutal tyrant and, after six pleasant months on Tahiti, ... See full summary » Director: Frank Lloyd Three British soldiers on the Northwest Frontier of India struggle against the enemy - and themselves. Director: Henry Hathaway Brian Hawke of the Royal Navy versus the pirates of Madagascar.

Director: George Sherman Two noble Scottish brothers deliberately take opposite sides when Bonnie Prince Charlie returns to claim the throne of Scotland in order to preserve the family fortune. Director: William Keighley Edit Storyline Arrested during the Monmouth Rebellion and falsely convicted of treason, Dr. Peter Blood is banished to the West Indies and sold into slavery. In Port Royal, Jamaica the Governor's daughter Arabella Bishop buys him for £10 to spite her uncle, Col. Bishop who owns a major plantation. Life is hard for the men and for Blood as well. By chance he treats the Governor's gout and is soon part of the medical service. He dreams of freedom and when the opportunity strikes, he and his friends rebel taking over a Spanish ship that has attacked the city. Soon, they are the most feared pirates on the seas, men without a country attacking all ships. When Arabella is prisoner, Blood decides to return her to Port Royal only to find that it is under the control of England's new enemy, France. All of them must decide if they are to fight for their new King.

Written by garykmcd THE MOST MAGNIFICENT & THRILLING SEA ADVENTURE EVER FILMED (original print ad - all caps) See more » Genres: 28 December 1935 (USA) See more » Also Known As: Did You Know? Trivia IN JOKE: After Peter Blood and his friends have escaped from slavery, taken the Spanish ship and he is reading the proclamation banding them together as a brotherhood of buccaneers, he mentions the date: "this 20th day of June, 1685" (or 168-- something). Anyway, as all Errol Flynn fans know, June 20 was Flynn's birthday. It's hard to believe this is a coincidence. What is interesting is that when he made this film, Flynn wasn't yet a star and it would seem risky for him to fool around with the dialogue. It could be that he changed the date, himself, and no one noticed. Or perhaps they let him do it. Flynn did a similar thing in his later The Dawn Patrol (1938). In the film his character, Courtney, mentions his father, who is a professor of biology at Queens.

Flynn's own father was professor of biology at Queen's University in Belfast, Northern Ireland, in 1938. See more » Goofs During the final battle, Captain Blood's ship hoists a Union Jack flag, not in use until after the Act of Union in 1701. The scene takes place in 1689 (shortly after William III and Mary II take the throne). The correct flag should be the Cross of St. George (red cross on white background). See more » Quotes Mrs. Barlow : Who, who is it? Dr. Peter Blood : That we'll know better when you've opened the door. (Deming, New Mexico, USA) – See all my reviews It's Flynn's first big picture and it brings him together with Olivia DeHavilland, Michael Curtiz, and Erich Wolfgang Korngold. It's not their best movie together but it's a terrific introduction to the parts these personalities were to play in swashbucklers. Flynn is brash and cocky. (He didn't change much until he began to physically deteriorate later in life.) He projects his emotions the way a traffic light projects directions, with utter simplicity.

There's never a moment when we doubt we know what he's thinking. He looks extremely handsome too (he was 26) without being in the least effete. Olivia De Havilland is his perfect counterpart. She was never a raving beauty, but she's extremely feminine. She has a wide face with huge eyes, a dazzling smile, and a tinkling laugh. Where Flynn is adventurous she is cautious, thoughtful, often puzzled about her loyalties, and she holds things back, while Flynn shouts things out. The rest of the cast is filled with familiar faces from the 30s -- J. Carol Naish, Guy Kibbee, Lionel Atwill -- and they do their jobs well. It's a sound-stage bound movie with a lot of model work, some of it clumsy but still effective. A neatly done set is a tribute to the production designer. The banana plants grow neatly in picturesque places and the papier-mache palms beat the real thing. Natural locations are often cluttered with vegetation, but these jungles and beaches are flawless. They don't look like real locations. They look like what you wish real locations looked like. This is Erich Wolfgang Korngold's first score for a movie.

(He'd previously adapted Mendelsohn for an earlier one.) It's often claimed that Hollywood composers were child prodigies but in Korngold's case it's not an exaggeration. He was studying piano and music theory at five, conducted his own cantata (for Gustav Mahler) at nine, and had his first work published at thirteen. He was a prolific composer too -- violin concertos, two operas -- by the time he was in his mid-thirties. Max Reinhardt sent him to Hollywood to write a few scores, of which this was one. It was thrown into his lap and he had to write it almost overnight. There was simply not enough time to do it all, so he stole a little from Liszt, the scene in which the Spanish pirates are looting the town. He returned to Europe to continue his career but, well, the continent by that time was no place for a guy named Korngold, genius or not. So he returned to Hollywood until after the war when he was able to go back to Europe and renew his composing.

I don't mean to take up too much space dealing with Korngold, but the fact is that Flynn's early movies would just not be the same with anyone else. Korngold wrote music the way Flynn acted -- full of dash and bombast -- and some of it was stunningly lyrical. (The simple love song in "The Sea Hawk" has a melodic progression that defies prediction.) It's hardly worth noting that the name of this talented musician has been parodied elsewhere as "Wolfgang von Korngold" by another reviewer, Howydymax, whose penetrating insights into film fare I have usually admired and sometimes stolen from. Curtiz's direction had the same slam-bang quality as the composer's. Absolutely nothing artsy about it, a straightforward story. There are some weaknesses in the script. When I first saw it, finally, on TV, I'd been waiting for a chance for years and was frustrated because there didn't seem to be enough action. One longish scene of sailing ships pounding each other to pieces, and one fencing match between Basil Rathbone and Flynn -- too brief for my taste. Actually, at the time Flynn wasn't comfortable with swordplay and it shows.

Rathbone, on the other hand, took up the sport seriously and was evidently a pretty accomplished fencer. I've seen it again recently and enjoyed it much more, a cartoon of a movie, full of intrigue, romance, and action. Well worth watching. 22 of 26 people found this review helpful. Was this review helpful to you? Yes Captain Blood: Classic Film Scores for Errol Flynn - Charles Gerhardt,National Philharmonic Orchestra | Songs, Reviews, Credits | AllMusic Captain Blood: Classic Film Scores for Errol Flynn AllMusic Rating google+ AllMusic Review by James Manheim Sony Classical, down to a select number of highly marketable releases each year, has rarely been in the reissue business, and it's unclear how the label came to reissue this album, originally released in 1974 as an LP on RCA's venerable Red Seal label. Perhaps it was because film scores are one of classical music's growth segments, and Sony wanted to test the waters for future releases in the genre. The reissue is a successful one in any event. The sound and the performances, with Charles Gerhard conducting the National Philharmonic Orchestra , have held up well.

The program includes not only music from Captain Blood (1935), but also suites from seven other Errol Flynn films, including a short selection from Hugo Friedhofer 's score for The Sun Also Rises, made just two years before Flynn's death in 1959. As such, the album traverses several eras in film music history. But most of the music comes from the pens of the German immigrant composers who came to Hollywood in the 1930s and set the tone for an entire cultural system: in this case Erich Korngold and Max Steiner , with one short contribution from Franz Waxman as well. The focus on Flynn makes sense, for, as Tony Thomas , Rudy Behlmer , and Clifford McCarty write in the original liner notes, "The great swashbuckler and the era of great romantic movie music set sail on the same tide." The splendid cuts from The Sea Hawk and Captain Blood will sound familiar to anyone who has watched late-night movies on television for any length of time, and they virtually define the sword-and-sea atmosphere of these films. But what's even more interesting is to watch these composers adapt their styles to later developments in Flynn's career.

He moved, oddly enough, into the Western, resulting in some unbelievable plots designed to explain the arrival of the supposedly Irish Flynn (he was actually Australian, from Tasmania) in the Old West. But sample Steiner 's score for Dodge City (track 5), with its Tchaikovskian spaces and romantic melodies deployed to imagine an open prairie quite different from the ones Aaron Copland was working on at the same time. These scores are enjoyable not only for film buffs, but for anyone who has ever wanted to think a little bit about movie music and its history. Highly enjoyable; well worth the reissue. Kudos to Sony. Track Listing Erich Wolfgang Korngold - Biography - IMDb Erich Wolfgang Korngold Jump to: Overview (2) | Mini Bio (1) | Spouse (1) | Trivia (14) | Personal Quotes (4) Overview (2) 29 November 1957 , North Hollywood, California, USA (stroke) Mini Bio (1) Erich Wolfgang Korngold was the son of a well-known music critic.

He was a child prodigy who composed his first orchestral piece at 14 and drew the attention of Richard Strauss , Gustav Mahler and many other prominent composers and conductors. He had begun a promising career as a serious composer of operas and orchestral music when he emigrated to the United States in 1935 to escape Adolf Hitler 's annexation of Austria. He is generally credited with "inventing" the syntax of orchestral film music. Korngold longed to resume his career as a serious composer, but after the war ended he found that the world of serious music had passed him by. He was little known at his death in 1957. - IMDb Mini Biography By: Max Diamond <cbmmax@flash.net> Spouse (1) (1924 - 29 November 1957) (his death) Trivia (14) Great-uncle of actress Connie Paige Korngold. He is buried at Hollywood Forever Cemetery just a few steps away from another film composer, Walter Jurmann (famous for writing the song "San Francisco").

Korngold is also known for his swashbuckling scores, such as The Sea Hawk (1940) that starred Errol Flynn , and is buried only a a short walk away from another two great romantic leading men, Tyrone Power and Rudolph Valentino . Pictured on one of six 33¢ USA commemorative postage stamps in the Legends of American Music series, honoring Hollywood Composers, issued 21 September 1999. Issued in panes of 20 stamps. Others honored in the set were Max Steiner , Dimitri Tiomkin , Bernard Herrmann , Franz Waxman , and Alfred Newman . Was assigned to score Adventures of Don Juan (1948) when shooting began in 1945 and even sketched some themes. When production was postponed until 1947 (due to Errol Flynn 's illness and other problems), Max Steiner replaced Korngold because, by then, he had announced his retirement from motion pictures. In October 1947 he suffered a heart attack and, in spite of pleas from Leo F. Forbstein , Music Chief at Warners, Korngold refused to return to the studio.

Became an American citizen in 1943. Usually worked in tandem with Hugo Friedhofer who was his orchestrator. His association with Warner Brothers began, when he was invited by Max Reinhardt to arrange Mendelssohn's music for A Midsummer Night's Dream (1935). Warner's then approached Korngold directly with an offer to score Captain Blood (1935), which he did after completing his opera "Die Kathrin" in Vienna and co-writing several operatic numbers for what turned out to be a critical and box-office flop, Give Us This Night (1936). For "Captain Blood", he was expected to compose over an hour of symphonic music in just three weeks. As this deadline was impossible to meet, Korngold ended up supplementing the score with music by Franz Liszt. As a result, he insisted on the final credits to read "Musical Arrangements by Erich Wolfgang Korngold". Specialised in period dramas and swashbucklers, for which he composed stirring, dramatic scores, which often relied on a powerful string section. Performed four-handed piano arrangements with his father from the age of five.

Composed his first major work, the ballet "Der Schneeman", at the age of eleven. It was performed in front of the Austrian Emperor Franz Josef at the Vienna Court Opera. Korngold's most famous work, "Die Tote Stadt", is still regarded as one of the major operas of the 20th century. He disdained the thought of being regarded merely as a film composer. After leaving Warners in 1947, he returned to 'serious music'. Ironically, his popular Violin Concerto in D and a symphonic serenade with strings are among several later works made up almost entirely of movie themes. Composed at the piano while letting a projectionist run the various scenes. He was one of the first to write motifs for each of the leading characters in the film. Hugo Friedhofer on Korngold: His contribution was enormous, and he influenced everyone working at that time. He was the first to write film music in long lines, great flowing chunks, that contained the ebb and flow of mood and action, and the feeling of the picture.

Korngold served in the Austrian army during World War I, but the former wunderkind was stationed in a small suburb of Vienna and his military duties consisted of composing marching songs. Korngold's first score was "A Midsummer Night's Dream" for William Dieterle in 1935 and came out of retirement to work for the director for "Magic Fire" a decade later. Personal Quotes (4) [on the death of his father in 1945 and the expiration of his Warner contract in 1946] I will be fifty next May. I feel it is a turning point... Fifty is very old for a child prodigy. I feel I have to make a decision now, if I don't want to be a Hollywood composer the rest of my life. [on his work on "Magic Fire"] I made a three minute montage of "The Ring's" sixteen hours of music. But when the picture had to be shortened , we cut the montage to two and-a-half minutes. That was too short!

[when encountering Bette Davis on the Warner lot after scoring the remake of "Of Human Bondage"] After twelve years some of the scenes in the old version seem a little ridiculous, but we, with our new version, are ten years ahead of time because we are ridiculous already. [on his tenure at Warners] I feel very happy as an artist here. No one tells me what to do. I do not feel part of a factory. I take part in story conferences, suggest changes in the editing when it is dramatically necessary to coincide with a musical structure. It is entirely up to me to decide where in the picture to put music. But I always consult thoroughly with the music-chief... I also keep the producer well-informed and always secure his consent for my musical intentions first. But in none of my pictures have I 'played' my music first to either the music-chief, the director, or the producer. And the studio heads never make the acquaintance of my music until the day of the sneak preview. As for my working habits, I like the idea of perfection. If a thing is not right, it is done over and over again.

See also The Adventures of Robin Hood (1938) | The Film Spectrum The Adventures of Robin Hood (1938) Directors: Michael Curtiz, William Keighley Producers: Henry Blanke, Hal B. Wallis (First National, Warner Bros.) Writers: Norman Reilley Raine, Seton I. Miller (screenplay) Photography: Tony Gaudio, Sol Polito Music: Erich Wolfgang Korngold Cast: Errol Flynn, Olivia de Havilland, Basil Rathbone, Claude Rains, Patric Knowles, Eugene Palletete, Alan Hale, Melville Cooper, Ian Hunter, Una O’Connor, Herbert Mundin, Montagu Love, Leonard Willey, Robert Noble, Kenneth Hunter When most average movie fans thinks of the origin of color cinema, they probably think back to The Wizard of Oz (1939) and that glorious moment where a sepia Dorothy opens the door to a world of color. Few actually realize color existed from the very beginning. In fact, Thomas Edison used hand-painted frames on the first films ever shown to the public, The Strong Man (1894) and Annabelle Butterfly Dance (1894), while D.W.

Griffith tinted scenes in The Birth of a Nation (1915). In 1920, Herbert and Natalie Kalmus founded Technicolor, shooting through red and green filters on two strips of film that were then glued together, and created the first color feature in Hollywood, Toll of the Sea (1922). When Douglas Fairbanks invested $1 million with them, they found their first succes in The Black Pirate (1926). Jack Warner took the next big step by combining the novelties of color and sound in Show of Shows (1929), where two dyed strips were transfered onto a single piece of film. In 1932, Technicolor announced a new three-strip process (red, blue, green), ushering in the first feature length live action all color film, La Cucaracha (1934). Meanwhile, Walt Disney applied color to animation with his short Flowers and Trees (1932) and then the monster hit Snow White and the Seven Dwarfs (1937), which arrived the same year as Selznick’s color triumph A Star is Born (1937).

By 1938, Technicolor had 25 films in production, and the process was becoming more and more viable. Which brings us to the watershed moment that blew the roof off of everything, The Adventures of Robin Hood, whose tagline declared, “Only a rainbow can duplicate its brilliance!” a full year before Oz took us “over the rainbow.” Starring Errol Flynn as the famed outlaw of Sherwood Forrest, Robin Hood was unlike anything anyone had ever seen. A virbrant palette of reds and greens colored a whole host of elaborate set pieces, lavish costumes and groundbreaking action. It was a gamble for Warner Bros., who until then had made their reputation on gritty gangster pictures and Depression-themed Busby Berkeley musicals. The risk more than paid off. The Adventures of Robin Hood earned a Best Picture nomination and became the first color film to lead a year at the box office, sounding the trumpet that color films were here to stay. A plot summary seems superfluous, for by now everyone should know the story of Robin Hood and his Merry Men, Little John and Friar Tuck, Prince John and Maid Marian. But a quick summary nonetheless.

Sir Robin of Loxley (Flynn) is a freedom fighter in 12th century England who’s taken up the cause of robbing from the rich (the Normans) and giving to the poor (the Saxons). Fighting alongside Little John (Alan Hale), Will Scarlett (Patric Knowles), Friar Tuck (Eugene Pallette) and the rest of his rebel Merry Men, Robin challenges the dictarorial Prince John (Claude Rains), who has assumed the throne while his brother, King Richard the Lion-Heart (Ian Hunter), is away on the Crusades. During his journey, Robin must face down the evil Sir Guy of Gisbourne (Basil Rathbone) and High Sheriff of Nottingham (Melville Cooper), who are in charge of carrying out Prince John’s oppressive taxing of the poor. Meanwhile, Robin woos the lovely Lady Marian (Olivia de Havilland), who shares the luxurious castle with Prince John, but is made to see the condition of lower class Saxons when she accompanies Robin into Sherwood Forrest.

There, she comes to see that Robin Hood is more than just a renegade; he’s a man of great moral conviction: “Norman or Saxon, what’s the matter? It’s injustice I hate, not the Normans.” Such a fairytale was popular long before 1938. The legend of Robin Hood dates back to 1377 and he started showing up in children’s stories in the 19th century. (D) In 1890, Reginald de Koven and Harry B. Smith produced a light opera rendition, and more versions would come as 20th century ushered in the new movie medium. The silent era alone produced six versions of the story, the most famous of which, Robin Hood (1922), was made for an estimated cost of $1.6 to 2 million — the most expensive film up to that point. It was the biggest hit of Fairbanks’ career, who starred as Robin Hood, performed most of his own stunts and wrote the script, under the pseudonym Elton Thomas.

(B) The fact that such a story had been told time and again made it all the trickier to write, especially since this would be the first talkie version. Screenwriter Rowland Leigh took a crack at the first draft, but producer Hal B. Wallis didn’t like it, namely because Leigh wanted to leave out the love angle between Robin and Maid Marian. (D) In Leigh’s place, Wallis appointed Norman Reilly Raine, fresh off an Oscar for The Life of Emile Zola (1937), and Seton Miller, who would later write Flynn’s The Sea Hawk (1940) (B). Together they produced a script full of lovable characters and clever quips. Comebacks rarely come as good as when Prince John says to Robin, “You speak treason” and Robin responds, “Fluently.” Still, a solid script alone wasn’t enough to make the film stand out from previous versions. The real reason The Adventures of Robin Hood is considered the definitive version is because it boasts the deepest cast of any version to date. Has a more distinguished actor played Prince John than Rains? The role began a powerful string of films: Mr.

Smith Goes to Washington (1939), The Sea Hawk (1940), The Wolf Man (1941), Now, Voyager (1942), Casablanca (1942), Mr. Skeffington (1944) and Notorious (1946), four of which earned him Oscar nominations. Rathbone saw just as much success, dueling Tyrone Power in the most famous sword fight in history in The Mark of Zorro (194) and becoming the most famous Sherlock Holmes of all time, playing the detective 14 times between 1939-1946. And Between the shrewd charm of Rains, and the evil genius of Rathbone, Cooper is a nice touch of comic relief. As for the Merry Men, the casting is just as effective. Paulette is the very definition of a go-to character actor, Knowles fills in for original cast David Niven with a handsomeness to rival Flynn’s, and Hale is the most famous Little John in history.

Father to Gilligan’s Island skipper Alan Hale Jr., Hale played the role three times, in three different decades, first in the 1922 Fairbanks version and later in Rogues of Sherwood Forrest (1950). (D) Elsewhere, you won’t find a more beautiful Maid Marian than de Havilland, older sister of Joan Fontaine, one year before her casting in Gone With the Wind (1939). Ironically, de Havilland wasn’t the first choice for the role and was cast only after the original actress got pregnant out of wedlock and was forced to leave the project (the identity of that actress remains a mystery as her name is blacked out in all official records). (C) The film came at a very controversial time for de Havilland, who was unhappy with her contract with Warners and led one of the most famous revolts against a studio in history, suing the company and ultimately winning in 1943. The court decision because known as “The de Havilland Decision” and she is a heroine of SAG to this day.

(D) The actress’ newfound freedom began a new chapter in her career, and it’s telling that none of her five Oscar nominations and two wins between 1939-1949, came under Warner Bros. The Adventures of Robin Hood was the greatest film she ever made for Warners, and if you look closely, you may recognize the golden palomino she rides. At the time it was named “Golden Cloud,” but you know it Trigger, a name given to it by Roy Rogers later that year in his debut leading role, Under Western Stars (1938). (D) Which brings us to the star of the picture, the incomprable Errol Flynn, whose very name conjures images of clanking swords, dangerous feats and dashing good looks.

Four years later his name would become immortalized in American pop culture whe, upon beating charges of raping two 18-year-old girls, his reputation for wild sexuality garnered the phrase “In like Flynn.” He was a flamboyant figure always in the public eye, and no matter how sad he he became in later years, no one could take away the fact that for a time in the ’30s and ’40s he was the biggest action hero in movies. Fairbanks had to step aside. (E) Ironically, Flynn was not the first choice for Robin. That was James Cagney, who in a major dispute with the studio, walked out on his contract. (A) Replacing Cagney with Flynn was a natural choice, as Flynn had already appeared twice with de Havilland for Warners, first in the major hit Captain Blood (1935) and second in The Charge of the Light Brigade (1936). They would go on to co-star in eight films throughout their career. Today, it’s impossible to see anyone else in the role, much less Cagney. It was Flynn’s career role, and he will forever be tied to Robin Hood, and Robin Hood to him.

It’s precisely Flynn’s charm that makes Robin Hood both the AFI’s #18 Greatest Hero of All Time and Premiere‘s #16 Best Movie Character of All Time. Despite the fact that he is a rebel and theif (literally a “robbing hood”), we root for him because he is at once a William Wallace — less badass, but just as good with a sword — and a regular Romeo, scaling the castle ivy to join Marian in a balcony kiss. Through it all, he maintains a defiant charisma, flopping a dead deer on Little John’s dining table, rocking casually in his chair with his feet on the king’s table, or shooting arrows the way Tiger Woods nails puts. It’s important to note that Flynn did most of his own stunts, swinging from vines with the grace of Tazan and engaging in masterful sword battles down the stretch. Prior the film, he took fencing lessons with Fred Cavens, who had staged Flynn’s swordfight in Captain Blood and who choreographed the duelers as if two partners in a dance.

The only major stunts Flynn did not do were the death-defying climb up the drawbridge rope and the ensuing fall on the other side, which busted the ankle of the stuntman in action. In all, the film used more stuntmen than any film up to that time, and to watch them divebomb the Norman calvary from the Sherwood Forrest trees is enough to take your breath away. (D) Flynn also stepped aside to let a master handle the archery — Howard Hill. A 1971 inductee into the Alabama Sports Hall of Fame, Hill long held the title of “world’s greatest archer.” He is listed in the credits as “Captain of Archers,” but he also plays “Owen the Welshman” in the archery contest. Hill worked closely with sound guy Ben Burtt to create the sound of each arrow, which would remain Burtt’s favorite sound effect he ever created and one he used in almost all the Star Wars films through his company Skywalker Sound. Listen closely to the whizzing of the arrows, for instance, in the shot where Robin Hood splits an arrow with a second.

It’s a shot Hill actually nailed, and when MythBusters tried recreating it, no one could pull it off.(C) His marksmanship was crucial to the safety of the actors, as Hill actually shot real arrows into the stuntmen, who wore steel plates for protection. (D) The stunts, staged fights and incredible archery earned The Adventures of Robin Hood a place on AFI’s 100 Thrills. With so much action, Wallis knew he needed a director who could keep up the pace, an original director William Keighley was not it. Keighley had been assigned to the project because the previous year he had directed Flynn in the Warner costume drama The Prince and the Pauper (1937), as well as Warners’ first three-strip Technicolor film, God’s Country and the Woman (1937). But as the dailies came in from the action scenes, Wallis became increasingly distressed and ordered Keighley to be replaced by Warner golden boy Michael Curtiz, future director of Casablanca and the man who had made Flynn a star in Captain Blood.

Variety reported Keighley left due to an illness, but the real reason is well known today — he was canned because Wallis wanted a capable action director. (B) Curtiz was precisely that man. Despite the fact that he and Flynn did not get along, they still made 12 pictures together, which says something for the professionalism of both. (B) With the superb editing of Ralph Dawson, who won the last of three Oscars in his career, Curtiz kept the film moving at the rapid pace necessary of a film with “adventure” in the title. Most of all, he reigned in a massive production that ballooned from a budget of $1.6 million to $2 million, the most expensive Warners film to date. (C) The film was one of the biggest undertakings in Hollywood history and the epitome of the costume drama, boasting extravagant wardrobes, some designed by de Havilland herself. (D) For the set of Sherwood Forrest, the art department took to Chico, California, and romanticized the surroundings, spray-painting the foliage green and adding a number of artificial rocks and trees. Art Director Carl Jules Weyl took home an Academy Award for his efforts.

(D) Curtiz shot the production using all 11 of the Technicolor cameras in existence at the time, which required massive amounts of light to get the color to show up properly. (C) Needless to say, the end result was gorgeous. “I don’t think Technicolor was ever more vivid or more exciting than it was in Robin Hood,” Turner Classic Movies host Robert Osborne said. “The reds are really red, the greens are really green, but it’s so vivid and so wonderful that it adds to the storybook quality of the film.” (D) Still, beyond the visuals, beyond the stunts, cast and color, the true majesty of the film lay in Erich Wolfgang Korngold’s Oscar-winning score. Previously an opera composer in Austria, Korngold agreed to visit Warner Bros. and see a cut of the film, but when he did, he declined to score it, thinking his type of music was not suited to score an adventure picture. That’s when history intervened. While in Hollywood, Korngold learned that Hitler was about to invade Austria, and Korngold’s parents and teenage son caught literally the last train out that didn’t require special permission. Korngold would often say Robin Hood saved his life.

(D) The score is one of the most treasured in movie history. The opening march is a rousing call to arms, the love theme can tell a whole scene of romance without the actors muttering one romantic line of dialogue, and the archery tournament theme is so spectacular that Chuck Workman used it during his 100 Years at the Movies montage, which also made use of Korngold’s score for The Sea Hawk (1940). The AFI recently voted The Adventures of Robin Hood the #11 Greatest Movie Score of All Time, the second oldest score to make that list (behind King Kong). If you’ve never heard the score, much less seen the movie, make it a top priority. At the very least, you can compare it to your favorite version of Robin Hood, which no doubt is different for everyone. Disney produced two versions: The Story of Robin Hood and his Merrie Men (1952) and the animated Robin Hood (1973), featuring the songs of Roger Miller and a perennial favorite amongst kids.

Hammer Studios produced three Robin Hood movies in a decade: Men of Sherwood Forest (1957), Sword of Sherwood Forest (1960) and A Challenge for Robin Hood (1968). There was also Robin and Marian (1976), a quasi-sequel starring Sean Connery and Audrey Hepburn; Robin Hood: Men in Tights (1993), the hillarious Mel Brooks creation starring ary Elwes, Richard Lewis and Dave Chappelle; and Robin Hood: Prince of Thieves (1991), starring Kevin Costner and Morgan Freeman. (B) Cartoon lovers might also add Rabbit Hood, the Bugs Bunny short where Errol Flynn actually swings into the cartoon. No matter how many versions arise, critics and scholars will forever hold up The Adventures of Robin Hood as the definitive version. It is the one most cited on best lists, including the Filmsite Top 100, #61 on Entertainment Weekly‘s Top 100 and #175 on IMDB. While some elements appear dated (i.e. some of the punching sound effects), the film holds up quite well as a piece of entertainment.

Its message will arouse those of all political factions, as conservatives will cheer Robin for his “death to taxes” stance and liberals will hail him for redistributing the wealth, robbing from the rich and giving to the poor. Perhaps this is why parents feel comfortable passing the story of Robin Hood down to their children — or simply because it’s so damn fun. Scott Meek, of Time Out Film Guide, hit it on the head when he called The Adventures of Robin Hood “one of the great adventure movies that you can pretend you are treating the kids to when you are really treating yourself.” (F) Citations: CITE B: Tim Driks, filmsite.org CITE C: IMDB Trivia Erich Wolfgang Korngold - classical and film composer Music Oscars Erich Wolfgang Korngold (1897-1957) from Vienna to Hollywood From the cinematic viewpoint, the careers of Max Steiner , Franz Waxman and Erich Wolfgang Korngold seem to have parallels in that they all moved to Hollywood from a traditional classical musical education in Europe. Out of this group, though, Korngold was by far the most promising classical composer.

His father Julius was a music critic in Vienna and the young Erich Wolfgang was a precocious child prodigy impressing composers of the stature of Gustav Mahler , Richard Strauss and Giacomo Puccini with his composition skills at age 9. He then studied under Zemlinsky among others. By the early 30s, Korngold was firmly on the map as a classical composer of note with a number of operas in the grand Wagnerian style established in the repertoire, and Korngold himself was professor at the Vienna State Academy of Music. However at this time anti-Semitism was on the increase in Europe, and therefore Korngold readily accepted an invitation from director Max Reinhardt to move to Hollywood initially to adapt Mendelssohn 's "A Midsummer Night's Dream". His subsequent film scores were a major success in Hollywood with his wonderful command of the orchestra and sweeping romantic sounds which have influenced many later composers such as John Williams .

He did much of his work for the swashbuckler movies (most often featuring Errol Flynn as the hero) which were popular in his day, including "Captain Blood", "The Adventures of Robin Hood", "The Sea Hawk" and "The Private Lives of Elizabeth and Essex", and also "Kings Row" with Ronald Reagan. Two of his scores were rewarded with Oscars , namely "The Adventures of Robin Hood" and "Anthony Adverse". After World War II, Korngold returned to Vienna and was to incorporate some music from his films (e.g. "Anthony Adverse") into other works, but never quite managed to recreate his earlier classical successes. Whether this was because his romantic style was now out of vogue or because the "film composer" label had now tarnished his image of respectability is not clear. A perfect example of Korngold's post-Hollywood concert works and their relationship to his film music is his Violin Concerto. This was the first piece written after WWII, the composer having dedicated himself to support his family through writing only film music until Hitler had been defeated. Korngold borrows themes from his movie scores in all three movements of the Concerto.

The soaring violin solo which opens the concerto was taken from the Errol Flynn feature "Another Dawn" (1937), while the entrancing second theme originally accompanied a love scene in William Dieterles 1939 movie "Juarez". The lyrical principal theme of the central Romance, first heard on solo clarinet and quickly adopted by the violin, was originally used in the Oscar-winning score for "Anthony Adverse" (1936). The virtuosic Rondo finale contrasts a playful dance-like theme with a down-to-earth, folk-like second theme borrowed from Korngold's 1937 score for Mark Twain's "The Prince and the Pauper", ending with a fast and furious coda. Classical Music by Erich Wolfgang Korngold: Der Ring des Polykrates Violanta - a one-act opera written when the composer was only 19 Die Tote Stadt (The Dead City) - often considered his best opera, and sounding in places very like Gustav Mahler Das Wunder der Heliane Die Kathrin - his last opera completed just before his extended stay in Hollywood Symphony in F# Op.

40 Violin Concerto Cello Concerto - an expanded concert version of the work played in the film "Deception" Chamber music (various) An interesting fact to note as well as writing film music himself, Korngold's classical music has also been used in films. "The Big Lebowski" features music from his opera "Die Tote Stadt". Films by Erich Wolfgang Korngold: A Midsummer Night's Dream - arranging Mendelssohn 's music for this film version starring Mickey Rooney as Puck Captain Blood - musical adaptation on this pirate movie Anthony Adverse - including the song "I'll Wait For You My Love (Angela's Song)" with lyrics by Howard Koch; the movie also featured excerpts from Claudio Monteverdi's Opera "Orfeo"; in both cases Olivia de Havilland's voice was dubbed The Prince and the Pauper - using smaller orchestral forces for most of the film, with an exciting cue for the "Duel" scene, some of the fast passages have a reputation for being hard to play Another Dawn Erich Wolfgang Korngold on Apple Music To preview a song, mouse over the title and click Play. Open iTunes to buy and download music.

Biography Erich Wolfgang Korngold was, twice over and in two separate areas, one of the most renowned musical figures of the 20th century. Beginning at age seven, he was a celebrated performing prodigy, with a level of technical development and an understanding of music that awed such giants of the musical world as Gustav Mahler and Richard Strauss, who delighted in his prodigious talent. Greeted in such circles as a new Mozart, from his teens until his thirties Korngold was the author of a series of compositions -- orchestral works, operas (most notably Die Tote Stadt), and chamber works -- that were uniquely popular and among the most critically acclaimed of their era. And from 1935 until long past his retirement from the field in 1946, he was also one of Hollywood's most celebrated film composers, responsible for the music to such films as Captain Blood, The Adventures of Robin Hood, The Sea Hawk, Anthony Adverse, Kings Row, Between Two Worlds, The Sea Wolf, Escape Me Never, and The Constant Nymph.

Korngold was the son of Julius Korngold, one of the most powerful music critics in Vienna during the late 19th and early 20th centuries. A prodigious musical talent from the first years of his life, when he was five years old, the younger Korngold -- whose middle name was his father's tribute to Mozart -- was proficient at the piano, and was playing duets with his father at age seven. He'd already begun improvising music at the piano for scenes from imaginary stories, and when he was ten, Korngold played an excerpt from an original cantata entitled Gold for Gustav Mahler, then the most important conductor in Vienna. Mahler recognized that it was pointless to send the boy to an ordinary music conservatory -- he already had a deeper understanding of music than most of the teachers he would encounter -- and instead arranged for Korngold to study with the composer Alexander Zemlinsky, who later orchestrated Korngold's ballet The Snowman. When Korngold was 13 years old, this work received a command performance before the Emperor Franz Josef at the Vienna Court Opera.

The Snowman was an immediate success, and was performed on the stages of 40 different opera houses over the next several years. Korngold's fame was assured, and over the next few years Mahler's testimony to Korngold's prodigious talent was followed by others. Richard Strauss, pondering the early works of Korngold, was heard to remark, "One shudders with awe to realize these compositions were written by a boy." Giacomo Puccini, after attending performances of two Korngold operas, commented, "The boy has so much talent he could easily give us some and still have enough left for himself." Even early in his career, however, Korngold's work displayed characteristics that anticipated the problems that he would encounter later in life. His music was unabashedly Romantic, filled with achingly lyrical melodies that were easy to remember and almost invited humming, repetition, and imitation. Even at this point in his career, Korngold seemed a throwback to a late 19th century sensibility that -- in the eyes of many in the musical world -- was dying along with the empires of that century.

His music was defiantly tonal and melodic, while figures such as Arnold Schoenberg, Alban Berg, and Anton Webern were leading the charge into the new century by specifically rejecting tonality, and melody along with it. Korngold's work, with their big tunes, bold melodic statements, and outsized orchestrations that were not only easy on the ear but self-consciously beautiful, all of these attributes an affront to the supporters of the modernists. Korngold was oblivious to the criticisms, and went on writing music his own way, supported by such renowned musicians as Bruno Walter, Arthur Nikisch, Felix Weingartner, and Arthur Schnabel, who eagerly performed his music. In 1920, Korngold achieved his greatest success on the operatic stage with Die Tote Stadt ("The Dead City"), which was an instant critical and popular success in Germany, and became the first German opera to be produced by the Metropolitan Opera in New York following the end of World War I.

Korngold was -- not surprisingly -- a big fan of the music of Johann Strauss, and during the '20s he set about revising the text and score of Strauss' failed operetta, A Night in Venice, a notorious disaster in its time as a result of Strauss' poor choice of a libretto. Korngold's edition revived the work, and gave it a new life in the 20th century. His is the version that has been handed down to us, and that is performed today. Additionally, Korngold assembled a series of lesser-known Strauss pieces in collaboration with producer Max Reinhardt into a program entitled Waltzes in Vienna, which was widely performed in Europe and eventually came to America under the title The Great Waltz, the name under which it was filmed at MGM in 1938. Korngold first came to Hollywood in collaboration with Reinhardt, to supervise the scoring of the latter's film adaptation of Shakespeare's A Midsummer Night's Dream (1934) at Warner Bros.

The studio's first attempt at a big-budget "art" film was a financial failure (as was all filmed Shakespeare until Olivier's Henry V ), but Korngold's adaptation of Felix Mendelssohn's incidental music was well received by audiences and executives at Warner Bros. Korngold seemed a "natural" for movie work. His own music was steeped in the late-19th century Romantic era, expressing the lyricism of Johann Strauss, the depth of Mahler, and the eloquence of Richard Strauss, all attributes that the Hollywood studios were looking for. Indeed, Hollywood had been "stealing" from these men and the world they came from for several years in its movie scores, and Korngold was the real article, a Viennese who wrote like someone out of the previous century, and who could quickly and effectively adapt and orchestrate others' music as well. Further, Korngold was so well-known and popular at the time, especially in Europe and among the musically sophisticated in America, that his name would add immeasurably to the prestige of the studio that got him. Warner Bros.

approached him with an offer of a contract, but he had obligations in Vienna, including the premiere of a new opera, and he turned the studio down. Central Europe in the mid-'30s, however, was not a comfortable place for many people, especially those of Jewish descent. Because of Korngold's Austrian nationality, Hitler's rise to power in Germany was not an immediate threat, and he merely confined his work to his homeland from 1933 onward. He returned to Hollywood to take advantage of several offers made to him by the studios, and in 1935 he returned to Warner Bros., where his first score was for the 1935 costume action film Captain Blood. This film, which marked the launch to stardom of a young Tasmanian-born actor named Errol Flynn, became one of the studio's biggest successes of the decade and single-handedly revived the swashbuckler genre for the first time since the days of the silents. Anyone watching it recognized that Korngold's rich, evocative score had more than a little to do with the movie's success, and offers of more work from Warner Bros. followed.

He continued to divide his work between Europe and Hollywood, signing a contract with Warner Bros. that gave him the right to refuse any assignment, and to reuse any music he composed for the studio in his own concert pieces, and also to score as few as three films every two years (five a year was more typical at the time for most studio-contracted composers), and working on such films as Anthony Adverse (for which he won an Oscar) and The Prince and the Pauper. All of this work eventually began to crowd in upon Korngold's serious compositions, and in 1937 he did set about returning to this idiom with his Violin Concerto in D Major. An abortive run-through of the piece with a violinist friend, however, left the composer so dispirited that he abandoned the concerto until 1946, when, at his wife's insistence, he resumed work on it. Curiously, the resulting piece is often cited for its use of thematic material that is already familiar from such movies as The Prince and the Pauper, but as Brendan G.

Carroll has suggested in his essay on the concerto, it is just as easy to speculate that the themes originated in the concerto and Korngold salvaged them for use in his film scores once he abandoned the concert piece in 1937. Korngold was offered The Adventures of Robin Hood but initially turned it down, intending to return to Vienna in the spring of 1938. Just as he was about to do so, however, he received word from his father that Germany had forcibly annexed Austria, and that it was too dangerous for him to return or for the rest of his family to remain there. Korngold agreed to score Robin Hood, and secured the studio's assistance in getting his family out of Vienna and into the United States. He spent the next eight years in Hollywood, writing the music for swashbucklers (Robin Hood, The Sea Hawk), dramas (Kings Row, Escape Me Never), fantasy films (Between Two Worlds), and historical biographies (Juarez, Devotion), among other genres.

Korngold became one of the most respected and well remunerated musicians in Hollywood, and the financial security that he achieved was welcomed in a world as filled with uncertainty as that of the late '30s and early '40s. His isolation from the world of serious music took its toll, however, as he learned when he tried to resume his career in the concert hall after the war. He found himself even more of an anachronism to the world of serious music in the late '40s than he had been in the late '20s. This might not have been a problem, but for the fact that the war had destroyed much of the audience that he'd had during the '20s and '30s. Additionally, the critics and editorialists in postwar Austria made no secret of their contempt for Korngold having gone to America and, worse yet, sold his talents to Hollywood during the war. His return to Austria in 1949 ended in frustration and failure, his music either ignored or ridiculed.

Korngold's Symphonic Serenade, the most important serious work he'd written in a decade, was premiered by Wilhelm Furtwangler and the Vienna Philharmonic in 1949 in a poorly prepared performance, and was badly received. His Symphony in F-Sharp was completed in 1950, but initially failed to find an audience. After the failure of a new production of his most popular work, Die Tote Stadt, Korngold had to face up to the fact that he had no future in Europe. He returned to Hollywood to a life of enforced semi-retirement, and after years of declining health, died in 1957 at age 60. Ironically enough, in 1959 the conductor Dimitri Mitropoulos encountered the Symphony for the first time, and declared his intention of performing it in concert. Alas, Mitropoulos died suddenly in the fall of 1960, and the intended performance was never to be. It took Rudolf Kempe, conducting the Munich Philharmonic Orchestra, to rediscover the work in the early '70s, and a recording followed soon after.

It was Korngold's movie music, however, that led to a full-scale revival of interest in his work for the concert hall. The latter was not being played much, but his film music had never faded from the consciousness of moviegoers or older producers and directors, who regarded Korngold -- along with Miklos Rozsa and Max Steiner -- as one of the prime symbols of Hollywood's "Golden Age." The first re-recording of his classic film scores took place at the end of the '50s under Lionel Newman, conducting the Warner Bros. Studio Orchestra in a series of selections from his most famous movie music. This record didn't sell very well, and later became a much-sought collector's item, but it was a first step, showing the lucky few who knew it what Korngold's music could sound like away from the movie theater, in the hands of a good orchestra.

In the early '70s, RCA released a new recording of Korngold film music, played by the London's National Philharmonic Orchestra (essentially a studio agglomeration consisting of members of the London Philharmonic, London Symphony, and Royal Philharmonic Orchestras, among others) under the baton of Charles Gerhardt, and produced by Korngold's son George. This record, entitled The Sea Hawk: The Classic Film Scores of Erich Wolfgang Korngold, spearheaded a full-blown revival of his reputation, at least in the world of movie scholarship. Suddenly, Korngold's name was recognized by more casual movie buffs and enthusiasts, alongside those of the stars of the films he'd worked on: Errol Flynn, Bette Davis, Olivia de Haviland, Joan Fontaine, and Basil Rathbone.

Across the decades since the '30s and '40s, the movies that Korngold scored -- Captain Blood, The Adventures of Robin Hood, The Sea Hawk, Kings Row, Between Two Worlds, The Sea Wolf -- had proved to be some of the most enduring of the century, shown constantly on television and in revival theaters, quoted and referred to in other, more recent films (including Star Wars), sold heavily in home video editions, and later colorized and introduced to an entirely new audience of younger viewers. Additionally, Korngold had not entirely lost his following among serious musicians. In addition to Kempe's recording of the Symphony, RCA Records also released a complete recording of Die Todt Stadt during the 1975, conducted by Erich Leinsdorf and starring Rene Kollo, Carol Neblett, Herman Prey, and Benjamin Luxon that has proved to be an enduring part of the company's catalog.

By the beginning of the '80s, other labels and orchestras were beginning to explore Korngold's work anew, including a second recording of the Symphony, and this became a full-blown revival, at least on record, by the end of the '80s, as conductors and producers turned to Korngold in their search for lost Romantic masterpieces. By the mid-'90s, a new recording of Die Todt Stadt had been released, and Korngold's Symphonic Serenade received its New York Philharmonic debut in 1995. Early 1996, Rhino Records added another key element to the recognition of which Korngold had been cheated by releasing Erich Wolfgang Korngold: The Warner Bros. Years, a collection of the original music tracks that he'd conducted from 1935 through 1946, cleaned up and assembled in chronological order for commercial release on two CDs. ~ Bruce Eder Top Albums

Question: Which composer wrote the scores for the Errol Flynn swashbucklers such as Captain Blood and The Adventures of Robin Hood?
Answer: Erich Wolfgang KORNGOLD