wimpel69
05-26-2018, 10:27 AM
This is my own rip. If you want the FLAC version
(including artwork, log, cue & booklet), please request it in this thread.
PM's will be ignored. Do not share further! Thank you.
Previously filmed in 1929, Philip MacDonald's novel "Patrol" was lensed by director John Ford as The Lost Patrol in 1934.
Sergeant Victor McLaglen is in charge of a World War I-era British cavalry regiment, stranded somewhere in the Mesopotamian
desert. McLaglen hasn't asked for the responsibility: the commanding officer has been killed by an Arab sniper, leaving McLaglen
to take over. One by one, McLaglen's men are picked off as they desperately fend off the enemy, waiting for reinforcements to
arrive. The most spectacular death scene goes to Boris Karloff, playing a religious zealot who goes insane and begins marching
towards the Arabs while bearing a makeshift cross. Max Steiner's relentless musical theme for The Lost Patrol would later be
adapted into his score for Warner Bros' Casablanca. Lost Patrol would itself be adapted as the 1939 western Bad Lands.
Originally running 74 minutes, Lost Patrol is now generally available only in its 69-minute reissue form.
The Beast with Five Fingers (1946) is an early horror film classic and certainly one that a well-rounded horror movie
aficionado should not miss. An invalid concert pianist dies, leaving a will that does not include his personal secretary Hilary
Cummins (Peter Lorre) as a beneficiary. Furious, the left-out yes-man cuts off a hand from the corpse and plots revenge.
Unfortunately for Hilary, the hand inherits a life of its own and relentlessly stalks the wild-eyed Lorre as he flees in vain.
Special effects keep the audience jumping as they dread the next appearance of this gruesome walking hand. The film is
directed by Robert Florey, who also directed Murders in the Rue Morgue (1932).
Promoted as a follow-up to the popular 1939 western "Dodge City" (which, indeed, was left wide open for a sequel in its
closing scenes), Virginia City bears only surface resemblance to the earlier film. Indeed, the only discerning links between
the two pictures are the western setting and the presence in the cast of Errol Flynn, Frank McHugh, Alan Hale and Guinn
"Big Boy" Williams. After escaping from a Confederate prison during the Civil War, Union officer Flynn vows to stop a $5,000,000
gold shipment from reaching the South. He is challenged by Southern sympathizer Randolph Scott, whose interest in the gold is
patriotic, and by outlaw Humphrey Bogart (complete with a Mexican accent that wouldn't convince a cow), whose interests are
purely mercenary. Adding spice to the proceedings is Miriam Hopkins as a dance hall chanteusse-cum-Confederate spy.
Better in individual components than sum total, "Virginia City" pleased the crowds in 1940, assuring that the Tasmanian-born
Errol Flynn would continue appearing in westerns in the future.
Music Composed by
Max Steiner
Reconstructed & Arranged by
John Morgan
Played by the
Moscow Symphony Orchestra
Conducted by
William Stromberg
"Austrian-born film composer Max Steiner was the grandson of the musical impresario who discovered Strauss and
brought Offenbach to Vienna. Growing up with a rich heritage of opera and symphony all about him, Steiner developed
into a musical prodigy; at the age of 13 he graduated from the Imperial Academy of Music, completing the course in
one year and winning the Gold Medal of the Emperor. Already a composer at 14 and conductor at 16, Steiner moved
from Austria to England in 1905, remaining there to conduct at His Majesty's Theatre until 1914. With the outbreak of
the war, he emigrated to America, where he kept busy with Broadway musicals and operettas. One of his most beneficial
American jobs was to compose the music to be conducted during screenings of the silent film The Bondman (1915);
he became a friend of William Fox, the film's producer, giving Steiner early entree into the Hollywood that would so
gainfully employ him in later years. In 1929, he was brought to fledgling RKO Radio Studios to orchestrate the film
adaptation of Ziegfeld's Rio Rita (1929). Always confident in his talents, Steiner was realistic enough to understand that
he was hired by RKO because he cost a tenth of what someone like Stokowski would charge. While at RKO, he developed
his theory that music should be a function of the dramatic content of a film, and not merely background filling. His scores
for such films as Symphony of Six Million (1932), The Informer (1935), and, especially, King Kong (1933) are carefully
integrated works, commenting upon the visual images, augmenting the action, and heightening the dramatic impact.
While Steiner's detractors would characterize his spell-it-out technique as "Mickey Mousing" (in reference to the music
heard in animated cartoons), producers, directors, and stars came to rely upon Steiner to make a good film better, and
a great film superb. After 111 pictures at RKO, Steiner was hired by David O. Selznick, who assigned the composer to
write the score for Gone with the Wind (1939). Virtually 75-percent of this 221-minute epic required music of some sort,
and Steiner rose to the occasion with what many consider his finest work. One concept refined in Gone with the Wind
was to give each important character his or her own separate musical motif -- quite an undertaking when one realizes
how many speaking parts there were in the film. Around that time, Steiner began working at Warner Bros, where he
penned the studio's famous "opening logo" fanfare and also provided evocative scores for such classics as Now Voyager (1942),
Casablanca (1942), and Mildred Pierce (1945). A proud, vain man, Steiner frequently found himself the butt of good-natured
practical jokes from his fellow composers, but at Oscar time, it was usually Steiner who had the last laugh. He remained
active until 1965, contributing scores to The Caine Mutiny (1954), The Searchers (1955), A Summer Place (1959), and
many other films. It was only at the very end of his career, with such retrogressive scores as Youngblood Hawke (1964),
that Max Steiner's once-revolutionary technique began to sound old hat."
Source: Marco Polo CD (My rip!)
Formats: FLAC(RAR), mp3(320), DDD Stereo
Ripped with EAC (Accurate Rip, 100%)
Download Link (mp3) - The FFS house snitch got it deleted. Sorry!
Please do not share my material any further! Buy the original! Thank you! :)
This is my own rip. If you want the FLAC version
(including artwork, log, cue & booklet), please request it in this thread.
PM's will be ignored. Do not share further! Thank you.
(including artwork, log, cue & booklet), please request it in this thread.
PM's will be ignored. Do not share further! Thank you.
Previously filmed in 1929, Philip MacDonald's novel "Patrol" was lensed by director John Ford as The Lost Patrol in 1934.
Sergeant Victor McLaglen is in charge of a World War I-era British cavalry regiment, stranded somewhere in the Mesopotamian
desert. McLaglen hasn't asked for the responsibility: the commanding officer has been killed by an Arab sniper, leaving McLaglen
to take over. One by one, McLaglen's men are picked off as they desperately fend off the enemy, waiting for reinforcements to
arrive. The most spectacular death scene goes to Boris Karloff, playing a religious zealot who goes insane and begins marching
towards the Arabs while bearing a makeshift cross. Max Steiner's relentless musical theme for The Lost Patrol would later be
adapted into his score for Warner Bros' Casablanca. Lost Patrol would itself be adapted as the 1939 western Bad Lands.
Originally running 74 minutes, Lost Patrol is now generally available only in its 69-minute reissue form.
The Beast with Five Fingers (1946) is an early horror film classic and certainly one that a well-rounded horror movie
aficionado should not miss. An invalid concert pianist dies, leaving a will that does not include his personal secretary Hilary
Cummins (Peter Lorre) as a beneficiary. Furious, the left-out yes-man cuts off a hand from the corpse and plots revenge.
Unfortunately for Hilary, the hand inherits a life of its own and relentlessly stalks the wild-eyed Lorre as he flees in vain.
Special effects keep the audience jumping as they dread the next appearance of this gruesome walking hand. The film is
directed by Robert Florey, who also directed Murders in the Rue Morgue (1932).
Promoted as a follow-up to the popular 1939 western "Dodge City" (which, indeed, was left wide open for a sequel in its
closing scenes), Virginia City bears only surface resemblance to the earlier film. Indeed, the only discerning links between
the two pictures are the western setting and the presence in the cast of Errol Flynn, Frank McHugh, Alan Hale and Guinn
"Big Boy" Williams. After escaping from a Confederate prison during the Civil War, Union officer Flynn vows to stop a $5,000,000
gold shipment from reaching the South. He is challenged by Southern sympathizer Randolph Scott, whose interest in the gold is
patriotic, and by outlaw Humphrey Bogart (complete with a Mexican accent that wouldn't convince a cow), whose interests are
purely mercenary. Adding spice to the proceedings is Miriam Hopkins as a dance hall chanteusse-cum-Confederate spy.
Better in individual components than sum total, "Virginia City" pleased the crowds in 1940, assuring that the Tasmanian-born
Errol Flynn would continue appearing in westerns in the future.
Music Composed by
Max Steiner
Reconstructed & Arranged by
John Morgan
Played by the
Moscow Symphony Orchestra
Conducted by
William Stromberg
"Austrian-born film composer Max Steiner was the grandson of the musical impresario who discovered Strauss and
brought Offenbach to Vienna. Growing up with a rich heritage of opera and symphony all about him, Steiner developed
into a musical prodigy; at the age of 13 he graduated from the Imperial Academy of Music, completing the course in
one year and winning the Gold Medal of the Emperor. Already a composer at 14 and conductor at 16, Steiner moved
from Austria to England in 1905, remaining there to conduct at His Majesty's Theatre until 1914. With the outbreak of
the war, he emigrated to America, where he kept busy with Broadway musicals and operettas. One of his most beneficial
American jobs was to compose the music to be conducted during screenings of the silent film The Bondman (1915);
he became a friend of William Fox, the film's producer, giving Steiner early entree into the Hollywood that would so
gainfully employ him in later years. In 1929, he was brought to fledgling RKO Radio Studios to orchestrate the film
adaptation of Ziegfeld's Rio Rita (1929). Always confident in his talents, Steiner was realistic enough to understand that
he was hired by RKO because he cost a tenth of what someone like Stokowski would charge. While at RKO, he developed
his theory that music should be a function of the dramatic content of a film, and not merely background filling. His scores
for such films as Symphony of Six Million (1932), The Informer (1935), and, especially, King Kong (1933) are carefully
integrated works, commenting upon the visual images, augmenting the action, and heightening the dramatic impact.
While Steiner's detractors would characterize his spell-it-out technique as "Mickey Mousing" (in reference to the music
heard in animated cartoons), producers, directors, and stars came to rely upon Steiner to make a good film better, and
a great film superb. After 111 pictures at RKO, Steiner was hired by David O. Selznick, who assigned the composer to
write the score for Gone with the Wind (1939). Virtually 75-percent of this 221-minute epic required music of some sort,
and Steiner rose to the occasion with what many consider his finest work. One concept refined in Gone with the Wind
was to give each important character his or her own separate musical motif -- quite an undertaking when one realizes
how many speaking parts there were in the film. Around that time, Steiner began working at Warner Bros, where he
penned the studio's famous "opening logo" fanfare and also provided evocative scores for such classics as Now Voyager (1942),
Casablanca (1942), and Mildred Pierce (1945). A proud, vain man, Steiner frequently found himself the butt of good-natured
practical jokes from his fellow composers, but at Oscar time, it was usually Steiner who had the last laugh. He remained
active until 1965, contributing scores to The Caine Mutiny (1954), The Searchers (1955), A Summer Place (1959), and
many other films. It was only at the very end of his career, with such retrogressive scores as Youngblood Hawke (1964),
that Max Steiner's once-revolutionary technique began to sound old hat."
Source: Marco Polo CD (My rip!)
Formats: FLAC(RAR), mp3(320), DDD Stereo
Ripped with EAC (Accurate Rip, 100%)
Download Link (mp3) - The FFS house snitch got it deleted. Sorry!
Please do not share my material any further! Buy the original! Thank you! :)
This is my own rip. If you want the FLAC version
(including artwork, log, cue & booklet), please request it in this thread.
PM's will be ignored. Do not share further! Thank you.