Lizabeth Scott Sings!

Lizabeth Scott, “The Threat”

She usually played a mysterious blond that was up to no good. Actress Lizabeth Scott, known for her husky voice and sleek, straight blond hair was often a woman with a secret in 1940s and 1950s film noirs.

Publicity departments of the golden era of Hollywood often saddled their actors with nicknames: from the It Girl (Clara Bow), the Oomph Girl (Ann Sheridan) to the Lavender Blonde (Kim Novak).

Scott was nicknamed “The Threat,” as she was threatening to “The Body (Marie MacDonald), “The Voice” (Frank Sinatra), and “The Look” (Lauren Bacall).

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Remembering Robert Osborne, a Friend to all Classic Film Fans

It was Thursday, April 25, 2013, and I had just flown into Los Angeles from North Carolina for my first Turner Classic Movies Classic Film Festival.

My first glimpse of Robert Osborne in person in 2013 (Comet Over Hollywood/Jessica P)

I was excited, tired and scared. It was my first solo plane trip, and I had unwisely flown into the festival the day it started, rather than the day before. I was momentarily homeless until my friend, Lindsay — who I was staying with — got out of class at UCLA. I stashed my suitcase in the hotel room of another friend, Jill, and went with her to the Roosevelt Hotel to get my film festival pass and for a press announcement.

I’m sitting at a small table, nervously saying hello to friends who I knew only from the internet before the film festival. And then film historian and Turner Classic Movies host Robert Osborne walks out on stage. Everyone else around me is calm and collected but I’m about to burst. I didn’t know if I should cry, laugh or faint. I had only been in Los Angeles for two hours and there was my hero standing 15 feet away from me!

Robert Osborne introducing “Desert Song” in 2013 (Comet Over Hollywood/Jessica P)

That Saturday during the festival, I was first in line for a rare screening of The Desert Song (1943), a Dennis Morgan and Irene Manning musical that isn’t often seen because of copyright issues. A volunteer confided that she heard Robert would be introducing the film. I excitedly sat in the front row so I could get a good picture.

Robert discussed the film and said that he had never seen The Desert Song and would be joining the audience to watch. While the Technicolor Warner Bros. film danced on the screen, I could barely focus; knowing Robert was somewhere behind me in the crowd.

After the film ended, I waited outside to see if I could get a picture and fulfil my dream of meeting Mr. Osborne. Another fan held Robert in conversation and it looked like I may not get my chance. When the fan left, I meekly approached him and asked for a photo.

“Yes, but we will have hurry because I have to meet Ann Blyth before Mildred Pierce,” he said.

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West Side Story: The Names Behind the Jets and Sharks

When I was 14 in 2002, I watched “West Side Story” for the first time and became obsessed with the movie musical, which premiered 55 years ago in New York City on Oct. 18, 1961. My dad who introduced me to the film later regretted it, because I listened to the soundtrack every night and tried to learn the dances. “West Side Story” is directly responsible for my love of movie musicals which manifested into the weekly Musical Monday.

West Side Story” is one of those movies where you notice or learn something new with every viewing and every detail and aesthetic was carefully planned. When you’re obsessed with a film, you research the heck out of it to learn all you can. One thing that I have always been interested in is the story behind all the dancers that made up the film.

The Sharks and the Jets

The Sharks and the Jets

The lead actors of Natalie Wood (as Maria), Richard Beymer (as Tony), Rita Moreno (as Anita), George Chakiris (as Bernardo), and Russ Tamblyn (as Riff) are all stupendous. But many of us already know their stories.

I really wanted to delve into the actors you don’t know as well: the story behind the actor who played Baby John who is now a renowned in the New York City ballet world. Or there’s the Shark who was nominated for an Academy Award for Best Screenplay. You maybe didn’t know it, but you probably watched Consuelo on “Full House.”

This is the story behind the Jets, the Sharks and their girlfriends. They weren’t the ones who picked up the Academy Awards for “West Side Story” and didn’t even have their name on the marquee, but their dancing is what mesmerized the audiences.

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Olympic Stars that Didn’t Soar in Hollywood

During the past two weeks, Comet Over Hollywood has looked at Olympic athletes who found Hollywood fame after exhibiting their athletic prowess. Some Olympians were scouted for Hollywood but their stars didn’t rise has high as others.

Eleanor Holm
Eleanor Holm was an Olympic swimmer who competed for the United States in 1928 summer Olympics in Amsterdam where she finished fifth in the 100-meter backstroke. At the 1932 Los Angeles Olympics, Holm won a gold medal in the 100-meter backstroke.

Eleanor Holm at the 1932 Olympics

Eleanor Holm at the 1932 Olympics

Between the 1928 and 1932 Olympics, producer Florenz Ziegfeld hired her to perform in the Ziegfeld Follies in Broadway in 1930. She left the show to train for the 1932 Olympics. After the 1932 Olympics, she was placed under contract to Warner Bros. for $500 a week, but despite studio-hired acting coaches, she declared herself a spectacular flop as an actress, according to her 2004 obituary.

Holm was to compete in the 1936 Berlin Olympics and where she would be the first woman to compete on the United States Olympic team three times.

Holm boarded the ship to sail for Berlin for the 1936 games and when she got to Berlin, she was no longer on the team. Olympic president Avery Brundage expelled Holm for breaking curfew and drinking while traveling to Berlin.

“All I did was drink a couple of glasses of champagne,” she told People magazine in 1996. “I was married, singing in a nightclub with my husband’s band. I was not exactly a child.”

In 1938, Holm starred aside fellow Olympian Glenn Morris in “Tarzan’s Revenge.” This was the only film she was in. After this she married producer Billy Rose from 1939 to 1954. She starred in Rose’s New York World’s Fair Aquacades, swimming with fellow Olympian gold medalists Johnny Weissmuller in the 1939 show and Buster Crabbe in 1940.

Olympians Eleanor Holm and Glenn Morris in "Tarzan's Revenge" (1938)

Olympians Eleanor Holm and Glenn Morris in “Tarzan’s Revenge” (1938)

 

Glenn Morris at the 1936 Olympics

Glenn Morris at the 1936 Olympics

Glenn Morris
Glenn Morris competed on the United States team at the 1936 Berlin summer Olympics and won a gold medal for the decathlon. After the Olympics, Morris had a brief Hollywood career.

His film career started with an uncredited role in “She Married an Artist” (1937) at Columbian Pictures, and he was the fourth Olympian to play Tarzan.

Distributed through 20th Century Fox, Morris starred in a low budget Tarzan film, “Tarzan’s Revenge” (1938) which co-starred with Olympic swimmer Eleanor Holm.

After the Tarzan film, Morris acted in one more film, “Hold That Co-Ed” (1938) before leaving Hollywood.

Murray Rose
Murray Rose is an Australian swimmer who won six Olympic medals at the 1956 Melbourne and 1960 Rome Olympics. All three of the medals at the Melbourne Olympics were gold and he won a gold medal in Rome as well as one silver and one bronze.

Murray Rose (center) at the 1960 Olympics with his gold medal

Murray Rose (center) at the 1960 Olympics with his gold medal

After graduating from college at the University of California, Rose entered a brief Hollywood career. His first film was the beach movie “Ride the Wild Surf” (1964) with Tab Hunter, Peter Brown, Shelley Fabares and Fabian. Columbia called him “one of the best bets for stardom in a long time,” according to Hollywood Surf and Beach Movies: The First Wave, 1959-1969 by Thomas Lisanti.

Murray Rose in "Ice Station Zebra" (1968)

Murray Rose in “Ice Station Zebra” (1968)

From 1964 to 2008, Rose made a total of 10 film and TV appearance including an appearance on the TV shows “Dr. Kildare” and “Patty Duke.” He also had a role in the 1968 film “Ice Station Zebra” with Rock Hudson and Ernest Borgnine.

However, he was not passionate enough about acting to continue perusing it, according to his 2012 obituary.

Don’t miss our other Olympic spotlights:

Check out the Comet Over Hollywood Facebook page, follow on Twitter at @HollywoodComet or e-mail at cometoverhollywood@gmail.com

Olympics to Hollywood: Harold Sakata

Harold Sakata in the 1948 Olympics

Harold Sakata in the 1948 Olympics

You probably know him best as a James Bond henchman with a lethal bowler hat. But Harold Sakata’s career started as an Olympian.

Born in Hawaii, Sakata competed on the United States team in the 1948 Summer Olympics in London, England. Sakata won a silver medal for lifting 380 pounds in the men’s weightlifting portion in the light-heavyweight division.

After the Olympics, he was a professional wrestler under the name of Tosh Togo in the 1950s and 1960s, according to the Hawaii Sports Hall of Fame.

But despite his silver medal winning, Sakata’s athletics aren’t what he’s best known for.

Noticed for his muscular build, James Bond producers hired Sakata to play Oddjob, Auric Goldfinger’s personal bodyguard in the film “Goldfinger” (1964). Oddjob wore a steel-rimmed bowler hat that he would toss at enemies.

Harold Sakata in "Goldfinger" (1964) (Photo by Keystone-France/Gamma-Keystone via Getty Images)

Harold Sakata in “Goldfinger” (1964) (Photo by Keystone-France/Gamma-Keystone via Getty Images)

Sakata played characters named Odd Job in two other films: 4 Schlüssel (1966) and “The Wrestler” (1974). This character was even used in 1970s Vicks cough syrup commercials.

He became so well-known for the Bond character that he even adopted “Odd Job” as his middle name.

He made a total of 30 film and TV appearances, with a recurring role on the TV series “Sarge” (1971-72). However, none of the films were as prominent as “Goldfinger.”

Don’t miss our other Olympic spotlights:

Check out the Comet Over Hollywood Facebook page, follow on Twitter at @HollywoodComet or e-mail at cometoverhollywood@gmail.com

Esther Williams and the Canceled Olympics

What do you do when you’re an athlete and the Olympics are canceled? Become one of Hollywood’s top stars.

At least, that’s what Esther Williams did.

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17-year-old Esther Williams (third from left) with the Los Angeles Athletic Swim Club team in 1939.

In 1939, 17-year-old Esther Williams was the United States women’s 100 meter freestyle national champion at the Amateur Athletic Union (AAU) Championship. She represented the Los Angeles Athletic Club with the winning time of 1:09, which was better than all but one of the swimmers for the next six years, according to the International Swimming Hall of Fame.

The AAU formerly worked closely with the United States Olympic Committee.

Williams was assured a spot on the United States team for the 1940 Summer Olympics which were going to be held in Tokyo, Japan. But the games were canceled due to the outbreak of World War II.

She felt her career as a swimmer was over when the Olympics were canceled and she didn’t receive a swimming scholarship to the University of Southern California, she wrote in her autobiography “The Million Dollar Mermaid.”

She said stardom was her consolation prize.

Swimming to Stardom
She took a job at I. Magnum department store until producer Billy Rose called her at the store asking if she wanted to audition for the Aquacade- a show of music, dancing and swimming in San Francisco.

“You swim very fast,” Billy Rose said when she auditioned.

“That’s what I do, Mr. Rose,” Williams said. “I’m a sprint swimmer. The U.S. 100-meter freestyle champion.”

“I don’t want fast,” he said. “I want pretty.”

Williams was reluctant to take the job in the Aquacade because it would mean losing her amateur standing, which would keep her from ever competing in the Olympics again.

Esther Williams swimming "pretty and not fast" with former Olympian Johnny Weissmuller

Esther Williams swimming “pretty and not fast” with former Olympian Johnny Weissmuller

“Young lady, there’s a war on and there aren’t going to be any Olympic games for a long time,” Billy Rose told her. “You might as well make some money off your talent.”

Due to World War II, there wasn’t another Olympic games until 1948, when Williams was already a top star at MGM.

She swam with former Olympic swimmer Johnny Weissmuller, who Williams said she had to escape from him after every performance, because he would try to get her out of her swim suit. The Aquacade was not a happy experience. Because of that she repeatedly told MGM that she wasn’t interested in a film career, she said in her autobiography.

“If my experience at the Aquacade with the dingy dressing room and the grabby hands was any indication, they could keep their stardom,” she wrote. “I had a husband, a career at I. Magnin to look forward to, a whole new life. That would be enough for me.”

But Esther Williams eventually relented to Metro-Goldwyn-Mayer, signed with the studio and was in her first film in 1942. Her career catapulted with the swimming musical “Bathing Beauty” (1944) and she rose to be one of MGM’s top stars.

Esther Williams in "Bathing Beauty" (1944)

Esther Williams in “Bathing Beauty” (1944)

Esther Williams in a synchronized swimming extravaganza in "Bathing Beauty"

Esther Williams in a synchronized swimming extravaganza in “Bathing Beauty”

From 1942 to 1963, Williams starred in 34 films. The swimming musicals were modeled after the novelty ice skating films Olympic ice skater Sonja Henie starred in…but just with swimming.

Williams learned to swim pretty, as Billy Rose advised, and her synchronized swimming numbers were performed in a 25-foot-deep, $250,000 swimming pool on Stage 30, complete with underwater windows, fountains and hydraulic lifts, according to Williams’ 2013 New York Times obituary.

Back at the Olympics
But everything eventually came full circle for Esther Williams and she found herself back at the Olympics.

Williams attended the 1984 Los Angeles Summer Olympics not as an athlete but as a commentator. Synchronized swimming was introduced as an Olympic sport at the 1984 games. Due to Williams popularizing synchronized swimming in her films, NBC Sports asked Williams to join their team as a color commentator. Williams was co-commentator to Donna de Varona, swimmer and 1964 Olympic gold medalist.

Esther Williams co-anchoring with former swimmer Donna de Varona

Esther Williams co-anchoring with former swimmer Donna de Varona

“I was dazzled by the skill of all the athletes and by the underwater technology of NBC’s coverage,” Williams said of the 1984 games. “Some of those girls were underwater for more than half of their five-minute programs and you could see every balletic move.”

Leading up to this, Williams had researched how synchronized swimming could be recognized as an Olympic sport. She also would answer questions and create informational packets for community swimming groups around the country interested in starting a team, she wrote in her autobiography.

In 1956, a synchronized swimming demonstration was held at the Melbourne summer Olympics. But former International Olympic Committee president Avery Brundage—who served from 1952 to 1972—complained that they were “all just clones of Esther Williams. That’s not a sport!”

“Despite Avery Brundage’s sexist notions, synchronized swimmers are superb athletes,” Williams wrote in her autobiography. “They have to lean ballet and first do their routines on dry land as exercises. They have to hold their breath for long periods of strenuous activity.”

Swimmers Tracie Ruiz-Conforto and Candy Costie took home gold medals that year.

“I was touched to realize how these girls had seen those movies and gotten together in their groups and wanted to swim pretty and not fast,” Williams wrote. “I was proud to be there when it came into the Olympics. I was proud to be an inspiration, a godmother to a sport. It was a very emotional moment for me. Tears came to my eyes on camera, and I thought, I love every one of those girls in the water.”

Don’t miss our other Olympic spotlights:

Check out the Comet Over Hollywood Facebook page, follow on Twitter at @HollywoodComet or e-mail at cometoverhollywood@gmail.com

Olympics to Hollywood: Bruce Bennett/Herman Brix

Bruce Bennett or Herman Brix? He went by either name

You may know him as actor Bruce Bennett who played Joan Crawford’s ex-husband in Mildred Pierce (1945) or perhaps as yet another actor who played Tarzan. Others know him by his birth name Herman Brix, which he was using when he won an Olympic silver medalist.

Before the Olympics and Hollywood, Bennett played football for the University of Washington when they competed in 1926 Rose Bowl Game against the University of Alabama. In that game he played against future actor Johnny Mack Brown, who was half back for Alabama. Alabama won the game 20-19.

In 1928, Herman Brix competed on the United States team in the Summer Olympic games in Amsterdam—also attended by Johnny Weissmuller and Buster Crabbe—and won a silver medal for men’s shot put in the track and field portion of the games. Brix threw the shot put 15.75 meters, breaking the world shot put record with his toss. But  then his teammate John Kuck followed with a throw that set a new world record. Kuck won the gold.

Herman Brix competing in the 1928 Olympics in Amsterdam.

Herman Brix competing in the 1928 Olympics in Amsterdam.

1928 Olympic Track and Field Ceremony: USA's John Kuck with the gold, German's Emil Hirschfeld with the bronze and USA's Herman Brix with the silver.

1928 Olympic Track and Field Ceremony: USA’s John Kuck with the gold, German’s Emil Hirschfeld with the bronze and USA’s Herman Brix with the silver.

Bennett started his film career in 1931, putting his football skills to use as a football extra in “Touchdown!” (1931). He broke his shoulder during the filming which kept him from making the United States team for the 1932 Los Angeles games. It also caused him to lose the role of “Tarzan the Ape Man” (1932) to another Olympian: Johnny Weissmuller.

Bennett later had the opportunity to play Tarzan in “The New Adventures of Tarzan” (1935) and “Tarzan and the Green Goddess” (1938), billed as Herman Brix.

Tarzan author Edgar Rice Burroughs wasn’t pleased with Johnny Weissmuller’s inarticulate, “crude” representation and preferred Bennett for the role, according to Bennett’s 2007 New York Times obituary.

Playing Tarzan and billed as Herman Brix

Playing Tarzan and billed as Herman Brix

“So when Mr. Brix’s Tarzan is discovered by explorers in the 1935 movie “The New Adventures of Tarzan,” he intones: “Why, yes, I’m Tarzan, also known as Lord Greystoke. How may I help you?,” his obituary said.

He acted under the name Herman Brix—the name that originally made him famous—from 1931 to 1939. He then changed it to Bruce Bennett and acted in nearly 100 films.

“I realized the name Herman Brix was associated with Tarzan, so I made up a list of seven or eight names and asked people which they liked best. Bruce Bennett was the name I came up with,” Bennett told his 2001 biographer, Mike Chapman.

Along with “Mildred Pierce” (1945), Bennett’s other notable films include “The Treasure of Sierra Madre” (1948) with Humphrey Bogart, “A Stolen Life” (1946) with Bette Davis and “Nora Prentiss” (1947) with Ann Sheridan.

While Hollywood and acting was a large part of his life—from 1931 to 1973— so were athletics. When Bennett passed away, he requested memorial donations to the Olympic Committee.

Billed as Bruce Bennett with Joan Crawford in "Mildred Pierce" (1945)

Billed as Bruce Bennett with Joan Crawford in “Mildred Pierce” (1945)

But he was most proud of his marriage to his wife Jeannette for 67 years, who passed away in 2000, he told the University of Washington Alumni Magazine in 2002.

It’s a little confusing about which name to call him. He rose to fame as an athlete with the name Herman Brix and his Hollywood career was most profitable with the name Bruce Bennett. His son Christopher Brix told the Los Angeles Times in 2007 that he answered to either name.

“He’d answer to either name,” Christopher Brix said. “I think he was proud of both.”

He went by either Bruce Bennett or Herman Brix. Pictured in 1993 with his shot put and a photo of himself from the Olympics.

He went by either Bruce Bennett or Herman Brix. Pictured in 1993 with his shot put and a photo of himself from the Olympics.

Don’t miss our other Olympic spotlights:

Check out the Comet Over Hollywood Facebook page, follow on Twitter at @HollywoodComet or e-mail at cometoverhollywood@gmail.com

Olympics to Hollywood: Buster Crabbe

Johnny Weissmuller wasn’t the only swimming Olympian to play Tarzan. There was also Clarence “Buster” Crabbe.

Crabbe and Weissmuller knew each other before their Hollywood days and were competitive.

Crabbe developed his swimming (and surfing) prowess while growing up on a pineapple plantation in Hawaii. His athleticism didn’t stop there. He was even the light-heavyweight boxing champion at the University of Hawaii, according to his Los Angeles Times 1983 obituary.

Buster Crabbe at the 1932 Olympics

Buster Crabbe at the 1932 Olympics

Crabbed competed on the United States Olympic team with Weissmuller at the 1928 Summer Olympics in Amsterdam.  Crabbe won a bronze medal for the men’s 1500 meter freestyle.

But in 1932 Crabbe’s luck changed. He competed again at the 1932 Summer Olympics in Los Angeles and this time won a gold medal for the men’s 400 meter freestyle.

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Olympics to Hollywood: Johnny Weissmuller

Today, most Olympic fans in the United States are proud of Michael Phelps, who has broken records for both swimming and amount of gold medals won in one Olympic game.

But in the 1920s, the same pride and idolization was for another swimmer: Johnny Weissmuller, one of the first international swimming superstars.

Johnny Weissmuller in the 1924 Summer Olympics in Paris.

Johnny Weissmuller in the 1924 Summer Olympics in Paris.

Weissmuller is best known now for swinging through trees with his signature yodeling yell and speaking in broken English in the film role of Tarzan the Ape man. But his fame began as an Olympic swimmer.

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Why Bernard Herrmann left the Academy

Actress Mary Astor presents Bernard Herrmann with the Academy Award for Best Score for "All That Money Can Buy."

Actress Mary Astor presents Bernard Herrmann with the Academy Award for Best Score for “All That Money Can Buy.”

Bernard Herrmann is a name most avid film lovers know.

Even someone with little film knowledge is aware of his Psycho (1960) score.

You might hear film historian Robert Osborne mention his scores in an introduction to a film on Turner Classic Movies, or read an article where a musician discusses Herrmann’s influence on their album. But for someone highly revered today, Herrmann didn’t feel well respected by his contemporaries during a radio and film music career that spanned from 1934 to 1975.

Bernard Herrmann came to Hollywood in 1940 with a bang. In a time when the flowery and lilting film scores of composers like Max Steiner and Erich Wolfgang Korngold were king, Herrmann provided something different.

His first two films—Orson Welles’s Citizen Kane (1941) and William Dieterle’s All That Money Can Buy/The Devil and Daniel Webster (1941)—yielded Academy Award nominations for Best Score. Herrmann won his first and only Oscar for All That Money Can Buy.

Some of Herrmann’s film scores included Jane Eyre (1943), The Ghost and Mrs. Muir (1947), his personal favorite; and The Day the Earth Stood Still (1951) but they also were overlooked by the Academy.

His third Academy Award nomination was for the 1946 film Anna and the King of Siam. For this film, Herrmann did extensive research on Siamese scales and melodic phrases to capture the geographic tone of the film, according to “A Heart at Fire’s Center: The Life and Music of Bernard Herrmann.”

Bernard Herrmann with director William Dieterle looking over the Academy Award winning "All That Money Can Buy" score.

Bernard Herrmann with director William Dieterle looking over the Academy Award winning “All That Money Can Buy” score.

But the Academy Award for Best Score that year went to Hugo Friedhofer score for the post-World War II drama Best Years of Our Lives. It was 29 years before Herrmann was nominated again for an Academy Award, and then it would be posthumously.

Some of Herrmann’s most famous scores include those he created when he teamed with director Alfred Hitchcock for Vertigo, Psycho and North by Northwest. This proved to be Herrmann’s greatest artistic collaboration. However, none of those were every recognized by the Academy of Motion Picture Arts and Sciences. Hitchcock himself was nominated five times, but never received an Academy Award for Best Director. The only Academy Award Hitchcock received was the Irving G. Thalberg Memorial Award in 1968.

While he worked as a film music composer, Herrmann perceived himself as a failure, because he never felt he reached his full potential by being a world-class symphony conductor. Film music was low-brow to Herrmann. However, he did see the value in film music.

“Movies need the cement of music: I’ve never seen a movie better without it,” he said. “Music is as important as photography.”

As his career advanced into the 1960s, Herrmann started to distance himself from Hollywood. Herrmann and Hitchcock had a disagreement and parted ways, never to work together again. More films were calling for pop standard-like film scores to sell records, and Herrmann wasn’t willing to lower his artistic standards to make a buck.

“If I were starting my career now, I’d have no career in films,” Herrmann said. “I don’t like the new look in film scores. They have nothing to do with the movie.”

Composer Bernard Herrmann with director Alfred Hitchcock, one of his top artistic collaborators who he later had a falling out with.

Composer Bernard Herrmann with director Alfred Hitchcock, one of his top artistic collaborators who he later had a falling out with.

All of these changes moved Herrmann to resign from the Academy of Motion Picture Arts and Sciences in 1967, because he “did not approve of music being listed as a technical credit,” according to Smith’s book.

“There’s no point to belonging to an organization in which one is judged by one’s inferiors—not one’s peers,” Herrmann was quoted in the Los Angeles Times. “It was Tolstoy who said ‘Eagles fly alone and sparrows fly in flocks.’ But I’m afraid we eagles of the world are being pushed into sanctuaries.”

Herrmann experienced a career resurgence in the 1970s, when new directors like Brain De Palma and Martin Scorsese sought him out. He passed away on Christmas Eve in 1975 after completing recording for Taxi Driver.

In 1977, Bernard Herrmann was posthumously nominated for Academy Award for Best Score for the films Taxi Driver and Obsession. Jerry Goldsmith won the award for The Omen.

“I remember Charles Ives (composer and Bernard Herrmann’s friend) saying ‘Prizes are for boys, and I’m a grown-up,” said Bernard Herrmann’s daughter, Dorothy in Smith’s book. “I believe Daddy had that same attitude.”

Dorothy said many years later when her father came across his Academy Award, he looked surprised “as if he had forgotten he had even won it.”

Listing of Herrmann’s Academy Award nominations: 

Year Award Film
1942 Nominated for Best Music, Scoring of a Dramatic Picture Citizen Kane (1941)
1942 Won for Best Music, Scoring of a Dramatic Picture All That Money Can Buy (1941)
1947 Nominated for Best Music, Scoring of a Dramatic or Comedy Picture Anna and the King of Siam (1946)
1977 Nominated for Best Music, Original Score Taxi Driver (1976)
1977 Nominated for Best Music, Original Score Obsession (1976)

To learn more about Bernard Herrmann, follow the upcoming documentary Lives of Bernard Herrmann on Twitter and Facebook

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