Something for the weekend. One of the most powerful depictions of Christ on film from the movie Ben Hur (1959). A wonderful melding of music and dialogue as Christ goes silently to the aid of Ben Hur and gives him water. The wordless encounter between Christ and the Centurion was amazing, as the Centurion’s face registers bewilderment, shame and curiosity as he has a totally unexpected encounter with the Divine. Whatever the actor who played the Centurion was earning that day, it wasn’t nearly enough.
Something for the weekend, The Church’s One Foundation. Written by Church of England minister Samuel J. Stone, it is sung to the tune Aurelia by Samuel S.Wesley. I have always enjoyed this hymn and I have cherished the memory of Stone for it, and for this poem The Soliloquy of a Rationalistic Chicken: Continue reading
Something for the weekend. Anchors Aweigh. The fight song of the United States Naval Academy, it was composed in 1906 with music by Charles A. Zimmerman and lyrics by Alfred Hart Miles. Universally regarded as the song of the United States Navy, it has never been officially adopted, although that has not stopped it being loved by most of the sailors who have served in Uncle Sam’s Yacht Club. Continue reading
Something for the weekend. A musical medley from the movie Major Dundee (1965). Sam Pekinpah’s flawed, unfinished masterpiece, the film tells the fictional account of a mixed force of Union soldiers and Confederate prisoners who join forces to hunt and ultimately defeat an Apache raider, Sierra Charriba, in 1864-65. Charlton Heston gives an outstanding performance as Major Amos Dundee, a man battling his own personal demons of a failed military career, as he commands this Union-Confederate force through northern Mexico on the trail of the Apache, with fighting often threatening to break out between the Union and Confederate soldiers. Use of Confederate prisoners as Union soldiers in the West was not uncommon. Six Union infantry regiments of Confederate prisoners, called “Galvanized Yankees”, served in the West. The final section of the film involving a battle between Major Dundee’s force and French Lancers, the French occupying Mexico at the time, has always struck me as one of the best filmed combat sequences in any movie.
Here is a fan made trailer for the restored edition that was released in 2005 that included much of the footage that was cut over Pekinpah’s protests:
Something for the weekend. George Washington Variations by Ernst Krenek. A refugee from Austria in 1938 after the Anschluss, composer Ernst Krenek became a naturalized American citizen and an ardent American patriot. His George Washington Variations (1950) are a fitting tribute to the greatest American.
Something for the weekend. We’re In a Revolution, a first rate riff on Billy Joel’s We Didn’t Start the Fire, set in the American Revolution. This seemed appropriate as a precursor for the extensive post on George Washington that will be posted here on “President’s Day” this Monday.
Something for the weekend. In no war has artillery played a greater role than World War I. It was therefore appropriate that Frederick Joseph Ricketts, the British Sousa, under his pen name Kenneth Alford, wrote a march, Voice of the Guns, in 1917, his tribute to British artillerymen.
The song is featured in a sequence of Lawrence of Arabia where General Allenby, portrayed by Jack Hawkins, and Major T. E. Lawrence, portrayed by Peter O’Toole, are discussing strategy: Continue reading
Something for the weekend. Time for something mellow this weekend and few things are more mellow than Pachelbel’s Canon in D performed by the ladies of The Westminster String Quartet.
Something for the weekend. The New York Volunteer sung by Bobby Horton who has waged a one man campaign to bring Civil War music to modern audiences. New York supplied more troops to the Union than any other state. Some 400-460,000 New Yorkers wore Union blue during the War in 27 regiments of Cavalry, 3 regiments of United States Colored Troops, 15 regiments of artillery, 8 engineer regiments and an astounding 248 infantry regiments. The New York Volunteers took a back seat to men from no other state in the Union in providing manpower to win the War.
Something for the weekend. The score from the movie Twelve O’clock High (1949). A film shorn of any Hollywood glamor or heroics, it tells the story of the fictional 918th bomb group as it pioneers daylight precision bombing in the early days of the Eighth Air Force in England and suffers harrowing losses as a result. Veterans of the Eighth Air Force applauded the film for its stark realism and its demonstration of the impact of war on the men called upon to fight it. Anyone who has not seen this masterpiece should do so as quickly as possible.
Here is the opening of the film:
Something for the weekend. Edelweiss, from The Sound of Music. A show tune written for the musical it refers to the sturdy mountain flower, which in the 19th century became a symbol for the people of the Alps. In 1907 it became a symbol of the elite Alpine troops of the Austro-Hungarian Empire. The song is a good reflection of the quiet Austrian patriotism of a most remarkable man: Georg Johannes Ritter von Trapp.
Born in 1880 he was the son of a Commander in the Austro-Hungarian navy who had been elevated to the nobility in 1876. This gave his son Ritter (Knight) status, allowing him to put von in his name and to be addressed as baron. His father died when Georg was four, which did not deter him from following in his father’s footsteps by entering the Austrian naval academy in 1894.
He enjoyed a colorful career in the Austrian navy, including participation in quelling the Boxer Rebellion in China in 1900, which earned him a decoration. Always fascinated by submarines, he transferred to the infant Austrian submarine service in 1908. When he took command of the U-6 it was a double red letter day for him. His ship was christened by Agathe Whitehead, the granddaughter of the English inventor of the torpedo. Georg went on to marry her in 1910. They were very happy together and had seven kids. When their daughter Maria was born, she sent her husband who was on patrol and could not receive personal missives, a coded message advising him that the SS Maria had been successfully launched! Continue reading
Something for the weekend. Whatever Happened to Randolph Scott by the Statler Brothers. A 1974 lament of how tawdry the movies had become, it fastened on Randolph Scott, king of B-movie westerns, as an icon for a better day when kids could be taken to the movies without parents being concerned about what they would be exposed to. I heard this song endlessly when it came out, my parents’ radio blaring it most mornings in the kitchen in 74 in the hour before I and my brother got up to prepare for yet another day in high school.
Scott was born as far from the West as it was possible to be in Virginia and raised in North Carolina. His family had money so he was educated in private schools. During World War I he served as an artillery observer in France, a highly dangerous post. (After Pearl Harbor, the 43 year old Scott attempted to enlist as a Marine, but was rejected due to his bad back.)
After his service in World War I, he worked for a time with his father in the textile industry in North Carolina. In 1927 he moved to California to embark on an acting career with a letter of introduction from his father to Howard Hughes. The next few years saw him develop his acting skills with bit parts and small roles. In 1931 he had his first leading role in the film Women Men Marry. In the film Heritage of the Desert (1932) Scott played his first leading role in a Western, the first of ten films he would make based on Zane Grey novels.
Until the conclusion of World War II, Scott starred in a variety of film genres, but after the War he concentrated solely on Westerns. Scott was a modest man and always underestimated his considerable skill as an actor. He was comfortable in Westerns and decided to stick with them. It was an inspired choice. As he aged his handsome features took on a weathered, stoic look, and helped make him a Western icon.
Scott did not financially need to make films after the War. Shrewd land purchases in California helped make him a multi-millionaire, and he increasingly looked upon his acting as a hobby. By 1962 he was ready to retire, but he was convinced to make one last Western with his friend Joel McCrea. McCrea and Scott had much in common: both had become very wealthy through land purchases and neither needed to work in film, post World War II McCrea had gravitated to B Westerns, and both he and Scott were staunch Republicans.
The film that they made in 1962 is now regarded as a classic. Ride the High Country was the second film to be directed by Sam Pekinpah. It tells the tale of two former Old West lawmen who have fallen on hard times. Steve Judd, Joel McCrea, has been hired by a bank in the early years of the last century to bring back 20,000 in gold from a mining camp. Judd is elated because this is the first lawman like job that he has had in a very long time. He runs into his old friend Gil Westrum, Randolph Scott, who is making a meager living running a shooting gallery in a circus. Judd invites Westrum and his young friend Heck Longtree, Ron Starr, to join him in the job. They agree, Westrum and Longtree planning to steal the gold. As the film proceeds it becomes obvious that Judd still holds to the same code of honor and honesty that he upheld as a law man. Westrum does not, having grown bitter with age and viewing the gold as his reward for his courage as a law man, a courage that was not rewarded monetarily and has left him facing a hard scrabble old age. Ultimately Judd realizes what Westrum is up to and disarms both him and Longtree, planning to put them on trial for attempted robbery. The plot is complicated by Elsa Knudsen, Mariette Hartley in her screen debut, who the trio rescue from a miner she has just married who plans to have her serve not only as his bride but also as the “bride” of his four brothers. Longtree grows to admire Judd for his courage and stubborn honesty while Westrum escapes, only to ride to the rescue at the end of the film to help Judd. Continue reading
Something for the weekend. Scotland the Brave, from a video clip of the movie The Devil’s Brigade (1968). Officially the First Special Service Force, the Devil’s Brigade earned its name from their German adversaries in Italy. An 1,800 man elite brigade of Canadian and American troops, the troops were originally trained for a hare-brained mission behind enemy lines in Norway. General Staff officer Lieutenant Colonel Robert Frederick warned that the mission as planned would inevitably lead to the death or capture of all the troops involved. Frederick ultimately succeeded in convincing his superiors that the mission in Norway was a mistake and he was assigned to command the brigade. In fighting in Italy and Southern France the brigade performed superbly, carrying out missions thought to be impossible, and inflicting 12,000 casualties on the Germans and capturing an additional 7,000 Germans. The brigade suffered high casualties, by the end of the war having an attrition rate of 660%. Frederick had intense loyalty from his men, always leading from the front and exposing himself constantly to enemy fire. Both the US and Canadian special forces units trace their lineage from this unit. Continue reading