FSMCD Vol. 13, No. 20 Lassie Come Home: The Canine Cinema Collection Supplemental Liner Notes Contents LassieComeHome 1 SonofLassie 5 CourageofLassie 9 HillsofHome 12 TheSunComesUp 13 ChallengetoLassie 16 ThePaintedHills 18 It’saDog’sLife 21 Linernotes©2010FilmScoreMonthly,6311RomaineStreet,Suite7109,HollywoodCA90038. Thesenotesmay beprintedorarchivedelectronicallyforpersonaluseonly. ForacompletecatalogofallFSMreleases,pleasevisit: http://www.filmscoremonthly.com LassieComeHome,SonofLassie,CourageofLassie,HillsofHome,TheSunComesUp,ChallengetoLassie,ThePaintedHills andIt’saDog’sLife©1943,1945,1946,1948,1949,1949,1951and1955,respectively,TurnerEntertainmentCo.,A WarnerBros.EntertainmentCompany. Allrightsreserved. FSMCDVol.13,No.20 •LassieComeHome: TheCanineCinemaCollection •SupplementalLinerNotes Lassie Come Home LassieComeHome(1943),thefirstfilmintheLassie MajorEricKnight(theauthorofLassieCome-Home,the franchise,issetduringthe“dark,pre-wardays”inYork- noveluponwhichthefilmisbased),Amfitheatrofinter- shire,England. SamCarraclough(DonaldCrisp)isout polatesbriefquotesof“RuleBritannia”onFrenchhorn ofworkandmustsellthebelovedcollie(Lassie)belong- and“America”inthestringstosignifyhisbirthplace ing to his son Joe (Roddy McDowall) to the Duke of inEnglandandtheadoptedcountryforwhichhedied. Rudling(NigelBruce)toputfoodonthetable. Lassie Thesegmentcloseswithabriefallusionto“Taps”on ismiserableattheDuke’sandescapestwice,running mutedtrumpet. backtoJoe. TheDukefinallytakesLassietohisperma- TheStoryofaDog* Avoiceoversetsthestagefor nenthomeinScotlandtobepartofhisstableofshow thestoryofLassieandthepeopleofYorkshireasSam dogs. InScotland,Lassieescapesonceagainandsets Carraclough(DonaldCrisp)andLassiehikeoverthe outonajourneytowalkbacktoYorkshire. Shetravels Yorkshiremoors. Thefinishedfilmdidnotusethedark overmountainsandrivers,meetingviolentshepherds musicheardhere,butinsteadsubstitutedSam’stheme (AlanNapierandArthurShields),akindlyoldcouple onEnglishhorn. (real-lifehusbandandwifeBenWebsterandDameMay 2.TimeSense—SecondVersion* Atfiveminutes Whitty)andatravelingsalesman(EdmundGwenn). to4:00everyafternoon,Lassie’sinternalclockgoesoff BackinYorkshire,Lassieisinjuredwhileevading andshebeginstowhineinanticipationofgoingtomeet capture by a couple of dogcatchers and limps home Joe(RoddyMcDowall)atschool. Harpandpianoplunk totheCarracloughs. TheDukearrivestoofferSama out the passing time over mysteriously shimmering jobashisdoghandler, andfindsLassiehidinginthe strings. Woodwindsolosplayanup-tempovariationof otherroom. Sensingthatafterwhatshehasendured, Lassie’sthemeoverpizzicatostringsandharparpeg- LassiereallybelongswiththeCarracloughs,heandhis giosasLassierunsofftomeetJoe. TheFrenchhorns granddaughterPriscilla(ElizabethTaylor)actasifthey playabriefquoteofLassie’sthemewhenJoerushesto haveneverseenherbefore. Thebedraggleddoglimps her,andthetempopicksupagainasthetwoofthem oncemoretogomeetJoeatschool. Seeingherwaiting runhomeaccompaniedbythevariationmusic. forhimunderthetree, JoerealizesthatLassiehasre- Have a Good Time Back at home, Mrs. Carra- allycomehomeforgoodandtheboyandhisdogare clough (Elsa Lanchester) sends Joe and Lassie out to joyouslyreunited. play. ThemusicturnsdarkerasSamtellsherthatthe WithbeautifulTechnicolorsceneryandastarthat Dukehasagreedtopurchasethedog. onlybarked,LassieComeHomeprovidedDanieleAm- Waking Up Joe* A celesta signals the arrival of fitheatrof(1901–1983)astellaropportunitytoscoreex- morningasLassieopensJoe’sbedroomdoortowake tendedmusicalsequences—aformulathatwouldcon- him. Amfitheatrof extrapolates the first five notes of tinuethroughtherestoftheseries. Althoughnumerous thescalethatbeginsLassie’sthemetoserveasabrief themespermeatethescore,themainthemerightfully motive throughout the score. A muted French horn belongstoLassie. Amfitheatrofalsoextrapolatesamo- comments sadly as Sam watches the scene, knowing tivefromthefive-notescaleatthebeginningofLassie’s whatmusttakeplace. Thewindsandstringsgallopand themetoserveasanauralreminderofthedogonher cavortasJoeandLassieruntoschool. Alonelyclarinet travels. Lassie’stheme,firstheardinthe“MainTitle,” underscoresthesceneasJoesaysgoodbyeandLassie wouldappearonceagaininthefinalfilmintheseries, scratchesattheschooldoor. The Painted Hills (1951), the only other Lassie picture LassieIsSold Runningsixteenthnotesintheharp scoredbyAmfitheatrof. (HerbertStothartwouldalso underscore Lassie’s theme in the bassoon as the dog quotethemelodyinthesecondfilm,SonofLassie.) runshomeandisgreetedbythesightofacarriagebe- Below,asterisks(*)designatethosecuestakenfrom longingtotheDukeofRudling. themusic-and-effectstrackthatcontainsoundeffects, 3.LassieIsSold,Part2 Harparpeggiosandsor- whileadagger(†)denotesthelonebonustrackcontain- rowfulstringsolosaccompanyLassieassheiswalked ingdialogue. awaybehindtheDuke’scarriage. Thesceneshiftsto theschoolandthestringsscamperasJoerunsdownthe 1.MainTitle* Themaintitlesequenceplaysover stairsonlytofindoutthatLassieisnotwaitingunder apaintingofLassienexttoawindingstream.Following atree. Ashisfearmounts,Joerunshomewithfalling abriefopeningfanfareundertheroarofLeotheLion, minorsecondsandrisingstringscalesascendinghigher Frenchhornsandthenstringsplaythefirststatement andhigher. ofLassie’stheme. Livelyvariationsfollowonfluteand 4. Joe Is Heartbroken* While Mrs. Carraclough bassoon. When a text scroll announces the death of explainstoJoethattheycannolongeraffordtokeep ©2010FilmScoreMonthly 1 FSMCDVol.13,No.20 •LassieComeHome: TheCanineCinemaCollection •SupplementalLinerNotes Lassie,themusicandeffectstrack“borrows”anunused cannotcomehomeanymore. Asadviolinsolocriesa passagefrom“MeetingPalmer”(seetrack13),featur- minor-keystatementofSam’stheme(firstheardin“The ingsustainedchordsandsorrowfulstringharmonics StoryofaDog”inthefilm). Priscillaassurestheheart- (tracked in twice to meet the necessary length). The brokenJoethatshewilltakecareofLassie,underscored finished film, however, features a subdued but more bytentativestatementsofthethree-notestringmotive. melodiclamentscoredprimarilyforstrings. HonestIsHonest Sam’sthemeonclarinetaccom- Priscilla Meets Lassie The Duke brings his pre- panies his explanation to Joe that, without any work cocious granddaughter Priscilla (Elizabeth Taylor) to comingin,theycannotaffordtokeepthedog. Healso meetLassie,whoispennedupinanoutdoorkennel. A tellsJoethattheDukehastakenLassieofftoScotland bouncingclarinetlineechoesPriscilla’sbubblynature. alongwithagroupofshowdogsandthatshewillnot Amfitheatrofintroducesawistfulthree-notemotivein becomingbacktoYorkshireanymore. the cellos and strings as Priscilla makes the dog’s ac- Lassie Goes to Scotland* English horn plays a quaintance. Scottishthemeatopadroneinthelowerstringstoun- 5.TimeSense—SecondVersion* The“timesense” derscore a brief shot of a Scottish manor high atop a signalsthatLassieknowsitistimetogomeetJoe;asolo rockycliff. celloemphasizesthedog’sagitationasshepacesinthe LassieinScotland Thefilmtransitionstoamon- kennel. tageoftheDuke’svariousshowdogsintheirkennels. FirstEscape(beginning)* Lassiedigsaholeun- Amfitheatrofchangesthemusicalstyleeverycoupleof derthegateandcrawlsout,markedbyabrightmajor barstoreflecteachofthebreeds. chordandtheLassiemotiveonFrenchhorns. Theup- 9.LassieIsChained* Priscillareturnstogether tempoLassievariationaccompaniesherjumpoverthe riding crop and finds Lassie chained in her kennel. schoolgateandherrunhomewithJoe. Thefilmcon- Thethree-notethemenowclearlyassociatedwithher tinueswithasceneattheCarracloughs’,butthatpart weavesitswayaroundaminor-keyversionofLassie’s of the cue was not included in the music-and-effects five-notemotive. tracks;thescenewithdialoguecanbefoundondisc4, 10.HynesWalksLassie Afterbeingreprimanded track36. bytheDukeforkeepingLassiechainedup,Hyneshas 6. Hynes Arrives This brief cue begins with a to walk her so she gets exercise. String triplets play short, scampering string theme as Mrs. Carraclough against growling brass as Hynes yanks on the leash feedsLassie,followedbysustainedstringchordsbuild- untilLassiefightsbackandpullsoutofhercollar. ingtothearrivaloftheDuke’sdoghandler,Hynes(J. 11.TimeSense—SecondVersion* Abriefreprise PatrickO’Malley),whohascometoreclaimLassiefor of the “time sense” music serves as a springboard to theDuke. Lassie’sescape. TimeSense—SecondVersion* Lassietriestodig Lassie Runs Away* Scampering triplets in the underthegateagain,butHyneshasreinforcedthegate winds,stringsandmutedtrumpetaccompanyHynes sothatshecannotdigout. The“timesense”musicand chasing after Lassie. When Priscilla opens the gate, thesolocelloonceagainsignalheranxiety. trumpetscrescendoandcymbalscrashasLassieruns Second Escape Lassie climbs up the fence and southtoreturntoYorkshire. AsLassieclimbsoverthe jumpsoverthetop. Themusicchurnsinthestrings,as- rocks, the brass play a majestic, elongated version of cendinganddescendingalongwithherfailedattempts, herthemeoversustainedstrings,swirlingwinds,cym- until a brass fanfare announces that she has escaped balrollsandharpglissandiaswavescrashbelow. An onceagain. oscillatingcelloslowsthemusicdownasLassieleaves 7.DayDreaming Thegentlethree-notestringmo- bloodypawprintsontherocks. Tremolostringsclose tivefrom“PriscillaMeetsLassie”accompaniesJoe,who thecue,signalingacomingstorm. hasrunawaywithLassieanddreamsoflivingouton The Storm The storm crashes in a musical ca- themoors. SamfindsthemandmakesJoedeliverthe cophonyinthebrassasLassiewalksthroughthetor- dogbacktotheDuke,withmutedbrasssignalingthe rentialdownpourandhidesinacave. Thisdramatic boy’s sadness. The three-note motive returns as the cue,composedbyMarioCastelnuevo-Tedesco,doesnot scene changes to the Duke’s terrace, where Priscilla appearinthefilm. giveshergrandfatheracarnationforhislapel. Samand Over the Mountains* As dawn breaks after the JoearrivewithLassieandpresenthertotheDuke,who storm,AmfitheatrofchannelshisinnerRavel(morepre- wasunawareshehadrunawayafirsttime,muchlessa cisely,DaphnisetChloe¨),scoringtherushingwaterfalls second. and Lassie’s climb up the mountain to the accompa- 8.BidHerStay* SamleadsLassiebackintoher niment of an ascending wordless chorus. When she kennel, where Joe bids her to stay and tells her she reachesthetop,cymbalscrashandafullorchestralstate- ©2010FilmScoreMonthly 2 FSMCDVol.13,No.20 •LassieComeHome: TheCanineCinemaCollection •SupplementalLinerNotes mentofLassie’sthemeaccompaniesherasshecrosses returns,sayingthatnoonehasclaimedLassie,alovely abridgeovertheragingwaters. newstringthemeaccompaniesDolly’spronouncement: TheLake&TimeSense#3* Lassiestopstogeta “She’soursnow!” drinkofwaterinalake,accompaniedbyanewversion JoeCan’tSleep* Asoloviolinplaysaminor-key ofthe“timesense”musicintheharps. Tremolostrings variationofLassie’sthemeasthesceneshiftstoJoe’s andamalevolentbassoonthemesignaldangerahead bedroom, where he stares out the window into the as Lassie encounters a fence and a warning sign that night. offersarewardfortheheadandfeetofanydogcaught TimeSense—SecondVersion* Atfiveminutesto killingthesheep. 4:00, Lassie whines and paces, scratching at the door Lassie vs. Satan* Two shepherds, Jock (Alan togetout. Thecuefeaturesanextendedversionofthe Napier)andAndrew(ArthurShields),seeLassiecross- “timesense”musicandcellosolo. ingthroughtheirflockofsheep. AtAndrew’sbehest, 13.LassieIsNotHappy Violinsplayalovelyren- Jockshootsandwoundsthedog. Thestringschurnout ditionofLassie’sthemeasDollyrealizesthatLassieis sixteenthnotesunderescalatingwoodwindsandbrass “goingsomewhere”andhasjuststoppedthereonher astheirblackGermanshepherd,Satan,runsafterher. way. TheDogFight* Descendingstringscalesandstac- TimeSense—SecondVersion* The“timesense” catotrumpetsunderscorethefightbetweenLassieand music once again accompanies Lassie’s panting and Satan. (Althoughthescenelooksbrutalinthefilm,it whining. wasactuallyjustthetwodogsplaying.) Goodbye, Girl* Realizing she must let her go, Lassievs.Satan,Part2* Defeated,Satancriesin Dollyopensthegate. Lassietrotsout,turnsaroundfor painandrunsoff. Solotrumpetannouncesavariantof onelastlook,andrunson. SnippetsofDanandDolly’s Lassie’striumphanttheme,completedbythestringsin themeaccompanytheirgoodbye. aminorkeyasshelimpsaway. Herfive-notemotive MeetingPalmer Bassoonplaysabriefrendition underscoresJock’shaving“forgotten”toreloadhisgun, ofLassie’sthemeasshewalksthroughaforest,where allowingthedogtoescape. sheencounterstravelingsalesmanRowlandPalmer(Ed- A Surprise for Joe* A clarinet duet brings the mundGwenn)andhisdogToots. Thestringharmonics scenebacktotheCarracloughs’forJoe’sbirthday. Dra- (whichcanalsobeheardin“JoeIsHeartbroken”)were matic music accompanies Joe’s frantic search of the notincludedinthefilm,buttheyfitneatlyunderthe house,thinkingLassieishisbirthdaysurprise. Instead, melodyofthesongPalmersings(“IDreamtthatIDwelt disappointedwithhisgiftofapencilset, herunsup- inMarbleHalls”fromtheoperaTheBohemianGirlby stairstohisroom. IrishcomposerMichaelBalfe)whileshaving. Whenthe CrossingtheRiver* Flutes,tremolostrings,harp musicresumesforPalmer’sjocularbanterwithToots, glissandi, celesta and wordless chorus accompany thefilmusesaneditedversionof“PumpandChicken Lassie’s swim across a river. She is carried along on House,”acueoriginallywrittenbyLennieHaytonfor the current with her five-note motive until the music I’llWaitforYou(1941)andre-recordedforLassieCome crescendos (more echoes of Ravel) and brings Lassie Home(seetrack18). Themusic-and-effectstrack,heard safelytotheotherside. ThetrumpetsplayLassie’stri- here(3:46–4:23),substitutesacoupleofshortpassages umphantthemeonceagain,buttheorchestrastruggles trackedinfromelsewhereinthefilm. withherassheclimbstheriverbank;themusicsettles Lassie Refuses Food* Palmer tries to get Lassie ominouslyasthewounded,bedraggleddogcomesto to come closer by offering her some sausage. Gentle restandthescenetransitionstoacountrycottagebat- stringsandwoodwindsprovidesoothingdevelopments teredbyastorm. ofajig-likethemeforPalmerashecoaxesher,initially 12. Dan and Dolly* Dolly (Dame May Whitty) withoutsuccess,tocomeforward. sends Dan (Ben Webster) outside to check on a dis- LassieFollowsPalmer Palmerpacksuphiscart turbancewiththeirchickens. Ahighsoloviolinfinds and Lassie follows. The cue features Palmer’s jaunty Lassiecollapsedinthemiddleoftheirfieldduringthe themeonclarinetandabriefrepriseofDanandDolly’s rainstorm. Gently tentative music in the strings and themeintheviolins. sustainedclarinetnotesaccompanytheoldcouple’sat- 14.LassieWantstoGoThatWay Asthecartveers tempts to feed her. The strings swirl down, a muted offinthewrongdirection,Lassiebarksthatshewantsto trumpetcalls,andthebassoonplaysLassie’sminor-key “taketotheroad.” WhenPalmerturnsthecartaround motiveastheelderlycouplerealizesLassieswamthe andfollowsher,thecuefeatureshisthemeinthestrings. rivertogetfromScotlandtoEngland. LassieIsaLady Asolocelloplaysaplaintivever- LassieRecovers OboeplaysLassie’sthemeagain sionofPalmer’sthemeagainstahintofLassie’stheme in a major key to signal her full recovery. When Dan onoboeasPalmer,LassieandTootsstopbythesideof ©2010FilmScoreMonthly 3 FSMCDVol.13,No.20 •LassieComeHome: TheCanineCinemaCollection •SupplementalLinerNotes astreamtoeat. DukeArrives*&ThisIsNoDogofMine* The NextMorning Flutesandtremolostringssignal Duke shows up and offers Sam a job as his dog han- themorning,andstringsplayafull-bodiedversionof dler. Stringssoar,inahappyrenditionofSam’stheme Palmer’sthemeasthecarriagecontinuesonitsway. alternatingwithPriscilla’sthemeasshelooksonhap- 15.TootsGivesaPerformance* Toenticepeople pily.Hearingawhine,theDukeopensadoorandLassie tobuyhispotsandpans,PalmergetsTootstoperform limpsbackintotheroom.Priscilla’sthemeinthestrings tricks, accompanied by a waltz variation of Palmer’s competeswithLassie’sthemeinthewindsastheDuke themeonflute. andPriscillasaytheyhaveneverseenthedogbefore. TheDogsPlay* ThestringsplayPalmer’stheme TimeSense—SecondVersion* Anextendedver- once again as the carriage leaves town. Fast-running sionofthe“timesense”musicsignalsthatitistimefor strings and Palmer’s theme on bassoon accompany LassietogomeetJoeatschool. SamputsLassie’scollar TootsandLassieastheyplay. Mysteriouswoodwinds onthedog“sohe’llknow.” thencreateamoresombermoodasPalmerrelaxesby LassieFindsJoe*&EndTitle Lassielimpsslowly hiscampfire. throughthetownsquare,accompaniedbytenderhigh ThousandKronen* Twostrangersapproach,and stringsandgentleharp. SeeingLassieunderthetree, tremolostringssignaldangerwhenPalmerrealizesthey Joecallshertohim. Themusiccrescendosandcrashes arethieveswhointendtostealhismoney.Thiscuefrom dramaticallyasLassielimpsintohisarms—theboyand BronislauKaper’sscoreforAWoman’sFace(1941)was hisdogarereunitedoncemore. Abriefmusicaltagcon- re-recordedforLassieComeHome. sistingofLassie’sup-tempovariationbringsthefilmto LastFight* PalmerandTootsfightoffthethieves, aclose, asJoeandPriscillaridebicycles, followedby accompaniedbyfuriousmusic. WhenTootsiskilled, Lassieandherlitterofpuppies. Lassiejoinsthefightandchasesthemaway. Toots Is Dead Cellos descend as Lassie ap- BonusTracks proaches Toots’s lifeless body, and a solo violin cries 16. Dog Fight In this shorter version of the dog outinpainwhenPalmerpicksuphisdeaddog. fight music found in track 11, Amfitheatrof included It’sGoodbye,Then* StringsplayPalmer’stheme, some of the motives from the version used in the fin- followedbyLassie’sthemeonbassoon,astheycometo ishedfilm. anotherforkintheroad. Realizingthatshemustfollow 17.TheAccident ThisalternatetrackforLassie’s her own path, Palmer says goodbye, underscored by accidentwhiletryingtoescapetheclutchesofthedog- Lassie’sthemeonbassoonandstrings. catcherswasre-recordedfromAmfitheatrof’sscorefor The Dog Catchers* A pair of dogcatchers spot AndOneWasBeautiful(1940). Lassie and brass signal danger as they approach and 18.PumpandChickenHouse Thisextendedver- begin to chase her through the town. String triplets sionofmusicfoundinfilmversionofthe“LassieMeets swirl as Lassie runs through a building, jumps out a Palmer”segmentwascomposedbyLennieHaytonfor window,andfallstotheground. Althoughitappears I’llWaitforYou(1941)andre-recordedforLassieCome to the dogcatchers that she has not survived the fall, Home. sheslowlygetsupandlimpsaway,accompaniedbya mournfulsolocello. DiscFour OutofWork Aclarinetduettransitionsthescene 36.FirstEscape(complete)*† AfterLassieescapes backtotheCarracloughs’cottage,whereSamisstillout fromtheDuke’skennel,shescampersofftomeetJoeat of work. Among sad cellos and violins, oboe plays a school(seedisc1,track5). Whenhebringsherhome, briefrepriseofSam’stheme. quietwoodwindsandpleadingstringslendadomes- LassieComesHome* Filthyandstilllimpingon ticairasJoe’smotherdasheshishopesofkeepingher. threelegs, Lassieappearswhiningatthecottageand PerkierwoodwindsinterveneasherunstogetLassie’s goes to lay down by the fire, to a sorrowful develop- brush; warmer, sympathetic strings conclude the cue mentofhertheme. SamandMrs.Carracloughtryto whileSamshowsJoethepropergroomingtechnique. gethertoeatsomething,accompaniedbyabriefreprise —AlexanderKaplanandFrankK.DeWald ofDanandDolly’stheme. ©2010FilmScoreMonthly 4 FSMCDVol.13,No.20 •LassieComeHome: TheCanineCinemaCollection •SupplementalLinerNotes Son of Lassie Son of Lassie (1945), the second film in the Lassie Early on, Stothart introduces a lush, descending series, focuses on the collie’s loyal son, Laddie, who lovethemeforJoeandPriscilla,butthisideafadesfrom followshismasterJoeCarraclough(playedasayoung thescoreonceJoeleavesherbehindandembarksonhis manbyPeterLawford)intobattleduringWorldWar mission. (Thelatterpartofthisthemebearsadistinct IIandintheprocessprovesworthyofhislineage. Set resemblancetoaphrasefromHaroldArlen’s“Overthe severalyearsafterLassieComeHome(1943),thefilmbe- Rainbow” from The Wizard of Oz—on which Stothart ginsattheestateoftheDukeofRudling(NigelBruce) hadworkedsixyearsearlier—specificallythemusicfor asJoepreparestojointheRoyalAirForce,simultane- thewords“andthedreamsthatyoudaretodreamre- ouslycomingtotermswiththeincreasingaffectionof allydocometrue.”) Forthefilm’sNorwaysequences, theDuke’sgranddaughter,Priscilla(JuneLockhart). Joe StothartincorporatestwothemesfromEdvardGrieg’s lovesLaddie,butacknowledgesthatthemischievous famouspianoconcerto—astiff,militaristicmotivefrom puppyfailstosharehismother’sintelligence: whenthe thefirstmovementandtheprincipallyricalthemefrom wareffortnecessitatesthetransformationoftheDuke’s thesecond. HealsousesathemefromthegreatNor- kennelintoamilitarytrainingsitefordogs,agrown-up wegiancomposer’sincidentalmusicforPeerGyntand Laddiefailstheprogram’stestsofcourage. AfterJoe contributeshisowncollectionofthreateningmotives leavesfortheRAF,however,thecolliefinallyexhibits fortheNazis. Otherprominentideasincludeasolemn Lassie-like behavior, repeatedly following his master melodyforLaddietrekkingthroughthewildernessto to the base. Laddie eventually hides in Joe’s plane, findJoe,andemotive,delicatematerialthatrepresents accompanyinghimonareconnaissanceflightintoNazi- agroupofNorwegianchildrenwhonurseLaddieback occupiedNorway. AfterGermangunfiredamagesthe tohealthafterheiswounded. aircraft, Joe parachutes into enemy territory with the colliebutimmediatelybecomesseparatedfromLaddie 1. Main Title Triumphant brass ushers in Stoth- uponlanding;asJoeattemptstomakehiswaybackto art’s principal ideas during the opening credits: a England,Laddiefacesthehazardsofwarwhilesearch- sweepingcompoundmelodyonupper-registerstrings ing for his master. Along the way, both master and for Laddie; a bittersweet, descending love theme for dogreceiveaidfrommembersoftheNorwegianresis- Joe Carraclough (Peter Lawford) and Priscilla (June tance,butLaddiecomplicatesmatterswhenheacciden- Lockhart);anaustere,militaristicmotivefromEdvard tally sets the Nazis on Joe’s trail, continually leading Grieg’sPianoConcertoinAMinor,Op.16,whichfig- them to his hideouts. Laddie and Joe ultimately re- uresprominentlyintheNorwegianscenes;andDaniele uniteataPOWcamp,thecolliefinallydemonstrating Amfitheatrof’snostalgicLassiethemefromLassieCome truecouragebyattackingagun-bearingNazisergeant Home. andfacilitatinghismaster’sescape. Aftera climactic Laddie(beginning)* Afterthetitlesequence,the sequenceinwhichthepairbravesaseriesoftreacher- film transitions to the English estate of the Duke of ousrapids,theyreturnsafelytoEngland,wherethey Rudling (Nigel Bruce), where a playful ornamented reunitewiththeirlovedones. tune—Laddie’santictheme—accompaniestheDuke’s Herbert Stothart’s score (co-composed by Mario colliesenjoyingtheirmorningrun. Lassie’sthemere- Castelnuovo-Tedesco)addressesthebondbetweenJoe turnstoclosethecueasshetrailsbehindtheotherdogs and Laddie with a compassionate string melody that along with the Duke and Sam Carraclough (Donald suggests the courage and loyalty Laddie discovers Crisp). (The music masters for this cue did not sur- withinhimselfasthefilmprogresses.Thetheme’sshape vive, so only the first portion—from the film mix—is appropriately recalls Daniele Amfitheatrof’s primary included;likewise,asubsequentcue,“WakingJoe,”was tune from the original score (which Stothart reprises unavailableforinclusiononthisCD.) forLassieherself). AsCarracloughandhiscolliespend 2.MischievousPuppy Coywindsreference“Lon- a significant portion of the film separated from one donBridgeIsFallingDown”duringLaddie’smorning another,Stothart’smainthemeprovesessentialinrein- routine,withJoescoldingandchasingafterthepuppy forcingtheirfriendshipandservesasasubtlereminder forchewinguphisfootball. Animpish,skip-beatmo- ofthestakesinLaddie’squesttofindhismaster. While tivetradesoffwithracing,cascadingmaterialasLaddie thecomposersdevelopthemainthemetosuitscenesof causes a series of accidents, antagonizing the Duke’s bothcompanionshipanddanger,Laddieisalsorepre- washerwoman(EilyMalyon). sentedbyawhimsicalstepwiselinethatcasuallyrises My First Cake A stepwise rising and falling andfalls, aswellasanornamentedideaforhismore motive—Laddie’swhimsicalsecondarytheme—sounds mischievousbehavior. afterJoe’spursuitofthecollieforceshimtocollidewith ©2010FilmScoreMonthly 5 FSMCDVol.13,No.20 •LassieComeHome: TheCanineCinemaCollection •SupplementalLinerNotes Priscilla, causing her to drop a cake. The love theme tempttodiscourageherfrompursuingtheyoungman. receivesatenderreadingbutgrowscontemplativeas Apensivewoodwindtheme(derivedfromtheBritish PriscillaunsuccessfullyattemptstocoerceJoeintoad- folksong“EarlyOneMorning”)followsforatransition mitting his affection for her. Playful, imitative wood- totheYorkshiremoors,wherePriscilla,Sam,Lassieand windssoundforLaddietearingdownPriscilla’sdress, Laddie gather to watch Joe’s bus drive by. Laddie’s thecuemaintainingacomicaltoneastheDukearrives secondarythemeleadstoanachingrenditionofhispri- onthesceneandassumestheworstwhenheseeshis marytunewhenJoe’sbusappearsinthedistanceand granddaughterstandingbeforeJoeinherbloomers.The he waves at his loved ones. Laddie whines and runs cue subsides as two British military officers arrive in downahilltochaseafterhismaster,accompaniedbya a jeep and charge Joe’s father Sam with training the repriseoftheantictheme,whichultimatelygivesway kennel’sdogsforwar. tothelovethemeasPriscillapinesforJoe. 3.SayIt Afrolickingwoodwindtuneunfoldsas Lowering the Colors A segue to an exterior of PriscillachasesJoebacktothemansion. Althoughhe Joe’smilitarybasereceivesatraditionalbuglecallover believes her grandfather would not approve, he con- snaredrumaccompaniment. fesses that he loves her, accompanied by a reprise of 6.BullTerrier Atthebase’sbarracks,sultryjazz their theme. Once the scene segues back to Sam and playsasSergeantEddieBrown(DonaldCurtis)shows the Duke seeing off the British officers, an optimistic Joeapictureofhisbulldog(thefinishedfilmdialsout militaryfanfareplaysundertheoldfriendsdiscussing this material). Lassie’s theme enters when Joe tells theconversionofthekennelintoatrainingfacility; a Brownofhisbelovedcollie’sdevotion,beforeanopen- stingerleadstoahintoftheanticthemefortheDukean- fifthtrumpetfanfaresignalsbedtimeforthesoldiers. grilynoticingthatLaddiehasmauledhisflowergarden. Infraction of Regulations Delicate pizzicato Lassie’sthememodulatesthroughasubsequenttransi- strings and woodwinds underscore Laddie sneaking tiontothecollierunningacrossagrassyfieldalongside intothebarracksatnight. Thecollie’sthemeplaysas herpuppy,withLaddiegrowingolderastimepasses. he awakens Joe and licks his face, before the sneaky, When the collies arrive on the Yorkshire moors, Joe pizzicato-drivenmaterialreturnsforCarracloughhid- sharesamomentwithLassieandthanksherforgiving ingthedogunderhisblanket;twowarrantofficersenter him Laddie, accompanied by a tender reading of the theroom,thecuebuildinglightheartedsuspenseasone youngerdog’stune. Stothartquotestheanticthemeas ofthemapproachesJoe’sbedandtearshisblanketaway, JoegoesontoteaseLaddieabouthislackofbrains. revealingLaddie. StringstakeupLaddie’ssecondary Rudling Kennels As Joe and Laddie arrive at themefortheofficeradmiringthecollie(thismaterial Rudling Kennels, a lighthearted march emphasizes does not appear in the film) until Sam arrives to col- grufflowbrasswithbusywoodwindsforagroupofsol- lect the dog, marked by a reading of the antic theme. dierstrainingtheirdogs. Stothartalsosubtlyreferences Lassie’s theme returns as Sam and Joe acknowledge the19th-centuryBritishsong“Home,SweetHome”(by Laddie’sfirstactofintelligence: trackingJoetothebase. SirHenryBishop)inthiscue. Aportentoustrillmarksatransitiontoaplanepropeller 4.TrainingRoutine Laddie’sthemeplaysasthe startingupinthemorning. collie is collared and escorted to an obstacle course, 7. Laddie at Airfield & Waiting Dog As Joe the score assuming a trilling, intimidating air as two boardshisplaneforareconnaissancemission,Laddie other dogs successfully leap over a series of wooden appears once again and climbs in to greet his master; structures. Laddie’ssecondarythemereturnswhenthe thedog’sarrivalisannouncedbysuspensefultrilling collie fails his test by squeezing himself through one stringsalongwithafateful,risingfanfare—developed of the obstacles; forlorn strings and horn underscore outofLaddie’ssecondarytheme—thatiseventuallyset asoldier’scommentthatthedogis“notverybright.” optimisticallyagainstthecollie’sprimarythemewhen Propulsive,militaristicmaterialsoundsforanotherex- Joe collects him and passes him off to Eddie for safe- ercise, a“couragetest”thathasasoldierfiringblank keeping. Racingstepwisestringsandbrassunderscore roundsatchargingcanines. WhenLaddie’sturncomes Joe’s plane starting down the runway, with Laddie’s tofacedownthephonygunfire,heretreatsintoJoe’s themesenteringthefraywhenthedogbreaksfreeand armsandthescoresubsidesintoLassie’sthemeasJoe chasesafterhismaster. Thematerialbuildstoasenti- proclaimsLaddieachampion,despitehiscowardlyper- mentalstring-drivenmelody(basedon“Home,Sweet formance. Laddie’ssecondarythemeclosesoutthecue Home”)whenJoe’splanefinallytakesoff,leavingLad- whenPriscillatriestostealJoeawayforapicnic. die behind. Dejected woodwinds develop the same 5.That’sWhereHisHeartIs Theothersleave,but sentimentaltuneforEddietyingthecollietoatreeand Priscillastaysbehindtotalktohergrandfatherabout tellinghimtowaitafewhoursforJoe’splanetoreturn Joe. ThelovethemeplaysthroughtheDuke’sfailedat- (thefinishedfilmdialsoutthismaterial). Chillystrings ©2010FilmScoreMonthly 6 FSMCDVol.13,No.20 •LassieComeHome: TheCanineCinemaCollection •SupplementalLinerNotes andwindssoundwhenthreearmyplanesfinallyreturn setting of the Grieg motive plays as the Nazis inter- tothebase;Laddiebecomesagitated,sensingthatJoe’s rogateapriest(FritzLeiber)overthewhereaboutsof planeisnotamongthem. Laddie(expectingthedogtoleadthemtoJoe). Strings 8.PlanesTaxiing Thispassageofdistressed,un- introduce a rising-and-falling danger motive when a dulatingstringsandbrassdoesnotappearinthefilm. wagondriver—amemberoftheNorwegianResistance— Plane Overdue Night falls at the airfield with helpssmuggleJoeintothepriest’schurch,rightunder gloomy, low-register strings and winds sounding as theNazis’noses. LaddieandfellowsoldierscontinuetohopeforJoe’s Disconsolate Laddie (damaged) A bittersweet arrival. (The film dials out a tentative, shimmering melody for strings and brass sounds for a transition hintof“Home,SweetHome”alongwithmoreofthe backtothelake,wherethechildrenhavefinishednurs- gloomymaterialanditssubsequent,suspensefulesca- ingLaddiebacktohealth. Anemotivethemecomesto lation.) WhenLaddiesensesthepresenceofhismaster theforeastheynotethatLaddiewillnolongeraccept andwhines,stringstakeupanimpassionedsettingof food(hemisseshismaster). Thedangermotivealter- thedog’stheme,withthematerialgrowingincreasingly nates with the Norwegian motive when the children affirmativeandcelebratoryasJoe’splaneapproaches spotNazisoldierssearchingtheshoreforLaddie. They thebase. TheanticthemetradesoffwithLaddie’ssec- hidethecollieintheirwagonfilledwithfirewoodand ondary theme for Joe’s landing and reunion with the attempt to sneak him past the soldiers, while a light- collie. A forlorn suggestion of Lassie’s theme plays heartedfluteandtrumpetmarch—forwhichStothart whenEddieinformsJoethatLaddieistobesenthome; usesthetuneofaNorwegianChristmascarol—emerges Laddie’smelodyentersandculminatesinagentleren- cautiouslyastheypausetosalutetheNazis. Thefilm ditionofthelovethemeasJoecuddleswiththedogand dials out a passage of contemplative woodwinds in- lamentsthathewillnotbeabletoseehimduringthe tendedtoaccompanythesoldiersquestioningthechil- war. dren,beforeaseethingrenditionofthedangermotive 9.ParachuteLanding Laddiehidesinthecockpit soundsforthesiblingscontinuingdowntheshore. A ofJoe’splane,joininghimonamissionoverNorway nasty exclamation of brass marks the moment when tophotographenemypositions. (Inamissingcuethat theirwagontopplesoverandLaddierunsfree,aban- accompanies this action, “To Norway,” Stothart uses doningthem.Unfortunately,“DisconsolateLaddie”suf- themilitaristicmotivefromGrieg’spianoconcertoas feredextensiveaudiodegradation;wehavedoneour iftoannouncetheplane’slocation.) Whenenemyfire best to clean up the anomalies but listeners may no- damagestheaircraft,JoeparachutesintoNorwaycar- ticethatthesoundqualitysuffersincomparisonwith ryingthecollie. Cautiouslydescendingtremolostrings othercues. Atendercodaforthiscue,inwhichquasi- followthemastheyreachtheground,thecuequickly religiosostrainsaccompanytheyoungestboy’sprayer taking on a mournful tone when Joe hits his head on forLaddie’ssafety,hasnotsurvived. Neitherhasthe a rock and is knocked unconscious. Laddie’s theme followingcue,“Haystacks,”duringwhichLaddiedis- playsasthedogattemptstoawakenhismastertono covers the farm belonging to the wagon driver who avail,withGrieg’sNorwegianmotivesoundingforthe helpedsmuggleJoeintothevillagechurch; thecollie collierunningofftofetchhelp. Aforebodingfive-note digsuphismaster’sburiedparachutefromthegarden, motive is introduced over a percussive ostinato for a accompaniedbytheanticmotive. pairofNazisoldierswhomLaddiesummons. Afterthe 11.OccupiedVillage Laddiefollowsthewagon collieleadsthesoldierstothelandingsite,theNorwe- driver into the village; a sinister minor-third and tri- gian motive returns when they discover that Joe has tonemotivewaversonbrass,underliningthethreatof disappeared. TheNazimotivebuildssuspenseforthe thesurroundingNazis. Arushingfigurewithoffbeat villainscheckingLaddie’scollarandlearningthatheis accents rises repeatedly when the soldiers take note anEnglishdog. Asthecolliefleesthescene,theNazis of Laddie and hassle the puzzled driver, who insists followandopenfire,woundinghispaw;brasstakesup that she is not the dog’s owner. The score maintains theNorwegianmotiveoverwanderingstringsforthe itsthreateningairforLaddierunningofftothechurch, chase,whileayearning,undulatingdevelopmentofthe wherethepriestleadsthefoursiblingsinaprayerfor collie’sthemeoffersreliefoncehelosestheNazisbyhid- thedog’ssafety. Thechildren’smaterialisdeveloped inginalake. Thecuereachesatentativeconclusionas intoahymn-likethemeasLaddieinterruptsthesermon, theinjureddogsettlesbytheshore. (“ChildrenofNor- tothedelightofhislittlefriends. WhentwoNazisar- way,”anothercuethatunfortunatelydidnotsurvive, riveatthechurch,thecue’sportentousmotivesreturn accompaniedthefollowingscene,inwhichfouryoung and contend with the children’s innocent material as siblingsdiscoverLaddieandtendtohiswoundedpaw.) thecolliehidesunderthepriest’scloak. 10.Underground Inanearbyvillage,apercussive LockedStorage Laddiegiveshimselfawaywhen ©2010FilmScoreMonthly 7 FSMCDVol.13,No.20 •LassieComeHome: TheCanineCinemaCollection •SupplementalLinerNotes heemergesandwhinesatthechurch’sstoreroomdoor, gathersstrengththroughtheadditionofakeeningde- behind which Joe is hiding. The score continues to scendingline(addedbyCastelnuovo-Tedesco)asthe mountdangerwiththeminor-thirdmotiveandtherush- dogproceedstotrekthroughthemountainsinsearchof ingfigureasJoeandLaddieescapeseparately,withthe Joe. ThescoretakesanoptimisticturnwhenLaddiear- Nazisinpursuitofboth. rivesattheperimeterfenceofaPOWcampandattracts 12. Injured Dog*/Of Viking Ancestry A bomb the attention of its prisoners. The finished film dials blastseriouslyinjuresLaddiewhenanairraidstrikes outtheremainderofthecue,inwhichplayfulstrings thevillage. Asheslowlymakeshiswayintothemoun- andwoodwinds(mostlydevelopedfromGrieg’scon- tains and across the fjord in search of Joe, an aching certo)wouldhaveunderscoredLaddie’sintroduction stringlamentbyMarioCastelnuovo-Tedescoaccompa- tohisnewtemporarymaster,ablindcorporal(Morton nieshissorrowfuljourney. Meanwhile,Joetakesshelter Lowry),withthreateningmilitaristicmaterialintended atthemountaincabinofOlav(NilsAsther),asupporter forschemingNaziSergeantSchmidt(RobertLewis). oftheNorwegianresistancewhoentertainswithexag- 15.LeadingtheBlind Low-registerflutesetsLad- geratedstoriesofhisVikingheritage. Hornandtenor die’sthemeagainstadissonantbutetherealaccompa- saxophonecolorareverentprocessionalthemeasOlav nimentasheleadstheblindPOWintothecamp’sbar- seesJoeoffintothemountains. Lyrical,folk-likemate- racks. ThreateningbrassandstringssoundwhenLad- rialgiveswaytoayearningversionofLaddie’stheme diewhinesataclothespeglabeled“Carraclough”;Sgt. whenJoespeaksaffectionatelyofhismissingcollie,be- Schmidtwitnessesthisandrealizesthathecanusethe foretheprocessionalmelodyreturnsforOlavadvising dogtotrackdownJoe,whohasescapedfromthecamp. JoetorendezvouswithresistancememberAnton(Leon SchmidtleavesLaddieunderthewatchofhisvicious Ames)andhiswife. Forebodingmutedbrassclosesthe Germanshepherdandthecuebuildstoafrenziedcli- cue,suggestingthedangerthatliesaheadforJoe. (Due maxasthedogsattackoneanother. totheexistenceofdualmicrophoneperspectives,FSM 16. Reprise English horn, bassoon and oboe de- isabletopresentthistrackingenuinestereo.) velop the dissonant setting of Laddie’s theme from 13. It Should Be Christmas Olav discovers Lad- “LeadingtheBlind”asSchmidtandhisdoubtfulsupe- die freezing in the mountains and recognizes him as riorwatchthecolliepickupJoe’sscentinthebarracks. Joe’scollie. (Themusicforthisscene,“Skiing,”doesnot 17. Passport Joe reaches Anton’s home, but the survive,butwasalmostentirelyderivedfromGrieg’s Nazisfindhimtherebeforehecanmakehisescapeto concertobyStothart’sco-composer,MarioCastelnuovo- England. Sulponticellotremolostringsandsnaredrum Tedesco.) Backathiscabin,Olavfeedsthecolliewhile createtensionasaNaziofficerconfrontsJoeandorders another missing cue (“With Olav”) borrows heavily himandAntontoalaborcamp. Themilitaristicmotive from the concerto (the scoring log credits the cue to fromGrieg’sconcertoisreferencedwhenthedeparting “Grieg et al.”). Soon, the Norwegian receives a radio fishermancomfortshiswife;asJoeandAntonarriveat transmission revealing that Joe will be returning, be- thecampandtaketheirplacesshovelingamongaseaof causehisescaperouteisblocked. AsOlavdelightsin captives,thepensivethemefromthesecondmovement theprospectofreunitingthedogwithhismaster—he of the concerto receives a sorrowful development for remarks,“ItshouldbeChristmas!”—alightsettingof strings. Laddie’s theme leads to quotations of “Silent Night” 18.It’sLaddie SchmidtandLaddiearriveatthela- and“GoodKingWenceslas.” ThesceneseguestoJoe borcamp,markedbyasuspensefulescalationfromthe skiing through the mountains, with cascading wood- “LeadingtheBlind”developmentofthecollie’stheme. winds mimicking his action. Grim brass and strings AntonwarnsJoetobeatLaddieawaysothathewillnot denotetwoNazisspyingonhimashepassesby. berecognizedasthedog’smaster. 14.FranticDog LaddieseestheNazisapproach- 19.SeekingHisMaster StothartreprisesLaddie’s ing the cabin and alerts Olav to their presence— secondary theme for the collie inspecting a row of la- accompaniedbyamissingcue,“NaziMenace.” Once borcampworkers,thescoremountingsuspenseashe theNazisarriveatOlav’scabin,theysearchforandfind approachesJoe. AnachingrenditionofLaddie’stheme hiscontrabandradio(“SearchingtheCabin”isanother burstsforthwhenherecognizeshismasterandrushes lostcue). AfterexplainingthatJoehasbeencaptured, overtohim; Joeraiseshishandtostrikethedog—as theykilltheNorwegianandblowuphishomewithLad- perAnton’sinstructions—butinsteadcaresseshimand diestillhidinginside. Torturedstringsandbrassbuild returns his love. Comical woodwind material from asthetrappedcolliestrugglestopullhimselffromthe “Reprise”soundsforSchmidtbreakingupthereunion. wreckage. OnceLaddieisfree,asolemnminor-mode 20.ClownSergeant AsSchmidtmarchesJoeand lament (“A˚se’s Death” from Grieg’s Peer Gynt) plays LaddiebacktotheoriginalPOWcamp,thescoremocks forthedogwhimperingoverOlav’scorpse;themelody the sergeant with circus-flavored clarinet amid tense ©2010FilmScoreMonthly 8