GREATEST SCORES OF THE TWENTIETH CENTURYOriginal Review by Craig Lysy
Executive Jack L. Warner of Warner Brothers decided that the popular American Book of The Month Club novel “Mr. Skeffington” (1940) by Elizabeth von Arnim could be successfully adapted to the big screen. He purchased the film rights and would manage production along with the Epstein brothers, Julius and Philip. A $1.521 million budget was provided, the Epstein brothers would write the screenplay, and Vincent Sherman would direct. Casting was a challenge in that studio stars Merle Oberon, Hedy Lamar and Paul Henreid all turned down offers. Eventually Bette Davis accepted the role of Fanny Trellis Skeffington. Joining her would be Claude Rains as Job Skeffington, and Richard Waring as Trippy Trellis.
Fanny Trellis is a beautiful, spoiled socialite who delights in having many suitors. When she discovers that her beloved brother Trippy has embezzled money fro his employer, she schemes to save him by a marriage to the company executive, Job Skeffington who is smitten with her. Trippy is saved from prosecution but departs to fight in WWI as he is offended that Fanny married a Jew. Fanny’s marriage of convenience results in the birth of a daughter, but she neglects her and tires of Job, who she never loved. They separate and Job takes their daughter Fanny to live with him in Europe, leaving half his estate to Fanny. With the encumbrance of her husband and daughter gone, Fanny has many affairs but loses her beauty and suitors after a bout of diphtheria. Now alone, Job returns home blind from being tortured by the Nazis, and Fanny reconciles with him, realizing that of all the men in her life, he was the only one who truly loved her. The film was a commercial success $1.2 million. Critical reception was favorable, and the film received two Academy Award nominations for Best Actress and Bast Actor.
Franz Waxman had recently hired on with Warner Brothers and was assigned the film. Studio CEO Jack Warner desired extensive music in his films, which he impressed upon his composers. Waxman, upon viewing the film post production, understood that despite its title, the story revolved around Mrs. Skeffington – Bette Davis. He consulted with Director of Music Leo Forbstein and they believed that the music needed to convey the consequences borne of Fanny’s selfish life choices, that the bitter reality that her beauty was gone, and that her life at the end, was empty. Because this was an intimate tale, Waxman chose to adopt a more Straussian romantic sensibility.
For his soundscape Waxman composed six primary themes. Foremost is Fanny’s Theme, which offers a bright effervescence and resplendent string borne sumptuousness. It flows like a valzer aggraziato, which like her beauty, captivates. Yet after suffering from diphtheria, which severely ages her, the theme transforms, becoming woeful, and pitiful, thus reflecting her response to the loss of her beauty. Job’s Theme is long lined and usually voiced by violas with bass clarinet, kindred woodwinds with harp adornment. There is a gentleness in the melody, but also a palpable long-suffering sadness. Trippy’s Theme offers a grim, but also pathetic identity with a repeating descending contour. He is an abject failure of a man that never achieves anything, which is reflected musically in that his theme never resolves or culminates. Young Fanny’s Theme speaks of child-like innocence and happiness, borne by two pianos, celeste, with harp and glockenspiel adornment. Later in the film when she returns as a young woman, the child-like essence of her theme has been replaced by a more mature expression. The Suitor’s Theme is comic, hilarious and at times delightfully silly. Fanny, the ultimate flirtatious tease repeatedly frustrates their romantic overtures and the music speaks to the aftermath of their rejection and inglorious departures. Janie Theme offers a sprightly identity abounding with happiness and joie de vivre.
To provide a contemporaneous feel and classical elegance, several songs and a Wagner piece were infused into the score’s tapestry: “Moonlight Bay” by Percy Wenrich, “Oh! You Beautiful Doll” by Nat Ayer, the Bridal Chorus from “Lohengrin” by Richard Wagner, “It Had to Be You Isham Jones and Gus Kahn, “I’m Looking Over a Four-Leaf Clover” by Harry M. Woods, “Someone to Watch Over Me” by George Gershwin, and “Bye Bye Blackbird” by Ray Henderson.
Waxman’s Warner Brother’s fanfare supports the display of the Warner Brothers studio logo. At 0:07 we segue into “Main Title” atop heraldic trumpets and high register strings for a very brief quote of Fanny’s Theme as the opening credits display. At 0:11 we flow into a somber Job’s Theme borne with sadness by full orchestra. At 0:49 we are graced by an exquisite Fanny’s Theme by solo violin d’amore. At 1:00 we segue into the film proper with “Suitors” a wonderful and delightful score highlight. Mr. Condeley, the first of many men coveting the affection of Fanny Trellis arrives at her home. Waxman introduces his playful, and animated Suitor’s Theme, which abounds with fanciful, bubbling delight. The writing for strings and woodwinds is just amazing and fits the scene perfectly. Mr. Soames, the butler admits Mr. Condeley and confides that Miss Trellis is dressing, but that he may join Mr. Morrison in the library for a drink. He is displeased that there is competition, and grudgingly joins Mr. Morrison. As they assert their intentions to marry Fanny, a third suitor, Mr. Thatcher arrives at 2:00 supported by the Suitor’s Theme borne by a saxophone sardionica. At 2:42 the theme reprises as George arrives, and shocks the three suitors as he walks upstairs and into Fanny’s room without knocking. At 3:01 we segue into “Fanny” supported by ascending strings spiritoso, a harp glissando and celeste with quotes of the Suitor’s Theme as George her cousin calls to her. As she exits her dressing room at 3:31, we are graced by Fanny’s Theme on strings romantico, and then woodwinds tenero as they hug.
“Skeffington Arrives” reveals Soames admitting two more couples, and a Mr. Job Skeffington who presses him for a meeting with Mr. Trellis. He agrees, and as Job enters, the gentility and sadness of his theme supports. At 0:37 the music darkens as Soames advises Trippy that Mr. Skeffington waits in the study for a quick meeting. Fanny’s Theme joins as she is happy that his employer has joined, but Trippy is enraged, tells Soames that he is not available, and storms out at 1:08 as a crescendo irato erupts. A diminuendo of uncertainty follows as Fanny and George are dumbstruck by Trippy’s outburst. They decide to meet with Mr. Skeffington and as he escorts her down the stairs in her resplendent gown at 1:38, we a graced with a sumptuous statement of her theme, embellished with a solo violin d’amore as her suitors await her below. At 2:03, three successive ethereal chords support her introduction of George to her three suitors. Interplay of Fanny’s and Job’s Theme support her directing George to greet Mr. Skeffington, promising to follow after meeting her guests. The boisterous Suitor’s Theme supports a fourth suitor, Chester Forbish rushing her, only to be bypassed with musical comedy. At 2:47 Job’s plaintive theme, now full of foreboding supports George’s entry into the study. This closes out the album cue.
In (*) “Job is Magnanimous” Fanny joins, and they receive the devastating news that Trippy had stolen $24,000 with fake commissions. Trippy refused an opportunity to return the money as he lost it at the racetrack. As such, Job states he has no alternative but to go to the district attorney unless the estate can reimburse him. Fanny then advises that Trippy went through the inheritance and that they are broke. Fanny uses her feminine wiles to elicit sympathy and she and George ask for time to try to find a remedy. We see that Job is taken by Fanny’s beauty and charm, and agrees to defer action for a short time. A noble rendering of his theme supports his magnanimity, his declining to join for dinner, and his departure. Afterwards, her playful theme supports her telling George not to worry, as there will be three dozen roses in the morning. (*) “Roses” reveals the maid Manby bringing in floral baskets and bouquets to Fanny with a musical narrative of blossoming happiness. The music sours when she learns no flowers were from Mr. Skeffington. Yet playfulness and comedy join as she revels in the attention and sends Manby off with the flowers.
In “Trippy”, he enters her room and his dark theme with a grim descending contour supports his entry. He is sheepish, denies the theft, and turns away saying he has a hangover. At 0:18 the music softens as she tries to comfort him. Yet when he continues to deny any wrongdoing, she confronts him over his robbery. His grim theme returns, and he becomes defensive, and then outraged, storming out in a rage propelled by an eruptive and angry rendering of his theme. As he cries on his bed, she comes to comfort him and the music again softens. His angry theme again resounds (not on the album cue) when he admits his failure, and then stuns her saying that he will kill himself if people find out. At 0:56 the music subsides, and becomes wistful, carried by piano as they reminisce about their mother. At 1:31 Fanny invites him to lunch with Janie, whose theme joins on spritely woodwinds of delight. At 1:45 three chime like chords support Manby bringing in roses from Chester. We close with Fanny’s Theme as we see in her eyes a scheme germinating.
In an unscored scene Fanny pays a visit to Job’s office and he graciously agrees to meet. We see that she is flirtatious, and he receptive. He invites her to lunch, but before they can depart, bedlam breaks out on the trading floor and he receives a telephone call. We flow into “War Declared” as news arrives that Germany has declared war on Russia. A dire and warlike musical narrative unfolds with Waxman interpolating the German national anthem Deutschland Über Alles. A torrent furioso erupts as dozens of men sweep into Job’s office demanding instruction on what to buy and what to sell. Fanny is buffeted on all sides, terrified, and eventually climbs atop a chair to escape. At 1:38 we close on her theme as she shouts to Job that she is cancelling their lunch date and departs. “The Painting” reveals a beautiful painting of Fanny embellished with her theme. Outside on the patio Condeley demands that the painter sell the painting to him, but to no avail. At 0:30 Fanny departs to her theme carried by strings felice and bubbling woodwinds of delight. Interwoven are fragments of Job’s and Janie’s Themes as she tells George to cancel her lunch with Janie. A diminuendo ushers in Job’s Theme at 1:04 as she arrives at the front door of his house. Her theme resumes as she peers through the front door, and then blossoms as Job arrives, smiles, and tips his hat. We close with twinkling magic as we see her painting being delivered to his house.
(*) “Marriage” reveals a justice of the peace marrying Job and Fanny. They set off on their honeymoon, and on their ship, Waxman supports with source music including, “Oh! You Beautiful Doll” and the Bridal Chorus from “Lohengrin”. Job relates that he had been attracted to her for a while and realizes that although he has married her, that he does not yet believe he has won her heart. She reassures him, offers compliments on why she married him, and offers him a kiss. After they kiss, the onboard band of accordion, violin and lute serenades them to “Moonlight Bay”. In an unscored scene they arrive home to find George feeding her four former suitors leftover turkey. She introduces them to her husband Job and then prepares to serve them desert.
“Trippy Drunk”, offers an emotional powerhouse where Waxman demonstrates mastery of his craft with poignant thematic interplay. It reveals Trippy staggering in drunk. A dire and powerful statement of his theme erupts atop trombones, French horns and low register woodwinds. At 0:51 Fanny’s Theme supports her coming to him with affection, however his theme resumes grimly to support his rudeness and displeasure with the suitors, criticizing them for allowing themselves to be outbid. He storms out leaving Fanny deeply embarrassed and devastated. At 1:48 woodwinds voice Trippy’s Theme full of pathos as Fanny joins him in his room. As she reveals that she married Job to save him, she admits that while she is fond of Job, that she loves Trippy. The scene is very emotional and Waxman supports with interplay of Job’s Fanny’s and Trippy’s Theme. When she asks that he apologize, he angrily refuses and at 3:16 drops a bombshell, supported by a dire rendering of his theme, that he is enlisting and going o Europe to fight in the war. She cries and begs him that if he loves her, he will stay. At 3:24 his reply is devastating; “I do love you, but I hate Mrs. Skeffington!” A slow building crescendo irato supports as he storms out, cresting with fury at 3:51 as Fanny runs after him to no avail as he bolts past Job. A musical narrative of anguish follows as Fanny sobs and goes to her room and Job walks upstairs. A somber statement of his theme supports him finding the door locked. We shift forward in time one year at 4:57 atop Fanny’s Theme on solo violin, which supports Job imbibing a drink as he gazes at her portrait in the library. George joins him and Job shows him a bracelet he will gift Fanny for their first anniversary. He then shares his amusement of how Fanny’s suitors remain persistent, and that she is just too kind to them.
At 5:19 we segue into “Dinner at Home” atop an aggrieved Suitor’s Theme, which shifts to mocking comedy as Edward Morrison races down the stairs. He has again been rejected by Fanny and makes an embarrassing exit, much to Job’s amusement. At 5:54 we are graced by an elegant rendering of Fanny’s Theme as she descends the stairs in a beautiful evening gown. Job compliments her, and gifts her the bracelet, which she finds delightful. With obvious detachment, she offers him her cheek for a kiss, and then walks off to the dining room saying she is famished. The lack of love is apparent to both Job and George, with Job using humor to mask his disappointment. “A Happy Event” offers a beautiful score highlight, perhaps its finest. Fanny faints during a social gathering and when Job meets with the doctor, he is given surprising news, that he is a father. Job enters Fanny’s room intent on celebrating the happy news, his entry carried by a child-like celeste rendering of his theme. But he finds her less than happy, instead voicing surprise and fretting that she will soon be swollen, ugly and grow old. She says she does not want her friends to see her this way. Job, who is gentle, caring, and loving, manages to break through her defenses, accepting her open armed request for a kiss. Yet she insists on going to California to have the baby, so her friends cannot see her swollen and ugly. Waxman weaves an exquisitely beautiful passage with a tête-à-tête of their two themes, which is elegant, evocative and tender. As Job happily accepts his role at 2:41, his theme assumes for the first time a confident expression. Yet we close at 3:24 with a sad rendering of their themes as he acquiesces to her demands and kisses her after she falls asleep from the sedative.
“Baby Montage” reveals a plaque “Los Angeles Hospital” and a dutiful and loving Job trying in vain to reach Fanny. A refulgent and joyous Little Fanny’s Theme is born, emoted happily by two pianos, celeste, with harp and glockenspiel adornment. At 0:17 we flow into a beleaguered Fanny’s Theme replete with flutter-tongue trumpets as she goes into labor. At 0:33 a proud rendering of Job’s Theme by full orchestra supports the display of the birth certificate; “Frances Rachel Skeffington, born April 6, 1916”, as a jubilant Job revels in the good news on a phone call. At 0:48 violins felice voice the joy of this blessed day. Yet at 0:53 a dire chord supports the newspaper headline; “US Declares War on Germany”, joined by French horns declaring Reveille. Aggressive martial horns support a telegram, which displays orders for Captain Job Skeffington to report for active duty. At 1:02, trumpets militare take over the motif as we see a telegram ordering First Lieutenant George Trellis to report for duty, followed by American doughboys precision marching. At 1:10 we flow angelically atop Little Fanny’s Theme as we see her playing in the park under the watch of her nanny. At 1:21 a spritely Fanny’s Theme supports her arrival with Job and George, entwining with the shimmering Little Fanny’s Theme. She departs advising Job that Chester and Freddie will be joining them at the Malloy dinner tonight at 8 pm. He is pained and asks if they would mind if he came along. We close with a tender, lullaby diminuendo on Little Fanny’s Theme as Fanny departs with a giggle.
“Another Suitor” reveals Miles, another suitor proposing to Fanny, and like all the rest, dismissed, much to Job and George’s amusement. The flustered Miles exits her room and a comic and silly variant of the Suitor’s Theme carries his ignominious exit. “Telegram” offers a powerful score highlight. It reveals a courier delivering a telegram to Mrs. Skeffington from the War Department, for which Job signs. They read that Trippy has been killed and Job goes up to Fanny’s room to inform her. Waxman transforms Trippy’s Theme into a lamentation, which slowly gains force on a crescendo affanato, cresting in torment atop elegiac trumpets at 1:05 when Fanny reads the telegram. She becomes hysterical, and refuses Job’s efforts to comfort her. He runs to get brandy and asks George to comfort her. A painful decrescendo of expiration on Trippy’s Theme follows as she tells George the it was Job coming into her life that killed Trippy. At 2:01 a devastated abyssal rendering of Job’s Theme supports his return as Fanny declares that she only married Job to save Trippy, and now all she has is Job. He offers a brandy and we see in his eyes and George’s the pain of this revelation.
“Fanny Meets People” reveals the newspaper headline “Armistice!!” supported by a short anthem of jubilation. We shift to Fanny, supported by her playful theme, trying on some ‘immodest’ dresses with her maid, dressmaker and a new suitor. At 0:15 the silly Suitor’s Theme supports his rejection and departure form Fanny’s room. At 0:19 a grim anthem supports a newspaper headline declaring; “President Harding Opens Disarmament Conference”. A sad rendering of Job’s Theme follows as Fanny instructs Manby that she again will not be spending the evening with Job. Interplay of Job’s and Little Fanny’s themes follows as we see the two playing. At 0:48 an anthem of alarm supports a newspaper headline “Gang War Rages Over South Side Liquor Trade” followed by dire musical narrative as we see mob boss MacMahon donning a pistol under his dinner jacket. The music softens on Fanny’s flirtatious theme, which supports her savoring all the attention men are providing as they fawn over her. She purposely drops her handkerchief to attract the attention of mob boss Mr. MacMahon, who responds. She accepts his invitation and they go to a local speakeasy. At this point in the cue, 1:35 we shift to an intervening scene at a speakeasy supported by source music.
(*) “Speakeasy” It reveals Dolores Gray with piano accompaniment singing the classic song “It Had to Be You” in a speakeasy owned by Mr. MacMahon. He purposely plants seeds of discontent with a false disclosure of Job’s notorious infidelity, which Fanny laughs off. We shift to a piano rendered “I’m Looking Over a Four-Leaf Clover” as MacMahon proposes and promises her a more exciting life, at which point Job arrives, much to Fanny’s surprise. MacMahon tells her she is one of the five women he comes here with four times a week. They stop off at Fanny’s table where Job introduces Miss Morris. When Job introduces Fanny as his wife, Morris asks to go home, only to have Job insist she stay as this is one of the few times, he gets to see his wife. We now return to cue 9 at 1:36 with a segue into “Raid”, which reveals a police raid. A trumpet bellicoso propels an intense musical narrative of aggression as Job and Fanny, and the patrons all bolt and seek to escape out the side door. A diminuendo of sadness supports a screen display; “Supreme Court Action in the Case of: Frances Beatrice Skeffington and Job Skeffington” At home George trys to convince Fanny not to divorce Job to no avail. She says she is happy he provided her five reasons (secretaries) to allow her to divorce him.
“Restaurant Scene” reveals Fanny and Job discussing their divorce. We see he is bitter and acknowledges that she never loved him, but then stuns her by saying, this is not surprising as she is incapable of loving anyone. She then asks if he would take custody of Little Fanny if she approves. He agrees to take her out to dinner and ask her. As she prepares to goes upstairs to dress for her date with MacMahon Job asks her to dress Little Fanny on her blue saffron dress, as she looks like you in it. This revelation makes Fanny pause and Waxman supports the scene with an extended rendering of an aching Job’s Theme full of sadness, including a beautiful passage for a tender solo by oboe d’amore. At 1:03 the cue and movie diverge again for an intervening scene. (*) “Job and Little Fanny” reveals father and daughter dining at a restaurant supported by a big band rendering of the classic song “Someone to Watch Over Me”. She asks to live with him, but he declines saying he will be away on an extended business tip. He then explains that he is Jewish, but cannot bring himself to express his desire that she not suffer prejudice. At 1:04 as she begs him, and goes to his chair to embrace him, we return to cue 12 with a warm and thankful expression of Job’s Theme, which blossoms with joy as he agrees to take her with him to Europe and we see them lounging on the deck of an ocean liner.
At 1:31 we segue into “Fanny Alone”, which offers a montage of scenes of Fanny writing dated letters over time to Little Fanny, living the life of a coveted socialite, with recuring scenes of jilted suitors. Waxman and Paul Dessau support with playful interplay of Fanny’s and a silly Suitor’s Theme. At 1:54 we see her out dancing supported by a festive instrumental rendering of the song “Bye Bye Blackbird”. At 2:10 an aggrieved Suitor’s Theme supports yet another dismissal at her home. At 2:14 a dire Newspaper Motif supports the headline; “Stock Market Collapses”. A brief interlude of a fanciful Fanny’s Theme follows as we see her at home, joined at 2:26 by another dire Newspaper Motif statement as a headline displays; “Nation Faces Crisis as Unemployment Grows”. Another interlude of Fanny’s Theme supports her eating breakfast in bed and turning down a luncheon date, followed by a grand Newspaper Motif statement as an electronic billboard displays; Roosevelt Elected (not on the album). As Fanny writes a letter dated August 14, 1935 her fanciful theme resumes and we are graced by an extended rendering playfulness and gentility as we shift to a country club where dozens of men fawn over her and seek her affections. She selects a very young, tall, dark haired and handsome Johnny Mitchell, she flirts, and we close on the suitor’s Theme as she cancels multiple dates to be with him.
“Young Fanny” reveals Fanny dismissing Johnny’s sexual advances and statement that he loves her, preferring to instead go sailing. Music enters as her butler Clinton announces that a woman claiming to be her daughter has arrived and wishes to see her. We open with a tentative Fanny’s Theme as she tells Johnny that there must be a mistake and goes to see her. A warm Job’s Theme carries her to the foyer, joined at 0:29 by a tender Little Fanny’s Theme, which supports Fanny caressing her cheek. A foreboding passage of Job’s Theme follows as she relates her fear of the Nazi’s and the safety of her father who remains in Germany. At 1:04 a conflicted Fanny’s Theme joins as she tries to adjust to Little Fanny moving in. At 1:21 Fanny’s Theme blossoms as Johnny enters the room, and is introduced. We clearly see that he finds her daughter attractive. At 1:34 woodwinds voice discomfort as Fanny notices that her daughter and Johnny’s eyes have locked. We have interplay of Fanny’s and Job’s Themes as they discuss sailing and how tall little fanny has grown. As she escorts her daughter up to her room, Johnny commits a faux pau at 2:26 supported by woodwinds sardonica and howling trombones comici effects when he says that he cannot call them both Fanny, and so christens the daughter “young Fanny” and the other as… Fanny is displeased as she escorts ‘young Fanny’ upstairs as a sheepish Johnny looks on. At 2:40 we shift to stormy seas as we see their sailboat being buffeted by a raging sea and cold winds. Johnny begs Fanny to take cover, she refuses, but ultimately collapses, chilled and overcome. Waxman uses the orchestra to create a storm torrent of surging and ebbing seas, with trilling woodwinds evoking he howling winds. A descent motif supports Fanny’s collapse on deck.
At 3:46 we segue into “Diphtheria Montage” where a doctor making an emergency house call says she must be taken to hospital immediately. Waxman sow unease with a grim musical narrative to support a montage of hospital and treatment scenes. At 3:59 a haunting Job’s Theme borne by electric violin joins with specter-like descending figures by piano, flute and vibraphone as we see her in tortured sleep, beset by flashbacks of Job speaking to her; “If a woman is loved, she will always be beautiful”, “You never once showed him any affection”, “You’re not afraid of growing old, are you Fanny?”, “You can’t really love anyone” and “You’ll never be ugly Fanny”. At 4:41 playful woodwinds support Fanny’s maid calling Henri’s hair salon, followed by him designing a wig for her. Comic effects follow, pizzicato strings synched to all the creams and beauty products he has his assistant grab from the shelf. At 5:05 a metallic twinkling supports selecting of false eyelashes with a shift to the house where young Fanny prepares flowers for her mother’s return home.
“Faded Beauty” reveals Fanny returning home and attended to by young Fanny and George. She sits down for tea and as she looks up at her portrait, music enters with Fanny’s Theme led by a flute and rendered as a valzer spettrale as she recognizes that her beauty has faded, despite George’s reassurances. At 0:52 a beleaguered ascent motif and an aggrieved Fanny’s Theme supports Fanny lifting her veil to drink tea, which reveals an aged and very wrinkled face. The music descends and slowly darkens, joined by a haunting Job’s Theme on electric violin as she relates that she has been having visions of Job. At 2:34 the sorrowful solo flute leads a resumption of her theme in waltz form as she accepts Dr. Melton’s orders to go to her bedroom. Her theme is shorn of its vitality and rendered as a Pathetique. She asks George to assist a decrepit old lady and he escorts her up, and then invites young Fanny and George to dine in her bedroom tonight. At 3:19 horn declaration resounds as young Fanny inquiries about her mother’s appearance to Dr. Melton, and is told that Diphtheria ravages the body, ages one’s appearance, and that Fanny will never regain her youthful appearance. We close with a musical narrative of sadness as Fanny looks at her aged face in a hand mirror.
(*) “Isolation” reveals Manby serving Fanny breakfast in bed and encouraging her to go outside and take a walk in the park as she has not left her room for ten days. Fanny refuses and frets that no one has called her. Waxman emotes Fanny’s Theme with a narrative of woe, which is joined by a haunting Job’s Theme on electric violin as his apparition again appears to plague her. We close on a pathetic Fanny’s Theme as she agrees to Manby’s recommendation that she see a psycho analyst. In an unscored scene Dr. Byles agrees to see her without an appointment. (*) “Dr. Byles” reveals a cantankerous session where he is very blunt regarding her faded beauty, and subconscious need to see Job. He tells her to go back to her husband and ditch her six male suitors. She is offended but accepts his challenge to throw a dinner party and prove that her suitor’s still love her. As she storms out and slams the door, Waxman offers an angry coda.
(*) “Dinner Invitation” reveals Fanny writing dinner invitations to her six gentlemen friends. Young Fanny joins and Fanny asks that she go out Thursday night as she believes it best that she not be at her party. Young Fanny is hurt by the request, but agrees. Waxman supports with Fanny’s Theme, but it lacks its former youthful vitality. “The Dinner Party” (parts co-composed by Paul Dessau) reveals a house full of guests. A pleasant musical narrative is offered with quotes of the Suitor’s Theme supporting the arrival of each of the suitors. The music becomes playful as they all reacquaint. At 2:08 Fanny and George appear at the head of the stairs and all eyes fixate on her. Her theme carries her descent; however, it is a shadow of its former self. Awkwardness follows with various solo woodwinds supporting the greeting of each of her suitors. At 4:20 surging strings romantico bring Chester to her, but after he see her wrinkled face, we see him try to hide his shock, which is supported by sardonic woodwinds. She sees him recoil and tries to maintain her composure. We close with her theme attempting to soar and reclaim its former glory, but it fails and we conclude with atop tremolo strings with harp adornment.
(*) “Fanny and Jim” reveals the two alone on the terrace reminiscing. Her efforts to flirt and rekindle their romance are not returned as he says he is happily married with seven kids. She repeatedly probes, asking him if she has changed. His discomfort is very noticeable and he evades, until she forces an answer to which he offers a hallow compliment. Waxman supports with her theme rendered as a Pathetique as she realizes that Dr. Byles was right, that her beauty has faded and that her former suitors are no longer attracted to her. (*) “Fanny and Ed” reveals her returning home from a walk and told by Clinton that Mr. Morrison waits in the study. A dirge like rendering of her theme supports, and becomes pathetic as she joins him. He confesses that he still loves her, but she rebuffs him saying; “Look at us, you are bald and I am dilapidated”. He grabs her and says he wants to marry her, but after part of her wig falls off, dispirited harp arpeggios support his shock. As she pins it back on, she says her hair treatments leaves her practically broke, a revelation that causes the music to sour and become forlorn as we are informed that he was only after her fortune. As he is exposed, he offers to leave with the lame request that they have lunch together some day. A pathetic rendering of her theme takes her back into the study, and we close on weeping strings as she gazes upon, and pines for her former beauty, as seen in her portrait.
(*) “Marriage” offers a poignant score highlight. It reveals young Fanny joining Fanny in the study. A woeful Fanny’s Theme supports her arrival, joined by her theme, which has lost its child-like innocence, matured, and gained confidence, now empowered by warm French horns. She cuts to the chase and says the she and Johnny Mitchell are going to get married. Fanny expresses surprise and says you have not known him very long. A searing chord supports her reply; “I’ve known him several months, as long as I have known you.” When Fanny says that she should have talked it over with your mother, young Fanny unleashes a second devastating rejoinder; “Have I a mother?” As Fanny asserts her love and says it was her father’s wish for her to leave, Job’s Theme sounds on French horns nobile, entwining with Fanny’s Theme on oboe triste as she can no longer escape her selfish life choices. Her theme becomes pitiful, filled with regret when young Fanny says that a woman is beautiful as long as she is loved, and had you accepted that and kept daddy, you would not be alone today, but instead, loved. We descend into despair when her offer to try to be a mother is rejected as too late, and impractical, saying they are moving cross country to Seattle. They kiss good bye and a solo cello affanato carries young Fanny’s departure.
“Forsaken” offers a score highlight of devastation as Waxman masterfully emotes musically Fanny’s devastation and realization, that her beauty was gone, and that her life at the end, was meaningless, unfulfilling, and empty. Abyssal bassoon and dark chords of woe join at 0:13 with an achingly sad Job’s Theme, weeping for what was lost on electric violin as she wanders her empty house. At 0:52 Fanny’s Theme on violin affanato supports her approach to a mirror, where she gazes at a wrinkled aged face whose beauty is a faded memory. A 1:04 a devastating crescendo affanato initiates a tortured musical narrative as she aimlessly wanders the house, cresting with each mirror she encounters at 1:26 and 1:37 offering horrific, searing daggers of psychic pain. Her theme descends into death throes atop low register horns, crashing at 1:59 with devastation as she cries out to Manby. We close on a diminuendo of despair as Manby usher her up the stairs to rest in her room.
“Finale” offers a poignant score highlight with sublime interplay of Job’s and Fanny’s Themes. It reveals George visiting and bringing news that Job has returned to New York. He adds that he was released from a Nazi concentration camp, is poor, and a broken man. He pressures her to remember how generous he was with the divorce settlement, and that it is time to repay that generosity by gifting him back some of that money. She is stunned when George advises that Job is downstairs waiting to meet with her. Music enters grimly with this revelation, offering a repeating, descending six-note motif of woe. She refuses, saying her beauty is lost and she will not suffer another look of revulsion. At 0:27 Waxman supports with a molto tragico rendering of Job’s Theme borne by unison bassoon, bass clarinet and alto flute, buttressed by strings affanato. At 1:19 a woeful, and pitiful string borne rendering of Fanny’s Theme joins. At 2:02 George exhorts her to do the right thing and see him, she hesitates, but agrees. A sad rendering of Job’s Theme with a repeating, dirge-like four-note echo carries her walk to the balcony. At 2:42 cyclic harp glissandi support her hesitation, and gaze downstairs. A woeful interlude at 3:30 supports her turning back, but then after seeing George’s encouraging gaze, she resumes her descent. At 3:38 she sees Job and her once resplendent theme is reborn, but short-lived, shifting to sadness upon bass clarinet and organ as she walks hesitantly towards him. He gets up and begins to walk, but stumbles and falls over a footstool at 5:05 supported by a dark chord. She realizes that he is blind, and strings romantico voice her warm and comforting theme as she hugs him and affirms her love and affection. At 5:52 as she escorts him, a noble trumpet led rendering of his theme supports. At 6:21 a transformed, string borne Fanny’s Theme, which speaks of hope, renewal and happiness regained, blossoms as she advises Manby that Job has come home, and that a woman who is loved, will always be beautiful. She escorts him up the stairs, but at 7:06 she turns and a spritely Janie’s Theme reprises as she directs Manby to call her and cancel their lunch date. We close with Fanny’s Theme restored to its former beauty as the film closes with a view of her portrait atop a grand flourish.
I commend Betta International for this long sought digital world premiere recording of Franz Waxman’s “Mr. Skeffington”. The restoration efforts by John Morgan were again remarkable, and the performance of the Moscow Symphony Orchestra under the baton of William T. Stromberg, superb. The audio quality is excellent and provides a wonderful listening experience. I believe Bette Davis to be one of the greatest actresses of all time. In all her films, the storytelling finds her providing the essential gravitas, which holds the film together. In a masterstroke Waxman captured Fanny’s very essence, which embodied her beauty, flirtatiousness, selfishness, and vanity. Instructive is how the evolution of her theme mirrors her loss of beauty, vitality and confidence following her bout with Diphtheria. Ultimately, the redemptive transmutation of her vanity and selfishness into love potentiates a rebirth of her theme in all its resplendent former glory. There is nothing so painful in life as unrequited love, which Waman perfectly captured in conceiving Job’s Theme. His music is long suffering with a pervasive sadness, which at times achieves kindness and nobility. Masterful is how Waxman throughout the film entwines their two themes, creating poignant interplay. Indeed, his music in every way elevated this film, and enhanced its storytelling. For the crucial scene “Forsaken” Waxman’s music brilliantly achieves a sublime cinematic confluence with Davis’ peerless acting, and Fanny’s unassuageable despair, visualized with each mirror she encounters, which offers horrific, searing daggers of psychic pain from a now repulsive reflection of her aged and wrinkled face. Folks, I consider this score a masterpiece and enduring testament to Waxman’s mastery of his craft. I highly recommend this quality album as essential for your collection.
For those of you unfamiliar with the score, I have embedded a YouTube link to the finale:
Buy the Mr. Skeffington soundtrack from the Movie Music UK Store
Track Listing:
- Main Title – Suitors – Fanny (4:08)
- Skeffington Arrives (3:16)
- Trippy (2:03)
- War Declared (1:50)
- The Painting (1:58)
- Trippy Drunk – Dinner at Home (7:02)
- A Happy Event (4:25)
- Baby Montage (1:45)
- Another Suitor (0:29)
- Telegram (2:40)
- Fanny Meets People – Raid (2:15)
- Restaurant Scene – Fanny Alone (4:45)
- Young Fanny – Diphtheria Montage (5:27)
- Faded Beauty (4:29)
- The Dinner Party (5:06)
- Forsaken (2:50)
- Finale (7:56)
Running Time: 62 minutes 24 seconds
Marco Polo 8.225037 (1944/1997)
Music composed by Franz Waxman. Conducted by William Stromberg. Performed by Moscow Symphony Orchestra and Chorus. Original orchestrations by Leonid Raab. Additional music by Paul Dessau. Recorded and mixed by Edvard Shakhnazarian and Vitaly Ivanov. Score produced by Franz Waxman and Leo F. Forbstein. Album produced by John Morgan and William Stromberg.