Day Seven: The Scores, 1954

Is there any branch more exclusive than the Music one? In looking up the usual trivia of previous nominees, past winners, etc., I found that of the thirteen composers nominated - and I'm including both Musical and Non-Musical categories - all but two were either previous nominees, previous winners, or on their first of many nominations. Only Larry Adler and Leonard Bernstein, both up for Scoring of a Dramatic or Comedy Picture, were one-and-dones, though it's worth noting that Saul Chaplin, a co-winner for Scoring of a Musical Picture, would once again triumph in that same category for co-adapting Bernstein's West Side Story compositions for the cinema.

The nominees after the jump, starting with the non-musicals....

The Caine Mutiny

Max Steiner

**
past three-time winner, 23rd of 24 nominations

The music is terrific on its own, but feels out of place when watching - not as dark as it could be.

Genevieve

Larry Adler

****
first and only nomination

Surprisingly weird, quaint. A perfect fit.

The High and the Mighty

Dimitri Tiomkin

****
past winner, seventh of 14 nominations for scoring

Would that the rest of the movie could be up to the quality of its main theme.

On the Waterfront

Leonard Bernstein

*****
first and only nomination

Suspenseful, raw, effective.

The Silver Chalice

Franz Waxman

***
past two-time winner, tenth of twelve nominations

Boy, these epics really do all sound the same!

--------------------------------

The High and the Mighty is the earworm, sure, and actually won the Academy Award. But I'm petty enough not to give credit for the one thing that movie did right, especially since a film's score should complement what's happening on screen, not fool you into believing the movie is better than it actually is.  As far as narrative impact and appropriate pairing of music and image go, the winner is clear:

LEONARD BERNSTEIN

for

ON THE WATERFRONT

Now, on to the nominees for Best Musical Score:

Carmen Jones

Herschel Burke Gilbert

adapting the music of George Bizet

****
second and final nomination for scoring

The Glenn Miller Story

Joseph Gershenson / Henry Mancini

adapting the music of Glenn Miller

***
first of two nominations for Gershenson; first of seven scoring nominations for Mancini

Seven Brides for Seven Brothers

Adolph Deutsch / Saul Chaplin

adapting the music of Gene De Paul

*****
past winner, fourth of five nominations for Deutsch; past winner, third of five nominations for Chaplin

A Star is Born

Ray Heindorf

adapting the music of Harold Arlen

****
past two-time winner, 14th of 17 scoring nominations

There's No Business Like Show Business

Alfred Newman / Lionel Newman

adapting the music of Irving Berlin

*****
previous year's winner, past five-time winner before that, 32nd of 43 scoring nominations for Alfred; second of nine scoring nominations for Lionel

---------------------------

DEUTSCH / CHAPLIN

adapting

GENE DE PAUL

for

SEVEN BRIDES FOR SEVEN BROTHERS

So - a little bit of agreement, a little bit of disagreement...what are ya gonna do?

Tomorrow, the nominees for Best Supporting Actor: from The Barefoot Contessa, Edmond O'Brien; from The Caine Mutiny, Tom Tully; and from On the Waterfront, Lee J. Cobb, Karl Malden, and Rod Steiger.

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