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Victor McLaglen’s life was greatly influenced by, and mir- rored, his experiences of the British Empire, an empire he travelled widely and knew well. He had been a Boer War volunteer, potential Canadian homesteader, gold and silver miner in Canada and Austra- lia, farm worker, boxer, wrestler, pearl diver, big game hunter, ma- cho carnival tough guy, music hall performer, World War I soldier, Assistant Provost Marshal of Baghdad, and an actor in the early Brit- ish film industry. Some of his brothers would settle in Kenya and South Africa. He knew the British Army and its imperial mission. . | Erich Wolfgang Korngold - The Maestro of Hollywood An examination of Korngold s first film assignment A MIDSUMMER NIGHT S DREAM and how he subsequently transformed motion picture scoring into an art form. by Brendan G Carroll 2007 When Erich Wolfgang Korngold first arrived in Hollywood in October 1934 film music was relatively undeveloped. Although throughout the years of silent cinema live musical accompaniment had always played an important role few original scores were composed. By the 1920s standard classical repertoire was ruthlessly mined in the creation of what amounted to suites issued by the studios for important films and performed by symphony orchestras in the larger cinemas or a lone pianist in smaller provincial houses. With the coming of sound to motion pictures in late 1926 all of this changed. Musical scoring was initially deemed unnecessary - it was spoken dialogue that mattered. Only a brief musical introduction under the film s main titles was heard partly because of the technical limitations of early film recording. The gradual development of original musical scoring for sound films only really began in late 1932 when it finally became possible to record music dialogue and sound effects on separate optical tracks and combine them in a composite soundtrack. Max Steiner 1888-1971 another Viennese emigre is credited with writing the first genuine original film score - that for KING KONG released March 1933 and even this came about almost by accident. The film s extraordinary fantasy scenes provoked laughter at its early previews and the producer David O Selznick asked Steiner to clarify the mood of certain scenes with music. Steiner had already begun scoring key scenes in earlier films like THE MOST DANGEROUS GAME and A BILL OF DOVORCEMENT and relished the chance to do a full score. With KING KONG he demonstrated conclusively what a powerful impact music could have on a film even though in structural terms at least his score was fairly simplistic .
