
The
Cobweb/Edge Of The City (Limited Edition FSM CD Soundtrack)
Sound:
B/B- Extras: C Music: B
Two
of the more dramatic scores of the mid-1950s have been paired in the
FSM label CD featuring The Cobweb (a 1955 melodrama) and Edge
Of The City (a 1957 drama of a more gritty nature). Both were
from MGM and both offered two different but very astute
composer/conductors.
Leonard
Rosenman is a personal favorite, always surfacing where least
expected and always delivering. Besides his incredible score for the
underrated Beneath The Planet Of The Apes, which we already
reviewed from FSM, he is responsible for memorable music on TV's
original The Twilight Zone and Alfred Hitchcock Presents
and feature films like East of Eden, Rebel Without a
Cause, Fantastic Voyage (also an FSM CD), A Man Called
Horse, the telefilm Banyon with Darren McGavin, Battle
For The Planet Of The Apes (also an FSM CD), Race With The
Devil, Bound For Glory, The Car, the animated 1978
Lord Of The Rings, Star Trek IV: The Voyage Home, the
underrated Robocop 2 and Stanley Kubrick's Barry Lyndon,
just issued in 4K from Criterion. The Cobweb and Edge Of
The City are among his earliest works.
On
The Cobweb, he was joined by Johnny Green, the conductor of
the material.
Johnny
Green's cinematic output ran from 1930 to 1974, and he got some
really interesting music in at that time. Besides a key song for
George Cukor's 1954 remake of A Star Is Born (Easy Come, Easy
Go) and musical director on more upbeat Musicals like Easter
Parade, Summer Stock, Royal Wedding, An American
In Paris, Singin' In The Rain (uncredited), Brigadoon,
West Side Story, Bye Bye Birdie (also conducting on the latter two),
and Oliver! (choral arranger only) and non-musical High
Society, he was still able to do darker work for darker material. As
his enhancements for Sidney Pollack's dark, incredible They Shoot
Horses, Don't They? (1969) shows, he was quite good at furthering
a narrative. The Cobweb (1955) was a Vincente Minnelli
melodrama, but Rosenman's score was all the darker, joining the ace
Musical filmmaker down a more serious path.
Edge
Of The City is actually featured first, despite not getting the
cover. And was the feature film debut of the great Martin Ritt. The
music is nearly 15 minutes long, which shows that even at about 90
minutes, the film was short and had its share of what would become
Ritt's trademark silences in the likes of later films like Hud.
The Cobweb offers music above the usual trappings of
melodrama formula and is more expansive at nearly 40 minutes. There
are also subtle signatures and alternate takes offered. Both offer
dramatic music that makes sense without being manipulative and
furthering the narratives of the films they accompanied.
The
PCM 2.0 16/44.1 CD sound is not bad, with Edge
Of The City
coming off of a 17.5mm monophonic magnetic sound master, while The
Cobweb
comes from three-track stereo magnetic master intended to enhance the
CinemaScope presentation of the film. The
Cobweb
is the better of the two as a result, though Edge
Of The City's
monophonic sound is respectable. This CD will only have 3,000
pressings made and is available with other Film Score Monthly
exclusive FSM label CDs mentioned in this review at while supplies
last at and is still in print years after we first posted this review
at:
https://www1.screenarchives.com/title_detail.cfm/ID/3558/THE-COBWEB-EDGE-OF-THE-CITY/
Warner
Archive finally issued this on Blu-ray and you can read more about it
at this link:
https://fulvuedrive-in.com/review/16664/The+Cobweb+(1955*)/Knights+Of+The+Round+Table
-
Nicholas Sheffo