Making Space for Music

Nathan Platte
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Abstract

Max Steiner met Robert Wise, future director of West Side Story (1961) and The Sound of Music (1965), at RKO in the early 1930s. While Steiner served as composer and music director for films like Of Human Bondage (1934), The Gay Divorcee (1934), The Informer (1935), and Top Hat (1935), Wise helped manage the soundtrack as an assistant sound and music editor. After Steiner left RKO in early 1936, Wise stayed on at the studio to advance through the ranks of film editor and director before reuniting with Steiner at Warner Bros. for the melodrama So Big (1953) and sword-and-sandals epic Helen of Troy (1956). Drawing on original archival research, this article reconstructs a partnership that briefly flourished at different stages of their careers. At RKO, Wise learned the trade while observing Steiner’s ground-breaking efforts as a composer. By the 1950s Wise was rapidly growing in renown as a director, as signaled by his assignment to the generously budgeted Helen of Troy. In contrast, Steiner faced pay cuts and the termination of his contract at Warner Bros. Steiner’s two productions with Wise boosted Steiner’s lagging career while also illuminating the ways in which shifting aesthetics and production practices in Hollywood had left Steiner at a disadvantage. Whereas So Big represented a throwback to films like Cimarron, which Steiner had scored at RKO in 1931 (both based on Edna Ferber novels), Helen of Troy marked a new emphasis on visual and aural spectacle, with an epic narrative told through CinemaScope, stereophonic sound, and a cast of thousands. Writings on director-composer partnerships tend to emphasize the formation of a distinctive sonic style, in the manner of Alfred Hitchcock and Bernard Herrmann. Steiner and Wise, in contrast, were consummate studio employees, eager to serve productions that ranged widely in topic, genre, and budget. Studying their brief partnership in the 1950s reveals how two individuals well versed in the workings of the Hollywood studio system managed to help each other navigate its dismantling in the 1950s.
为音乐腾出空间
20世纪30年代初,马克斯·施泰纳在RKO结识了罗伯特·怀斯,后者后来成为《西区故事》(1961)和《音乐之声》(1965)的导演。斯坦纳在《人性的束缚》(1934)、《离过婚的同性恋》(1934)、《告密者》(1935)和《礼帽》(1935)等电影中担任作曲家和音乐导演,而怀斯则作为助理音效和音乐编辑帮助管理电影的原声。1936年初,施泰纳离开RKO后,怀斯继续留在工作室,在电影编辑和导演的职位上步步高升,后来与华纳兄弟公司的施泰纳再次合作,拍摄了情节片《如此之大》(1953)和史诗片《特洛伊的海伦》(1956)。本文利用原始档案研究,重建了他们在职业生涯的不同阶段短暂繁荣的伙伴关系。在RKO,怀斯一边观察施泰纳作为作曲家的开创性努力,一边学会了这门手艺。到20世纪50年代,怀斯作为一名导演的名声迅速上升,他被分配到预算慷慨的《特洛伊的海伦》中,这标志着他的名声。相比之下,斯坦纳面临着减薪和华纳兄弟合同的终止。斯坦纳与怀斯的两部作品推动了斯坦纳落后的职业生涯,同时也说明了好莱坞不断变化的美学和制作实践使斯坦纳处于不利地位。斯坦纳1931年在RKO为《西玛龙》配乐(都是根据埃德娜·费伯的小说改编的),而《特洛伊的海伦》则标志着对视觉和听觉奇观的新重视,通过电影放映机、立体声和数千名演员讲述了史诗般的叙事。关于导演与作曲家合作的文章往往强调形成一种独特的声音风格,就像希区柯克和赫尔曼那样。相比之下,斯坦纳和怀斯是完美的工作室员工,他们渴望为题材、类型和预算范围广泛的作品提供服务。研究他们在20世纪50年代的短暂合作关系,就会发现两个精通好莱坞电影公司体系运作的人是如何在20世纪50年代的解体中相互帮助的。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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