“June Is Bustin’ Out All Over“ from Carousel (20th Century Fox, 1956) Richard Rodgers, Oscar Hammerstein II Rodgers & Hammerstein at the Movies Warner Classics, 2011
An impressive list of orchestrators went into the making of this film musical number, including Nelson Riddle, Earle Hagen (“Harlem Nocturne” for Ray Noble in 1940; then That Girl Theme; The Dick Van Dyke Show Theme; and The Andy Griffith Show Theme, with Herb Spencer) and John Williams; you can hear the layers and layers of gorgeous sound in bonny John Wilson and his Orchestra’s rendition.
This clip is from the BBC Proms at the Royal Albert Hall, 2010, but really, listen instead to the cut above from The JWO’s 2011 recording. It’s really ravishing.
We can thank composer-arranger Kay Swift, composer of “Fine and Dandy” and George Gershwin’s married secret lover, for making sure this song found its perfect setting in this 1947 20th Century Fox musical after his untimely death ten years earlier.
Castles were crumbling
And daydreams were tumbling
December was battling with June
But on this bright afternoon
Guess I'll be changing my tune
“When someone in the story is famous, every moment of his existence has, for people who care, an aura of significance, and there will always be people with a quasi-authority who think they know things they could not possibly know, simply because they have a lot of information and curiosity and a sense of entitlement to “the truth” about George Gershwin, as if sufficient obsession and possession of a lot of verifiable facts can earn both entitlement to and knowledge of the unknowable.”
from The Memory of All That (Broadway Books, 2012) by Katharine Weber, Kay Swift’s granddaughter
There must be something in the English character that enables the better artists among them to depict situations of unassuming, steady bravery with superior deftness, which is probably why their World War II pictures are better than ours. One of them, The Inn of the Sixth Happiness (20th Century Fox, 1958), doesn’t technically qualify either as a UK picture—Fox produced it; or as a WWII picture—it’s set during the Sino-Japanese War of 1938; but it does have unarmed peasantry scattering to the hills under Japanese gunfire, which is a theme that ran through my mother’s life starting with Pearl Harbor and ending in March, 1945 when American troops marched through the rubble-strewn streets of Manila, hunky victorious good guys. My mother’s first teenage romance was with a private in the 31st Infantry Regiment named Kelly, come to think of it.
Now, when I refer to better artists of English character I don’t mean the film’s producer, director, writer (American, American, American), or stars (Swedish, Austrian). But it’s because of: one, the true-life heroine the story was based on; two, the location shooting; three, the non-lead casting; and four and most importantly, the music, that I think of Sixth Happiness as an English film. The true-life heroine of the story was English-born, not to mention the film has Snowdonia standing in for the daunting terrain around Yangcheng and pretty near the entire Chinese heritage population of Liverpool standing in for Chinese nationals, with supporting roles portrayed by stalwarts of UK stage and screen. This is the first thing I ever saw Burt Kwouk in.
But to the music. This is not Malcolm Arnold’s finest score—Bridge On the River Kwai (Columbia, 1957) really is a superior composition—but it rates higher with me becauuuse, you guessed it, The Inn of the Sixth Happiness has a gorgeous Love Theme, which you can hear below as the Royal Academy of Music performed the suite back in 2014. You’ll also hear the bright, high fanfare brass that Arnold used in a few other of his movies, River Kwai and the one below, for examples. Also, I’m starting to develop a theory to satisfy myself that certain intervals, played with conviction, are the real sinews of English music: they make for that sound of “rightness”, which you can take one way or another, depending on the mood—or your mood, for that matter. Sixth Happiness has plenty of those.
Besides the satisfying fanfare brass, Sixth Happiness shares with the satirical The Belles of St Trinian’s (British Lion, 1954) a bit in the score where there’s a song meant to be sung by children—in Sixth Happiness it’s “This Old Man”; in St Trinian’s it’s the school’s hilarious “Battle Cry”. I’m not posting the lyrics here, so click on the link in red to listen to those cheerfully bloodthirsty oaths. But can you imagine what a liberating tonic this ferocious roar from the depths of The Untamed Female Soul was to a little girl in the Catholic part of Minneapolis, watching this on Saturday matinee TV (a tonic, incidentally, I would not imbibe again till I heard Bernadine Dorhn mouth off a few years later)—?
Here’s the BBCCO doing the St Trinian’s suite at the Proms (Timothy West, narrator) bringing back almost all the familiar, funny-music leitmotifs to smile at, like George Cole’s character’s “Flash Harry”, a loping, rattling kind of tune (although lamentably there’s no sign of Joyce Grenfell’s scurrying “Ruby Gates”) before returning to that ghoulish school pageant march, lyrics I believe provided by Arnold himself.
In contrast, “This Old Man” is meant to be a “found” song, purportedly a children’s counting song, heard on the playground since the 19th century, and in a way that’s right, as the first time I heard “This Old Man” was on the playground—but only because it had become a hit on US radio first in 1959. It’s still impossible for me not to hear “This Old Man” and not think of the climactic scene in Sixth Happiness: the hundred children crossing the Yellow River into safe territory, ragged and exhausted but alive, marching into the unoccupied city to cheering crowds, loudly singing this song. Invariably it brings tears to my eyes, immigrants’ daughter that I am, and I remember the first time I watched—and heard—this film on TV with my mother, my mind nearly forming the question I never asked her, not then, not ever: “What happened to you in the war, mom?” Because the music was so ravishing, the love story was so satisfying, and my mother just wanted to enjoy an Ingrid Bergman film.
Disappointing to hear that John won’t be doing Britten’s The Turn of the Screw at Wilton’s Music Hall in London this month. So, to cheer everybody up, here’s the full 2-hour program of my John and The John Wilson Orchestra at the Proms, 2013. That’s Jane Monheit, John, and Matt Ford below.
SONG MEDLEY (YT): – “An Affair to Remember” (from the 1957 film; 20th Century Fox) / Harry Warren, Leo McCarey (the film’s director), Harold Damson – “Something’s Gotta Give” (from Daddy Long Legs; 20th Century Fox, 1955) / Johnny Mercer – “Young at Heart” (from the 1955 film; Warner Bros) / Johnny Richards, Carolyn Leigh – “It’s Magic” (from Romance On the High Seas; Warner Bros, 1948) / Jule Styne, Sammy Cahn – “The Tender Trap” (from the 1955 film; MGM) / Jimmy Van Heusen, Sammy Cahn – “My Foolish Heart” (from the 1949 film; Samuel Goldwyn/RKO) / Ned Washington, Victor Young – “Three Coins in the Fountain” (from the 1954 film; 20th Century Fox) / Jule Styne, Sammy Cahn – “Love is a Many-Splendored Thing” (from the 1955 film; 20th Century Fox) / Sammy Fain, Paul Francis Webster – “That’s Amore” (from The Caddy; Paramount, 1953) / Harry Warren, Jack Brooks – “Que Sera, Sera” (from The Man Who Knew Too Much; Paramount, 1956 / Jay Livingston, Ray Evans – “All the Way” (from The Joker is Wild, 1957; Paramount) / Jimmy Van Heusen, Sammy Cahn
A Place In the Sun (suite from the 1951 film; Paramount) / Franz Waxman
Saw Ben-Hur (20th Century Fox, 1959) first run years ago with my very Catholic mom so I remember the music as Holy music. Then after that, as Monty Python music.
Above Kay Swift and her 
Saw Ben-Hur (20th Century Fox, 1959) first run years ago with my very Catholic mom so I remember the music as Holy music. Then after that, as Monty Python music.
"I'll Be Dead Before You Break My Heart" 