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Them! Original Music By Bronislau Kaper

Born February 5, 1902 in Warsaw, Poland. Kaper displayed musical talent as early as the age of seven when his family acquired a piano. His inclination to music led him to study both piano and composition, while also taking courses in law to satisfy his father. At twenty-one he graduated from The Chopin Music School.

To continue his musical education he went to Berlin. In order to support himself during this period he began writing songs for a cabaret. Later he worked as an arranger and a composer for both stage and film productions. In 1933, as the Nazis rose to power in Germany, Kaper moved to Paris and worked in the French film industry.

This phase of his career lasted only two years, for in 1935 MGM executive Louis B. Mayer was on vacation in Europe and happened to hear one of Kaper's songs. Mayer offered the composer a contract, and Kaper soon found himself working in Hollywood.

One of his first efforts for MGM was the title tune for the film San Francisco (1936), a song which was so appealing to the American public that it became a standard. During his early years at MGM, the studio kept Kaper busy as a songwriter.

But the composer looked for opportunities to write complete background scores. In the forties he did provide music for dramatic films such as Gaslight (1944), Green Dolphin Street (1947) and Act of Violence (1949). This last film, a disturbing thriller directed by Fred Zinneman, shows how sophisticated and daring Kaper's music could be.

Drawing on his knowledge of modern composition, he was surprisingly successful at incorporating dissonant, abstract sounds into his film scores considering the conservative tastes that prevailed in Hollywood. But it is important to note that the composer always depended on others to orchestrate his work.

Kaper wrote his scores at the piano. Then he would give what he'd written to an orchestrator and they would discuss how to expand on the piano reduction. In the fifties Kaper was given more opportunities to show his range.

He created edgy, modern scores for films like Them! (1954) and rich, romantic scores for films like The Brothers Karamazov (1958), while still turning out catchy melodies for musicals like Lili (1953).

By the end of the decade, though, it was clear that the Hollywood studios were in decline and that the days of in-house music departments were over. When the ax fell at MGM, Kaper went on working as a freelance film composer.

One of his last major film assignments was Lord Jim (1965), an adaptation of the Conrad novel. To complement the epic scope of the film, Kaper used not only a large symphony orchestra but also many instruments indigenous to the story's Asian setting.

Like most Hollywood composers of the studio era, Kaper found himself working on fewer movies during the sixties. His last credit on a theatrical release was A Flea in Her Ear (1968). Though he was later hired to work on The Salzburg Connection (1972), his score was discarded.

Kaper died at his home in Los Angeles in 1983. by Casey Maddren Bibliography The Film Music of Bronislaw Kaper, notes by Tony Thomas, Delos Records, 1975 Variety, obituary, May 4, 1983 Interview with Pete Rugolo conducted by the author, 1998.



The next day O'Brien and Peterson have paired off at one firing location, while Graham and Kibbee locate at another.

PETERSON: Don't forget to tap me when you get that wired, General.

O'BRIEN: Now don't rush me, I'm doing this by the book. . . This is the first time I have ever loaded one of these babies.

PETERSON: Well that makes us even, this is the first time I've ever given orders to a General.


Peterson and Kibbee take turns triggering their bazookas, the mound erupts with a fiery explosion.


They continue firing multiple rounds into the mound.


Moments later, Peterson and Graham now suited up with protective gear, make their way to the mound.

O'BRIEN: They will have to wait for it to cool a little more.

H. MEDFORD: We don't dare lose time getting cyanide into that nest.


They reach the summit of the mound, it's smoldering from the onslaught of artillery.


They look inside, empty. Then one of the creatures appears. Graham and Peterson begin firing on the giant ant. Then they pummel the nest with several cyanide canister grenades.








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