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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
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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.
Vln I
div.
unis.
mp
Cb.
mp
Vc.
mp
Vla
mp
Vln II
p
Page
23
Berklee
College
of
Music
Valencia
Culminating
Experience
Oliver
Patrice
Weder
July
2014
Interview
Nic
Raine
–
Orchestrator
of
Chaplin:
1
–
Can
you
tell
a
little
about
how
you
got
to
know
Mr.
John
Barry
and
how
you
have
started
the
long
work
relationship
you’ve
had
with
him?
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
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.
Vln I
div.
unis.
mp
Cb.
mp
Vc.
mp
Vla
mp
Vln II
p
Page
23
Berklee
College
of
Music
Valencia
Culminating
Experience
Oliver
Patrice
Weder
July
2014
Interview
Nic
Raine
–
Orchestrator
of
Chaplin:
1
–
Can
you
tell
a
little
about
how
you
got
to
know
Mr.
John
Barry
and
how
you
have
started
the
long
work
relationship
you’ve
had
with
him?
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
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