Meet Alfred Newman — Composer (1951) 🇺🇸
Thousands of exhibitors voting in the recent Exhibitor Laurel Awards gave me an opportunity for which I have been waiting for years.
by Paul Manning
Ever since I was thrilled by the magnificent musical score of 20th-Fox’s The Song of Bernadette, in 1943, I have been a great admirer of Alfred Newman, general music director, 20th-Century-Fox Studios. Many music critics, music lovers, and just ordinary Johns and Janes felt the power of this tremendous score which was to bring him the coveted Academy of Motion Picture Arts and Sciences Oscar for the best musical score of that year.
Exhibitors have named him the Topliner Composer of the motion picture industry, and the Laurel Awards plaque was presented to him in Hollywood, signifying this signal honor.
Newman’s childhood was dreary, due to the fact that the Newmans, living in New Haven, were rather poor. One of 10 children, Alfred Newman didn’t find the luxuries of life embracing. Luxury, however, was not his goal. A born musician, he was a sad case as a student of the matters of average learning taught in the public schools. His parents soon realized that he was in love with music, and through his early years of music study, he was given lessons as often as the meager Newman funds would allow. Even at 25 cents per lesson, these were interrupted for long spells. The pay-as-you-go upright piano was sometimes in the Newman front room, and sometimes not, depending on whether the payments had been made.
At 10, he was a boy prodigy, and was giving recitals, thus contributing to the family support. At 12, he was sponsored by Paderewski [Ignacy Jan Paderewski] while at the same time doing five shows a day with Gus Edwards at the Harlem Opera House. His musical genius and composing talents became increasingly popular in show business, and he was soon conducting and composing scores for such outstanding Broadway shows as George White’s Scandals, Greenwich Village Follies, Al Jolson’s The New Moon, Funny Face, with the Astaires [Fred Astaire | Adele Astaire], and Gershwin and Rogers and Hart shows.
In 1929, Newman came to Hollywood for Joseph Schenck [Joseph M. Schenck] and Irving Berlin. He never returned to New York. Here he found his niche. In the powerful medium of motion pictures, Alfred Newman has found the challenge which has become his life’s work.
His success is well known, and long now established. But the Laurel Awards plaque was an entirely new experience to him, and I can say with pride that it was a gratifying experience to witness his pleasure at being selected for this top Exhibitor honor.— P. M.
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Good Things to come from Hollywood… “Bright Victory”
Universal-International has a great motion picture in “Bright Victory.”
by Paul Manning
Arthur Kennedy, who registered strongly in Champion and The Glass Menagerie, really socks out a dramatic home run in this subtle and powerful film. Under the truly splendid direction of Mark Robson, who also directed Champion and Home of the Brave, the entire cast turn in sensitive and telling performances. Robert Buckner has a dual chore of producing and also doing the screen adaptation. Both Robson and Buckner can accept kudos with a sense of having well earned them. The appeal of the picture is general, and the spirit of its message cannot fail but capture every audience with its undeniable truth. This should be sold by exhibitors in every situation with everything they can muster. The customers will leave the theatre feeling that movies are indeed finer than ever. This is certain. This editor wishes to thank the cast of Bright Victory, the producer, director, and Universal-International for having given the movie-going public a picture they will long remember and admire. — P. M.
There have been few pictures in recent months as gripping as Universal-International’s Bright Victory, and seen here are some scenes. At top left, Arthur Kennedy, as a blinded war veteran, gets help from well-meaning friends aiding him in lighting a cigarette while at right Kennedy and Peggy Dow are reunited in a touching scene. At bottom, left to right, are producer Robert Buckner and director Mark Robson, who are responsible for the excellence of the production.
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WB Develops Unique Spot
Hollywood — Warners has completed construction on a unique “follow spot,” developed and built in the Warner electrical shops under the supervision of Mickey Moran, now being used for the first time on Starlift. The spot utilizes a reflective mirror with a series of lenses off a regular arc. The spot itself can be panned in any direction without ever moving the arc itself, thus simplifying problem of electricians handling the light.
The “follow spot” is due to be used later in other WB productions.
Collection: Exhibitor Magazine (Studio Survey), August 1951