Berklee  College  of  Music  Valencia   Culminating  Experience               Oliver  Patrice  Weder   July  2014     OLIVER  PATRICE  WEDER   Culminating  Experience  2014           ‘Chaplin’  (1992)     The  silent  film  era  portrayed  in  a  modern  film   An  analysis  of  the  original  film  score  by  Sir  John  Barry                                         Page   1   Berklee  College  of  Music  Valencia   Culminating  Experience         Oliver  Patrice  Weder   July  2014   Content       Introduction________________________________________________________________________   page  3     Thesis_______________________________________________________________________________   page  4     Analysis  Report____________________________________________________________________   page  4     Opening  Scene  and  Function  of  the  Main  Theme________________________________    page  9     Development  of  the  Score_________________________________________________________   page  12     Relation  with  the  Silent  Movies___________________________________________________   page  13     Background  Information__________________________________________________________   page  14     The  Composer______________________________________________________________________   page  15     Outcome  and  Conclusions_________________________________________________________   page  17     Bibliography________________________________________________________________________  page  18     Appendix____________________________________________________________________________  page  19               Page   2   Berklee  College  of  Music  Valencia   Culminating  Experience         Oliver  Patrice  Weder   July  2014   Introduction     ‘He  smoked  so  much  weed,  but  the  guy  was  talented.’1  Answered  the    “Chaplin”  music  editor   Andy  Glenn,  when  I  asked  him  about  the  composer  John  Barry.  Looking  at  the  composer’s   career  and  listening  to  the  beautiful  score  of  this  movie,  he  clearly  is.         Talking  about  Richard  Attenborough  and  Robert  Downey  Jr.,  they  have  carried  out  an   unbelievably  successful  performance  with  “Chaplin”.    Render  the  life  of  an  absolute  genius  and   icon  of  the  silent  film  era  was  not  an  easy  task.  Charlie  Chaplin  himself  represented  an   unmistakable  style  and  left  a  deep  mark  in  the  film  history  –  so  did  the  music  of  his  films.       This  work  will  analyze  the  narrative  function  of  the  music,  how  the  score  of  “Chaplin”   correlates  with  the  original  silent  era  soundtracks  and  how  it  embraces  the  unbelievable   character  and  life  of  Charlie  Chaplin.  I  further  expose  how  this  score  is  relevant  to  the   composer’s  career  and  his  other  compositions  and  scores.       The  background  research  of  the  emergence  of  the  score  is  strongly  shaped  by  original  audio   records  of  the  spotting  session,  a  conversation  with  the  music  editor  and  an  interview  with   the  orchestrator.                 1  Andy  Glenn,  Music  Editor  of  “Chaplin”,  personal  meeting,  22nd  of  May  2014,  London   2  www.theost.com/1992/chaplin.html       Page   3   Berklee  College  of  Music  Valencia   Culminating  Experience         Oliver  Patrice  Weder   July  2014   Thesis:   Why  does  the  music  portray  the  life  and  person  of  Charles  Chaplin  so  successfully  in  the  film   “Chaplin”?       Analysis  Report   Background       “Chaplin”  (1992).  Production  by  Caroloco  Pictures,  Le  Studio  Canal  +  and  RCS  Video.    Directed  by  Richard  Attenborough  based  on  the  books  “My  Autobiography”  by  Charlie  Chaplin   and  “Chaplin:  His  Life  and  Art”  by  David  Robinson.  Story  by  Diana  Hawkins.  With  Robert   Downey  Jr.,  Dan  Aykroyd,  Geraldine  Chaplin,  Kevin  Dunn,  Anthony  Hopkins,  Milla  Jovovich,   Moira  Kelly,  Kevin  Kline,  Diane  Lane,  Penelope  Ann  Miller,  Paul  Rhys,  John  Thaw,  Marisa   Tomei,  Nancy  Travis,  James  Woods.  Music  composed  by  John  Barry.       Synopsis     The  film  tells  the  troublesome  and  controversial  story  of  the  filmmaker  Charlie  Chaplin.   It  starts  with  a  conversation  between  the  old  Chaplin,  residing  in  Switzerland,  and  a  fictional   biographer  (played  by  Anthony  Hopkins),  reflecting  different  episodes  of  Chaplin’s  life  in   order  to  create  a  biography.  This  builds  the  frame  story  of  the  film.     Chaplin  tells  the  story  of  how  he  stepped  onto  a  stage  the  first  time,  playing  his  mother’s  role   because  her  voice  failed  –  he  was  five  years  old.    Around  the  turn  of  the  century,  with  his   mother  and  his  brother  Sydney,  he  grows  up  in  very  poor  circumstances  in  London.  His  father   dies  from  the  consequences  of  alcohol  and  his  mother  was  hospitalized  in  a  madhouse.  His       Page   4   Berklee  College  of  Music  Valencia   Culminating  Experience         Oliver  Patrice  Weder   July  2014   brother  gets  him  appearances  at  Fred  Karno’s  Varieté,  where  he  generates  his  first  success.   With  the  age  of  24,  he  moves  to  the  USA  where  he  acts  in  his  first  film  comedies  under  the   direction  of  Mack  Sennett.  However,  he  invents  the  famous  role  of  “The  Tramp”  and  becomes   an  independent  actor  and  director.  Over  night,  he  becomes  the  biggest  Hollywood  Star  at  the   time.  He  shoots  67  silent  at  age  of  30  and  becomes  a  millionaire.  He  founds  a  studio,  and   together  with  Douglas  Fairbanks  and  Mary  Pickford  he  establishes  United  Artists  (which   today,  belongs  to  Sony  Pictures  Entertainment)  and  everything  seems  perfect.  Nevertheless,   with  his  acute  sense  of  humor  and  his  countless  affairs  with  women,  he  makes  enemies  in  the   States  and  through  an  England  journey  in  1952;  USA  prohibits  his  return  journey  into  the   country.  He  settles  in  Switzerland  with  his  latest  wife  Oona  O’Neill  and  is  only  allowed  back  to   the  USA  in  1972,  to  receive  the  Academy  Honorary  Award  for  his  lifetime  achievement.     In  the  last  scene,  he  is  preparing  himself  for  his  speech  and  with  tears  in  his  eyes  he  is   watching  his  old  film  clips,  which  are  screened  to  the  guests.                                 Page   5   Berklee  College  of  Music  Valencia   Culminating  Experience         Oliver  Patrice  Weder   July  2014   Original  Music  Soundtrack  –  Summary2     -­‐  Chaplin  Main  Theme         3:06   -­‐  Early  Days  in  London           4:18   -­‐  Charlie  Proposes  (Main  Theme)       3:01   -­‐  To  California  /  The  Cutting  Room       3:45   -­‐  Discovering  The  Tramp  /  The  Wedding  Chase   4:01   -­‐  Chaplin’s  Studio  Opening         1:58   -­‐  Salt  Lake  City  Episode  (Klezmer)       2:11   -­‐  The  Roll  Dance     2:34         -­‐  News  of  Hetty’s  Death  (Main  Theme)  /  Smile   3:42   -­‐  From  London  to  LA  (Main  Theme)     3:21   -­‐  Joan  Barry  Trouble  /  Oona  arrives     2:15   -­‐  Remembering  Hetty  (Main  Theme)     2:57   -­‐  Smile               2:06           1:47       4:46   -­‐  Smile  (performed  by  Robert  Downey  Jr.)   3:38   -­‐  The  Roll  Dance   -­‐  Chaplin  Main  Theme  /  Smile       *  View  detailed  cue  list  in  the  appendix                   2  www.theost.com/1992/chaplin.html       Page   6   Berklee  College  of  Music  Valencia   Culminating  Experience         Oliver  Patrice  Weder   July  2014   General  Description  of  the  Sound  Track       John  Barry  triumphs  with  an  extraordinary  film  score,  which  stands  beautifully  on  its  own.     With  his  remarkable  style  he  captures  the  essence  of  the  film  and  the  main  character  and  his   life  perfectly.    The  music  brings  out  every  little  emotion  and  shows  the  personality  of  Charlie   Chaplin  in  a  wonderful  and  melancholic  way.  His  music  puts  the  viewer  a  tear  into  their  eye,   but  at  the  same  time  a  smile  onto  their  lips  –  just  like  Chaplin  himself.    Barry  dominated  both,   the  feelings  and  drama  of  the  main  act  and  the  chronological  narration  in  a  certain  time   period.  The  former,  he  masters  with  luxuriant  string  arrangements  and  an  ingenious  melody.   The  latter,  he  overcomes  with  a  delicacy  and  intuition  for  the  period  jazz  and  ragtime  in  the   Hollywood  of  the  1910’s  and  1920’s.     The  score  consists  of  a  great  emotional  main  theme,  which  appears  several  times,  some  great   roll  dances  and  then,  very  cleverly,  some  cues  that  remind  strongly  of  the  silent  film  era  and   certain  Chaplin  original  soundtracks.  The  music  is  very  personal,  nostalgic  and  introspective,   but  always  with  a  wink  of  humor  and  heartbreak.  Barry  himself  says:  “Chaplin  is  much  more   interior  and  enclosed  than  Dancing  with  Wolves,  it’s  far  more  intimate.      In  my  opinion,  Barry  has  mastered  the  depiction  of  the  filmmaker’s  life  in  a  terrific  manner.                         Page   7   Berklee  College  of  Music  Valencia   Culminating  Experience         Oliver  Patrice  Weder   July  2014   Critics  and  Reception     First  of  all,  John  Barry  received  a  nomination  for  the  Academy  Award  for  this  dramatic   underscore  and  it  is  generally  known  has  his  last  masterpiece  and  effective  film  score.      The  score  has  been  vaunted  for  its  remarkable  John  Barry  style;  it  is  very  simple  in   construction,  demonstrates  a  subtle  counterpoint  within  the  strings  and  stands  out  with  a   breathtaking  melody.  Praiseworthy  are  also  his  out-­‐of-­‐character  cues:  a  honky  tonk  piano,   distinctive  brass  rhythms  and  a  soft  accompaniment  of  the  snare  drum  remind  of  the  20’s  in   Hollywood.       The  film  itself  has  received  mixed  critics.  A  current  IMDB  ranking  of  7.6  shows  an   intermediate  rating.  Researching  reviews  published  right  after  the  film’s  release,  papers  such   as  the  New  York  Times  write:     “It’s  difficult  to  tell  what  Mr.  Attenborough  thought  to  be  the  purpose  of  “Chaplin”.  The  film  is   certainly  not  a  critical  biography.  It  adds  nothing  to  the  understanding  of  the  man’s  work.”3     Musically,  there  were  no  critics  such  as.  Au  contraire,  it  was  said  that  Barry’s  music  and   Downey’s  performance  saved  an  awkward  attempt  of  the  genius’  replication  of  his  life.                 3  The  New  York  Times  (25.12.1992),  Canby,  V.  Review/Film;  Robert  Downey  Jr.  in  Charlie  Chaplin  Life  Story       Page   8   Berklee  College  of  Music  Valencia   Culminating  Experience         Oliver  Patrice  Weder   July  2014   Opening  Scene  and  Function  of  the  Main  Theme           The  magic  moment  of  the  whole  score  and  also  of  the  entire  movie  is  without  a  doubt,  the   opening  sequence:   It´s  dark,  we  hear  steps,  and  then  a  door  is  opening.  The  silhouette  of  a  man  with  a  hat,  a  cane   and  too  big  shoes  appears  in  the  door  –  Charlie  Chaplin.  We  hear  the  first  note  simultaneously   with  the  title  font;  after  listening  to  the  spotting  session,  the  timing  of  the  first  note  was   actually  a  big  discussion.  The  piano  is  playing  an  arpeggiated  Fmajor9  while  the  strings  play  a   warm  and  soft  F  major  pad.  The  reason  why  I  mention  this  is  because  John  Barry  often  writes,   or  starts  writing,  in  F  major,  he  says:       “I  love  that  key.  It  just  sings  so  beautifully.  There’s  an  openness  and  a   romantic  richness  and  fullness  of  depth  with  the  string  orchestra  in  that  key.”4     As  the  beautiful  melody  on  the  right  hand  of  the  piano  plays  the  second  note,  with  the   harmony  going  into  a  Faug7,  Charlie’s  face  appears  and  starts  stripping  away  his  charade.   Slowly,  he  takes  off  his  hat,  puts  away  his  cane,  removes  his  mustache  and  eye  make  up;  He   appears  as  the  real  man,  the  real,  vulnerable  and  sensitive  Charles  Spencer  Chaplin.  He  is   “naked”  and  the  main  theme  is  immediately  associated  with  the  unflattering  man.           4  Schelle,  M.  (1999)  the  Score,  Interview  with  Film  Composers,  1st  Edition,  Beverly  Hills:  Silman-­‐James  Press,  p.  27       Page   9   Berklee  College  of  Music  Valencia   Culminating  Experience         Oliver  Patrice  Weder   July  2014         The  main  theme  melody  starts  with  an  F  major  accompaniment,  but  very  interestingly,  the  first   half  of  the  melody  moves  within  the  C  Freygish  Mode,  also  known  as  Phrygian  Dominant  Scale   or  the  main  Klezmer  Mode.    The  reason  why  I  mention  this  is  because  Chaplin’s  original  music   very  often  ranged  in  this  mode,  a  brilliant  example  is  the  opening  theme  to  Limelight  (where  a   violin,  clarinet  and  accordion  build  the  foreground,  a  classical  use  of  instruments  in  Yiddish   music).       Watching  this  opening  scene  and  hearing  this  beautiful,  pretty  and  delicate  music,  draws  the   viewer  into  the  film  immediately.  It  is  just  so  brilliantly  made,  how  it  starts  with  this   emotional  revelation.         The  main  theme  is  the  golden  thread  through  the  film.  It  reminds  the  viewer  of  the  real   Chaplin  and  his  vulnerability.  Therefore,  the  main  theme  appears  again  during  a  conversation   in  a  bar  with  Hetty  Kelly,  his  first  love.  Chaplin  acts  a  play  in  front  of  her,  he  holds  on,  looks   deep  into  her  eyes  and  the  beautiful  piano  starts  to  show  him  without  a  mask,  before  he  asks   her  to  marry  him.   After  he  has  moved  to  America  and  during  a  visit  of  his  brother,  he  finds  out  that  Hetty  got   married  and  the  main  theme  appears  in  a  slight  variation  –  by  now,  the  main  theme  has  also   assumed  the  role  of  a  love  theme.             Page   10   Berklee  College  of  Music  Valencia   Culminating  Experience         Oliver  Patrice  Weder   July  2014   Main  Theme:  Full  Orchestra  (*please  find  a  transcription  in  the  appendix)     After  1  hour  and  12  minutes  into  the  film,  Charlie  gets  told  that  Hetty  Kelly  had  died.    The   theme  appears  in  its  full  beauty  with  a  very  simple  but  effective  orchestration.  This  cue   touches  the  viewer’s  hard  with  all  its  power,  combined  with  an  astonishing  performance  by   Robert  Downey  Jr.     The  orchestration  is  typically  Barry:  The  horns  play  softly  the  chordal  and  harmonic  structure,   while  the  cellos  play  the  chord  in  an  arpeggio.  The  flute  and  the  clarinet  are  barely  audible,   but  double  up  the  melody  and  the  Bassoons  double  up  the  root  note  in  octaves,  together  with   the  trombone  and  the  double  bass.     After  the  interview  with  the  orchestrator  Nic  Raine,  he  has  stated  that  he  doubled  the  cello   line  with  the  violas  on  certain  passages,  which  gives  it  a  darker  feel:               On  this  point,  Nic  Raine  also  tells  me  that  John  Barry  didn´t  actually  wanted  to  put  re-­‐ arrangements  of  “Smile”  into  the  film.  Yet,  after  this  cue,  the  score  turns  very  subtly  into  the   beginning  of  smile  –  in  the  film,  Charlie  returns  to  England  and  gets  off  the  train,  so  he  has  to   hide  his  tears  and  smile  for  the  audience.               Page   11   Berklee  College  of  Music  Valencia   Culminating  Experience         Oliver  Patrice  Weder   July  2014   Development  of  the  Score     “If  you  saw  the  real  Chaplin  walking  down  the  street,  you  wouldn´t  recognize  him.  I  remember,   when  I  was  a  little  kid,  seeing  a  photograph  of  Chaplin  sitting  in  a  nightclub.  As  a  little  boy,  I   expected  him  to  be  sitting  there  with  his  hat  on,  with  his  cane  and  his  funny  shoes,  because  that   was  his  image,  you  rarely  saw  him  in  any  other  way.”5   John  Barry  talks  in  an  interview  about  the  process  and  the  inspiration  for  his  score.  He  had  a   very  sensitive  point  of  view,  since  his  dad  also  used  to  tell  him  Chaplin  stories  and  he  was   familiar  with  his  personal  life.  Therefore,  it  was  definitely  more  sensitive  to  hire  a  composer,   who  tried  to  get  behind  the  mask  and  bring  out  the  hidden  sadness  of  the  man.       Nic  Raine,  his  orchestrator,  says  that  Barry  never  really  talked  about  his  music.  His  composing   process  was  very  private  –  and  very  simple  too.  He  would  hand  his  orchestrator  rough   sketches,  often  played  on  a  piano.  Nic  Raine  also  thinks  that  John  had  labored  his  beautiful   melodies,  rather  than  having  them  in  flashes  of  inspiration.       The  tapes  of  the  spotting  session  give  away  a  lot  of  interesting  information,  please  find  them   attached.     The  most  heartwarming  sequence  is  the  very  beginning:  We  hear  the  Steenbeck  Flatbed   machine  playing  the  35  film  and  John’s  main  theme  starts  playing.  As  it  stops  I  can  feel  the   atmosphere  in  the  room,  everyone  is  stunned  and  Diane  Hawking,  the  co-­‐writer,  says  first:   “This  is  wonderful”,  before  we  hear  Richard  Attenborough:  “You  got  the  timing  all  wrong   Jonny.”  Barry  answers:  “yeah,  I  know,  sorry  about  that”  and  continues  “I  wrote  it,  put  it   against  the  title  and  it  worked.  I  didn´t  time  it.”   5  Schelle,  M.  (1999)  the  Score,  Interview  with  Film  Composers,  1st  Edition,  Beverly  Hills:  Silman-­‐James  Press,  p.  33       Page   12   Berklee  College  of  Music  Valencia   Culminating  Experience         Oliver  Patrice  Weder   July  2014   What  I  found  controversial  in  my  research  is  that  Nic  Raine  says  John  Barry  wasn’t  inspired  by   the  original  Chaplin  music.  If  I  look  at  the  way  he  underscored  the  speed-­‐up  camera  scenes,  it   sounds  very  inspired  by  scores  from  Modern  Times    or  The  Kid.  Moreover,  Barry  talks  a  lot   how  he  loves  Chaplin  and  looks  up  to  the  man.             Relation  with  the  Silent  Movies     In  scenes  where  Chaplin  finds  his  costume  or  where  they  have  to  edit  The  Kid  secretly,  John   Barry  has  cleverly  involved  the  style  of  typical  music  for  comedies  –  especially  the  music   Charlie  Chaplin  wrote  himself  for  his  silent  movies.  Identical  characteristics  of  this  comedy  yet   melodramatic  music  are:         -­‐  sentimental  lyricism     -­‐  mock  sinister  music  for  villains           -­‐     -­‐  ragtime  piano  /  syncopation   -­‐  circus  slapstick   -­‐  folksy  jauntiness   -­‐  simple  Edwardian  waltzes     Further,  John  Barry’s  personal  style  and  the  way  he  scored  the  film  are  similar  to  one  of   Charlie  Chaplin’s  orchestrator  –  David  Raksin.  He  updated  the  silent-­‐era  scoring  style  with  a   larger  use  of  ostinato  and  also  dissonance.       A  further  commonness  in  these  sections  is  the  style  of  mickey-­‐mousing.         Page   13   Berklee  College  of  Music  Valencia   Culminating  Experience         Oliver  Patrice  Weder   July  2014   A  very  interesting  observation  I  have  already  stated  is  the  use  of  Yiddish  Klezmer.  Whether  it   is  intention  or  not,  how  the  score  includes  certain  identity  with  this  style  of  music,  which   reminds  of  the  Chaplin  films,  is  just  brilliant.  Klezmer  music  started  of  on  the  street  as  gypsy   music,  played  on  weddings  and  celebrations  later  on.  An  excellent  homage  to  Charlie  Chaplin.         Background  Information     During  this  research,  I  have  come  across  a  lot  of  critics  about  the  original  Chaplin   compositions.  Many  reviewer  and  critics  claim  that  Chaplin  had  little  knowledge  about  music   and  he  might  have  “only  whistled”  a  melody  to  a  professional  musician  or  orchestrator.  Even   so,  it  was  very  common  for  famous  composers  and  musicians  of  the  Tin  Pan  Alley  era  to  sing  a   melody  to  a  professional  and  have  it  arranged.    However,  who  knows  how  much  actually  the   “big  composers”  nowadays  compose,  with  their  huge  teams  and  possible  ghostwriters  behind   them.     Often,  the  loudest  critics  came  from  jealous  music  professionals.  Nevertheless,  his  secret   ambition  was  to  be  a  concert  violinist,  therefore  he  took  lessons  and  practiced  a  lot,  he  had  the   instrumental  knowledge  and  as  a  director  and  actor,  he  would  use  all  the  resources  around   him:  He  dined  with  Rachmaninov  and  Chaliapin,  and  had  Debussy  congratulating  him  on  his   film  music.                   Page   14   Berklee  College  of  Music  Valencia   Culminating  Experience         Oliver  Patrice  Weder   July  2014   The  Composer     “I  want  to  see  the  script.  I  am  interested  in  who  the  director,  editor  and  cast  are.  I  watch  a  rough   cut,  and  then  I  start  with  a  melody.  I  am  fascinated  in  the  way  a  melody  locks  into  a  certain   character  or  mood.”               -­‐  John  Barry       John Barry was born in the UK in 1933. His family was running cinemas in the north of the country, making films a big part of his early years. But it was during the National Service where he started developing as a musician, taking a correspondence course with jazz composer Bill Russo. This part of his life is key to his development as a composer, adding touches of jazz to many of his scores. Later on, he formed the John Barry Seven and that’s when he met composer Adam Faith, starting his career as a film music composer. He was asked to join the team by the producers of the film Dr. No. Monthy Norman, being the one accredited for the James Bond Theme and who has received royalties since 1962, had already started this job. John Barry was the orchestrator of the theme and turned it into what it is now, making us wonder who should get the credit and the money for it? Barry has taken legal actions several times, but has never been able to prove that he is the creator of the famous Bond Theme. Barry’s friend Vic Flick plays the distinctive guitar riff. The equally distinctive sound of the guitar reminds of another score composed by Barry - Beat Girl, where Flick is also the guitarist. He composed the soundtracks for 11 of the James Bond films between 1963 and 1987. Barry's early love for the Russian romantic composers joins the big-band sound of Bond. John Barry´s style is known for the extensive use of brass instruments of wind and metal and exotic strings, as well as being very innovative, being one of the first to use synthesizers on the film “On Her Majesty's Secret Service”.     Page   15   Berklee  College  of  Music  Valencia   Culminating  Experience         Oliver  Patrice  Weder   July  2014   Barry´s orchestration combines the trumpets section with the strings creating a very recognizable sound. His music enhances the public’s response towards a film, like in "Midnight Cowboy", "Out of Africa", y "Dances with Wolves." Hi also composed music for the TV. Highlighting the theme he created for the TV show The Persuaders, where he used the Moog synthesizer. In 1999 he was appointed OBE at Buckingham Palace for services to music. From six nominations he won four Academy Awards: *John Barry "Born Free" in 1966, best soundtrack and best song. http://www.youtube.com/watch?v=MhGeH07lo5M *John Barry "The Lion In Winter” in 1968, Academy Award and Bafta http://www.youtube.com/watch?v=a1Gz4gJK8ho *John Barry “Out Of Africa” in 1985, One Academy Award, one Grammy and One Golden Globe. http://www.youtube.com/watch?v=eWZ2adCaKo4 *John Barry “Dances with Wolves” in 1990, One Academy Award and one Grammy http://www.youtube.com/watch?v=oQ4FQfSeksA John Barry still holds the record for the most Oscars won by a British citizen, I believe. John Barry died of a heart attack in 2011 at the age of seventy-eight.     Page   16   Berklee  College  of  Music  Valencia   Culminating  Experience         Oliver  Patrice  Weder   July  2014   Outcome  and  Conclusions   In  order  to  illustrate  the  mood  and  feeling  of  Charlie  Chaplin’s  silent  films,  he  uses  some  re-­‐ recorded  tracks  of  the  original  films,  such  as  Modern  Times  or  Limelight.  The  arrangements   are  exciting,  blend  well  with  the  original  score  and  help  to  reflect  the  real  personality  of   Chaplin.     The  key,  as  mentioned,  is  the  exceeding  main  theme.  The  melody  on  its  own  beautiful  and   suits  the  man’s  character.  The  viewer  is  taken  into  the  film  immediately.  Like  stated  in  my   paper,  the  homage  to  the  silent  film  area  is  made  through  the  use  of  Klezmer  music  and  the   mickey-­‐mousing  in  the  speed-­‐up  camera  scenes.     The  bridge  to  the  silent-­‐era  is  made  subtly  and  the  viewer  can  find  himself  comfortably  in  the   world  of  Charles  Chaplin.  The  soundtrack  also  works  beautifully  on  its  own,  which  is  in  my   eyes,  a  strong  aspect.  If  I  would’ve  been  assigned  for  the  job,  I  would  have  tried  to  do  exactly   the  same.     John  Barry’s  background  as  a  jazz  musician,  writing  explosive  big  band  and  horn  heavy   sounds  for  films  such  as  James  Bond,  has  turned  into  overwhelming  melancholy  and  an   incredible  sense  for  the  soul  of  the  film.  John  Barry’s  compositions  for  the  film  Chaplin  –     A  stroke  of  genius.                   Page   17   Berklee  College  of  Music  Valencia   Culminating  Experience         Oliver  Patrice  Weder   July  2014   Bibliography     Books     Buhler,  J.  (2010)  Hearing  the  Movies,  Oxfor  Univeristy  Press,  New  York     Cooke,  M.  (2008)  A  History  of  Film  Music,  Cambridge  University  Press,  New  York     Kalinak,  K.  (1992)  Settling  the  Score,  Wisconsin  Press,  Wisconsin     Schelle,  M.  (1999)  the  Score,  Interview  with  Film  Composers,  1st  Edition,  Beverly  Hills:  Silman-­‐ James  Press         Web     www.filmtracks.com/titles/chaplin.html       www.imdb.com/title/tt0103939/?ref_=fn_al_tt_1       http://photahsiamirabel.squidoo.com/CharlieChaplinComposer       Journals     The  New  York  Times  (25.12.1992),  Canby,  V.  Review/Film;  Robert  Downey  Jr.  in  Charlie   Chaplin  Life  Story   http://www.nytimes.com/movie/review?res=9E0CE5D7153CF936A15751C1A964958260             Page   18   Berklee  College  of  Music  Valencia   Culminating  Experience         Oliver  Patrice  Weder   July  2014   Appendix     Detailed  Cue  List   0.44  –  3.41                   6.45  –  7.45         8.58  –  9.55       11.18  –  12.05                   14.47  –  15.34             16.00  –  16.04                   18.39  –  18.48             23.14  –  25.10                               25.14  –  25.45               25.58  –  26.35             26.35  –  27.30             27.30  –  28.04               28.45  –  30.09     Main  title  sequence,  strings  and  piano  –  the  genius  behind  the  mask.     Chaplin  looses  his  costume  and  make  up,  the  real  man  behind       “The  Tramp”  appears.   Underscoring  while  the  Mother  acts  a  play  in  their  flat   Underscoring  while  Chaplin  is  talking  about  his  circumstances  and  family   Subtle  and  melancholic  underscoring  where  young  Charlie  brings  her  to   the  madhouse.  Extensive  use  of  the  clarinet,  which  reminds  of  the     original  Chaplin  compositions.     Subtle  “mickey-­‐mousing”  when  he  demonstrates  slapstick  comedy  for     Fred  Karno.     Opening  signal  for  the  Hackney  Empire  Theatre  in  London,  where     Chaplin  plays  the  “drunken  old  man”  the  first  time,  where  there  is,     mickey-­‐mousing  percussion,  like  in  the  old  theater  or  circus.     Closing  signal  for  the  Hackney  Empire  Theatre  in  London,  after   his  performance,  accompanied  by  applause.   Return  of  the  main  theme.  Beautifully  made:  Chaplin  acts  a   play  in  front  of  Hetty  Kelly,  he  holds  on,  looks  her  deep  in  the     eyes.  Again  here,  the  mask  falls  and  he  becomes  Charles  Chaplin,     the  sensitive  romantic  who  asks  her  to  marry  him.     The  film  cuts  to  Hopkins,  asking  old  Chaplin  about  the  truth  of  the  story.   The  main  theme  starts  again,  and  stops  when  Hetty  says:  “You’ve  never mentioned  love”.     Introduction  of  horns  and  timpani  (big  sound)  when  he  moves  to     America,  to  signalize  power,  mighty  and  the  big  times.     The  cue  goes  straight  into  the  music  by  a  silent  film  pianist.  Chaplin   enters  an  old  “cinema”.     Another  melancholic  cue,  that  overcomes  the  silent  film  pianist  and     shows  Chaplin’s  enthusiasm  about  the  cinema.      Big  sound  again  for  the  moving  to  Hollywood  after  he’s  received  a   telegram  by  Mack  Sennett.  This  is  a  very  heroic,  hopeful  and  positive  cue.     Page   19   Berklee  College  of  Music  Valencia   Culminating  Experience       32.13  –  34.09                           34.42  –  35.12                     35.12  –  35.28                       35.30  –  36.15     36.15  –  36.25       36.30  –  38.35                 42.42  –  43.35                   56.15  –  56.55         1.04.20  –  1.04.40     1.05.12  –  1.06.15                       1.06.37  –  1.06.58               Oliver  Patrice  Weder   July  2014   Underscoring,  Mack  Sennett  explains  him  the  studio.  He  makes  extensive use  of  the  clarinet  in  the  intro  of  the  cue.  Again  here,  the  cue  always  has  a   very  melancholic  touch,  never  looses  focus  to  reveal  Chaplin’s  real     personality.  The  harmony  reminds  of  the  main  theme.     A  seemingly  very  important  moment,  supported  by  the  music,  when     old  Chaplin  explains  how  he  invented  “The  Tramp”.  The       next  one  interrupts  the  cue.   The  truth  of  how  he  really  found  his  costume  shows  a  tribute  of     old  Chaplin  films  –  for  example:       https://www.youtube.com/watch?v=IjarLbD9r30  (from  beginning)   https://www.youtube.com/watch?v=qNseEVlaCl4  (0.10)   https://www.youtube.com/watch?v=abmXaIAtvyQ  (1.40)      Variation  of  the  main  theme  (same  harmonies)  when  he  transforms  into   the  tramp.     Interesting,  against  the  expectation,  once  he  finishes  the  transformation,   another  theme  comes  up  (35.59).  The  theme  is  heroic;  “The  Tramp”  was   born.   An  interlude  is  played  for  Chaplin’s  funny  walk.     The  same  theme  as  when  he  chose  the  costume  comes  back.  Brilliant   changeover  between  the  “flirt-­‐music”  and  the  chase.     https://www.youtube.com/watch?v=WLo5uDCO-­‐m8  (0.25..  the  snare)   Main  theme  returns.  Syd  visits  him  in  the  USA  and  Charlie  asks   about  his  mother.  He  also  receives  the  news  of  his  first  love  getting   married.  The  mood  turns  slightly  melancholic.     Another  major  theme  when  Chaplin  buys  the  studio.     Underscoring.  Dramatic  break  up.   Another  tribute  to  the  silent  film  era  –  the  classic  bouncy  sound   with  the  high  pitched  winds  and  the  sped  up  picture.         Reminds  of  Yiddish  Klezmer  music.     Interesting  rescore  of  “The  Kid”  with  the  old  piano.  Perfectly     suitable  for  the  scene.     Page   20   Berklee  College  of  Music  Valencia   Culminating  Experience         1.07.30  –  1.08.22     1.08.25  –  1.08.29       Oliver  Patrice  Weder   July  2014   Picking  up  the  chase  scene  again.       They  sing  the  song,  their  mother  used  to  sing  in  the  theater.     Musical  preparation  for  the  mother,  who  appears  in  the  next  scene.     1.08.55  –  01.09.35   Reunion  with  his  mother.  Subtle  underscore.     1.12.15  –  1.13.59   Main  theme  returns  in  its  full  orchestral  appearance.  Fred  Karno  tells         him  about  the  death  of  Hatty  Kelly.  Again  here,  Charles  Chaplin  is           “naked”  here,  without  his  make  up  or  mask.       1.14.00  –  1.14.35   Charlie  recollects  himself  and  the  beginning  of  “Smile”  is  playing.         1.16.24  –  1.17.08   The  main  theme  returns  again  as  he  leaves  the  bar  and  lands  on  his         feet  –  he  realizes  that  America  is  his  home.           1.17.11  –  1.17.37   Back  in  the  USA:  heroic  theme  with  horns  again     1.20.37  –  1.21.24   Interesting  combination  between  underscore  and  emphasizing         the  shooting  of  “Goldrush”  –  brilliantly  done.       1.26.27  –  1.28.20   Soft  underscoring  to  introduce  another  potential  affair  with             Miss  Paulette  Levy.       1.33.42  –  1.34.24   Subtle  underscoring  while  old  Chaplin  talks  with  Hopkins     1.37.26  –  1.38.30   Main  theme,  when  he  leaves  the  party.  We  see  him  again,             nostalgic.  He  says  “so  much  ended  around  then”  –  as  he  says  that,           the  main  theme  ends  subtly  end  we  hear  the  beginning  notes  of         “Smile”  (1.38.30  –  1.38.37)     1.44.55  –  1.45.50   Subtle  underscoring  while  old  Chaplin  is  describing  his  crazy             affair  with  Joan  Barry.           1.46.45  –  1.47.50   A  subtle  homage  to  the  main  theme,  very  sweet  underscoring             for  the  first  meeting  with  Oona  O’Neill.  The  main  theme  is             clearly  recognizable,  but  it  takes  different  directions.         1.51.43  –  1.51.55   Quick  melody  of  Limelight  –  slightly  weird.     1.52.00  –  1.52.25     Sweet  version  of  the  main  theme,  after  he  found  out  that           it’s  not  his  baby.         1.54.28  –  1.54.55   Underscoring  while  different  articles  about  Chaplin  are  being  showed.     Page   21   Berklee  College  of  Music  Valencia   Culminating  Experience             1.55.17  –  1.55.46     1.58.22  –  1.59.20       Oliver  Patrice  Weder   July  2014   His  career  is  going  down.     Limelight  is  being  played.      Main  theme  is  played  when  he  gets  to  know  that  he  gets  kicked  out  of   America.  Charlie  shows  his  real  feelings.  Melancholic,  sensitive,  he  is  hurt.   Interesting  movement  into  a  subtle  underscoring.           2.01.54  –  2.02.45   Introduction  of  a  new  theme,  he  gets  invited  to  the  Oscars  72.     2.05.50     Chaplin’s  review  at  the  Oscars  1972         Use  of  source  music  example:     3.59  –  4.42     “The  Honeysuckle  and  the  Bee”  by  Albert  Fitz  and  William  Penn     18.50  –  21.03     “Daisy  Bell”  by  Harry  Dacre,  played  in  the  background  while  Charlie         is  helping  the  girls  getting  dressed  for  their  show.           Criticism  and  comment   -­‐When  he  is  on  stage  (5  years  old)  it  wouldn´t  work,  the  song  didn’t  come  out  until  1901,   when  he  was  12.  His  mother  didn´t  perform  anymore  at  that  age.      “Smoke  gets  in  your  eyes¨  shows  a  some  similar  chord  progression  to  the  original  Barry  score.                 Page   22   Berklee  College  of  Music  Valencia   Culminating  Experience     4 27 Fl. 28 29 main  t30 Transcription   of  the   heme:              Cl.      32    33                                            p Oliver  Patrice  Weder   July  2014   31    mp Bsn         mp Ob.     35        34                          36                                                                               Hn 1.2 p Tbn. 3 p Tba  p  Hp.  Pno. 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    The  first  contact  I  had  with  John  Barry  was  a  phone  call  one  afternoon.  He  was  shortly  to  compose  the  score  for  A   View  to  a  Kill  which  would  be  recorded  in  London’s  CTS  Studios.  He  hadn’t  worked  in  London  for  a  few  years  and   he  asked  the  studio  to  recommend  to  him  an  orchestrator.  You  can  imagine  my  excitement  at  not  only  having  the   opportunity  to  work  with  John,  but  on  a  Bond  score  too.  I  didn’t  hesitate  to  say  yes!         2  –  How  did  the  Chaplin  project  come  about?  Were  you  on  board  from  the  beginning?     I  wasn’t  on  board  right  at  the  beginning,  only  when  John  had  the  dates  firmed  up  did  he  tell  me  about  it.         3  –  As  far  as  you  know,  can  you  describe  the  working  progress  of  Chaplin?  Was  the  film  completely  finished   before  the  music  was  written?     How  did  Mr.  John  Barry  get  involved  (is  it  true  that  Mr.  Attenborough  was  horrified  of  Mr.  Barry’s  main  title  at   first?)       Generally  films  are  finished  before  the  music  is  written  –  what  is  called  a  ‘fine  cut’.  It’s  a  waste  of  a  composer’s   time  to  write  music  for  something  that  may  be  changed  or  re-­‐cut  later.  I  hadn’t  heard  about  Richard   Attenborough’s  reaction  although  I  would  be  surprised.  John  always  ‘demoed’  his  themes  using  synth.  sounds  to   give  his  directors  an  idea  of  what  they  would  get.  The  idea  of  the  main  theme  was  to  get  behind  the  comedy   ‘mask’  of  Chaplin  and  bring  out  the  hidden  sadness  of  the  man.       4  –  How  big  was  Mr.  John  Barry  inspired  from  the  original  Chaplin  compositions?     Not  at  all.  John  knows  a  lot  of  the  classical  repertoire  but  he  is  not  influenced  by  it.  His  musical  instruction  was   fairly  basic  so  he  always  wrote  simply.  To  his  credit,  melody  was  his  chief  gift.         5  -­‐  As  an  orchestrator,  especially  in  Chaplin,  how  much  compositional  and  “creative”  input  did  you  have?   (Instrumentation  wise,  arrangement  etc.,  and  also  in  regards  to  the  main  theme  for  example,  which  appears   many  times  in  slight  variations)     As  I’ve  just  stated,  John’s  music  is  basically  simple  and  there  are  few  ways  to  orchestrate  it.  His  sound  is  usually  a   string  melody,  with  a  cello  ostinato  and  brass  harmony  pads.  There’s  not  much  else  one  can  change.  He  told  me   he  did  love  that  I’d  put  the  moving  cello  line  of  the  main  theme  on  the  violas  too  which  gave  it  a  darker  feel.   There  was  some  original  Chaplin  music  in  the  film  which  was  my  sole  responsibility.  Previously  I  had   reconstructed  the  score  to  City  Lights  for  a  live  performance  and  also  worked  on  The  Kid,  The  Tramp  and  other   silent  films  so  this  was  easy  for  me.           5b  –  About  that  incredible  main  theme,  do  you  know  the  compositional  background?  How  did  it  come  about?     I  think  I’ve  probably  covered  that  above.  John  never  really  spoke  to  me  about  his  music.  He  would  just  hand  me   his  sketches  and  then  we’d  talk  about  other  things.  His  composing  process  was  very  private.  I  often  noticed   sketches  on  pianos,  I  think  he  laboured  over  his  themes  rather  than  have  them  come  in  a  flash  of  inspiration.       6  –  How  important  are  the  Chaplin  films  and  his  compositions  for  you?  Was  it  an  inspiration  for  this  project?         Page   24   Berklee  College  of  Music  Valencia   Culminating  Experience         Oliver  Patrice  Weder   July  2014   As  I’ve  explained,  I  knew  and  admired  the  Chaplin  films  already  so  it  was  fascinating  to  see  that  time  portrayed  in   a  modern  film  –  in  colour!  You  have  to  realise  that  my  work,  John’s  work,  is  a  job  with  deadlines  and  other   pressures.  Inspiration  is  rare,  but  wonderful  when  it  happens.         7  –  How  do  you  feel  personally  about  this  project?  What  are  your  thoughts?  Did  you  enjoy  it  more  than  others,  or   less?     I  enjoyed  it  because  it  seemed  different  to  other  projects  I’d  worked  with  John  on.  I  enjoyed  working  with  Sir   Richard    and  meeting  Robert  Downey Jnr.       Page   25