He decides to try the nightlife of London and meets a young girl performing in a nightclub. She intends to The Delavine Affair A man's death leads a local newspaperman and the …. A man's death leads a local newspaperman and the man's girlfriend to seek the killer.
To Dorothy a Son Under a complicated bequest from her uncle, Myrtle stands to …. She journeys from New York to England, and finally tracks him down with his heavily pregnant new wife. Should she try and woo him back or challenge the legality of the new marriage?
The Crowded Day One day in the lives and loves of the staff in a large …. One day in the lives and loves of the staff in a large department store. Inspector Michael Kenyon Nigel Patrick is a Narcotics Agent who, with the aid of a titled bird-watcher attempts to trap a brother and sister drug smuggling team. Lieutenant Sylvester Green Donald Sinden is making his crooked way shipwards with a couple of Naval colleagues after a night's drinking, and along the way, they collect an old pram and three brass balls from a pawnbroker's shop.
Passing the foreign vessel Agraria on the dock, they notice some welding equipment and decide to have some fun. They attach the junk to the Agraria and paint it Naval grey. The next morning, when Green unsteadily arises, his commanding officer has noticed the mysterious new equipment, and trying to avoid exposure, Green identifies it confidently as a "".
From then on, things only get more confused, and soon everyone in the Navy wants to know why this foreign ship has more up-to-date radar than they do. Green is coincidentally seconded to the Agraria as a radar instructor and soon through the magical power of coincidence the Agrarians and everyone else believe it is a powerful secret weapon.
Green is held prisoner in the rather pleasant environment of the Agrarian palace where the President's Akim Tamiroff's many beautiful daughters have been instructed to fulfill his every desire. Eventually his girlfriend Betty Sarah Lawson also in the Navy and Lieutenant Smart Bill Kerr come to Agraria to rescue him, but all is settled amicably in the end, and the Agrarians get to manufacture their own 's out of junk as a deterrent to their neighbors.
The Sword and the Rose During the reign of Henry …. During the reign of Henry VIII, Mary Tudor seeks to flee a forced marriage with the French king by escaping to America with her true love, but her plans are not so easily executed. The Steel Key An adventurer investigates the theft of a formula for hardened …. An adventurer investigates the theft of a formula for hardened steel, assisted by his girlfriend. The Net A secret jet aircraft capable of traveling three times the ….
Prince Ivan then meets thirteen princesses who are under the spell of Koschei and falls in love with one of them. The next day, Ivan confronts the magician and eventually they begin quarrelling. When Koschei sends his minions after Ivan, he summons the Firebird. She intervenes, bewitching the monsters and making them dance an elaborate, energetic dance the "Infernal Dance".
Exhausted, the creatures and Koschei then fall into a deep sleep. While they sleep, the Firebird directs Ivan to a tree stump where the casket with the egg containing Koschei's soul is hidden. Ivan destroys the egg, and with the spell broken and Koschei dead, the magical creatures that Koschei held captive are freed and the palace disappears. All of the "real" beings, including the princesses, awaken and with one final hint of the Firebird's music though in Fokine's choreography she makes no appearance in that final scene on-stage , celebrate their victory.
The work is scored for a large orchestra with the following instrumentation: . Besides the complete minute ballet score of —10, Stravinsky arranged three suites for concert performance which date from , , and Instrumentation : essentially as per the original ballet.
Instrumentation : 2 flutes 2nd also piccolo ; 2 oboes 2nd also English horn for one measure ; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; 3 trombones; tuba; timpani; bass drum; cymbals; triangle; xylophone; harp; piano also opt. This suite was created in Switzerland for conductor Ernest Ansermet. In this version Stravinsky extensively revised the notation, barring, rhythmic meter, and orchestration; as well as included more music from the ballet.
The segment visualizes a variant of the Adam and Eve story. Falling asleep, he is immediately plunged into a nightmare where he is first tormented by fiery demons and then plagued by things that are supposed to corrupt mankind sex, alcohol, money, material objects, drugs, violence ; he also somehow grows arms and legs and is magicked into a suit and fedora. When he wakes up, he is still wearing the suit and hat; after telling Adam and Eve his dream in a fast-motion and incomprehensible fashion, he sheds the suit losing his arms and legs but keeping the hat and spits up the still-whole apple.
The chapter in the animated film Fantasia based on Stravinsky's piece uses an abridged version of the suite mostly evidenced by a shortened Infernal Dance to tell the story of the Spring Sprite and her companion, an elk. After a long winter, the Sprite is brought forth by the Elk and attempts to restore life to a forest but accidentally wakes the "Firebird" spirit of a nearby volcano.
A leitmotif is a phrase or melodic cell that signifies a character, place, plot element, mood, idea, relationship or other specific part of the film. It is commonly used in modern film scoring as a device for mentally anchoring certain parts of a film to the soundtrack. The more varied and nuanced the use of leitmotif is, the more memorable it typically becomes. A good example of this is the way in which Williams subtly conceals the intervals of " The Imperial March " within "Anakin's Theme" in The Phantom Menace , implying his dark future to come.
Also important is the density in which leitmotifs are used: the more leitmotifs are used in a piece of a given length, the more thematically rich it is considered to be. Film music, however, typically needs to strike a balance between the number of leitmotives used, so as to not become too dense for the audience being preoccupied with the visuals to follow. Williams re-recorded some of his suites from the first trilogy with the Skywalker Symphony Orchestra as an album.
Several of his later themes were released as singles and music videos, and were later released a collection of suites from the six films as a compilation that played to a series of clips from the films, with sparse dialogue and sound effects. These became the basis for a series of hour-long concerts which featured Star Wars music to images from the films, Star Wars: In Concert , which took place in and The scores of the first trilogy in the form of its Blu-Ray release and The Force Awakens are performed as Live to Projection concerts, but with greatly reduced forces.
The performances follow the music of the finished film, with some of the music looped, tracked or omitted entirely, and do not feature any of the diegetic pieces and often omit the choral parts. John Williams sketched the score for his various orchestrations and wrote the music for a full symphony orchestra ranging from 79 to players overall  and, in several passages, chorus ranging from 12 to singers overall and a few non-orchestral instruments.
The orchestration is not consistent throughout the different films,  but generally, the score makes use of a considerable brass section over a comparatively smaller string section, giving the series its heraldic, brassy sound. Several of the scores require larger forces, including a large over piece romantic-period orchestra, a mixed choir and even a boy choir, although none of the scores call for particularly immense forces compared to larger film or theater works.
The former called for a third harp and fourth bassoon, while the latter and all prequel scores utilized a fuller string section. Revenge of the Sith also utilized a second set of timpani. Comparatively, the original Star Wars trilogy and the sequel trilogy films call for much smaller forces of as little as 82 players, and small choral accompaniment in select cues. In live performances, the forces are usually greatly reduced: Official Star Wars Concerts were held with as little as piece orchestras and piece mixed choral ensembles or with the choir omitted altogether.
John Williams wrote a series of themes and motifs for certain characters and ideas in each of the Star Wars films. The multiple installments allowed Williams to compose some fifty themes and counting and reprise some of them extensively, continually developing them over a long period of screen time.
Williams introduced a few themes in each episode six themes on average and focused on making each of his principal themes long-lined and melodically distinct from the others so as to increase their memorability. Williams occasionally forges small connections between some of these themes, sometimes for a narrative purpose and sometimes in the more general favor of cohesion.
This technique allowed him especially in his scores to the first trilogy to have each theme play out for a large number of occasions the Force Theme plays over one hundred times in the series and over long periods of time. Each score can be said to have a "main theme", which is developed and repeated frequently throughout the film, often to unusual extents such as the frequency in which The Imperial March is revisited during Empire Strikes Back.
A main theme for the franchise exists as well which is the music of the main titles , but a main theme does not exist to represent a particular trilogy. Instead, each trilogy and to a lesser extent, each film has its own style or soundscape. Williams' Star Wars catalog remains one of the largest collections of leitmotifs in the history of cinema, [b] although — for comparison — it still falls short of Wagner's use of leitmotifs in the Ring Cycle or even Howard Shore 's work on the Hobbit and Lord of the Rings films.
Shore and Wagner's themes are also inter-related and arranged into sets of subsets of related themes through various melodic or harmonic connections, whereas Williams prefers greater distinction between his themes.
Williams' use of his themes in Star Wars is at times romantic rather than strictly thematic,  the themes sometimes being used randomly because their mood fits a certain scene, rather than for a narrative purpose. For instance, the Force Theme is commonly associated with Luke Skywalker ,  while Star Wars' main theme is used as a generic "heroic theme" in conjunction with various characters without any connection to its namesake.
Princess Leia's Theme is used for the death of Obi-Wan Kenobi in the original Star Wars , which has little to do with her character even though she is present in the scene.
Multiple uses of the Force Theme are also non-thematic. It is also used for R2-D2's heroics during the opening action scene in Revenge of the Sith. Kylo Ren's secondary theme, meant to evoke his more conflicted side, but since he quickly makes his allegiances clear, its generally used in tandem with his fanfare to evoke his menace, instead. Even the melodic connections between some of the themes sometimes do not represent a straightforward dramatic purpose, such as the connection of "Across the Stars" to Count Dooku 's motif and the Battle of Geonosis in Attack of the Clones.
In fact, some of Williams' themes are written from the outset purely to convey a certain mood rather than evoke a character or setting, such as the Throne Room music of the original Star Wars or the Pursuit motif from The Force Awakens.
Some of this music was re-tracked into other parts of the film, or even another film in the series, by the filmmakers. Attack of the Clones , the first film to be shot digitally, had major edits made after the scoring process, leading to the inclusion of tracked music over many of the digitally created sequences such as the Droid Factory on Geonosis or the Clone Army's arrival to the battle.
These scenes used music such as Yoda's theme or incidental music from The Phantom Menace with little dramatic connection to what is occurring on screen. In the original Star Wars , some of the music for the Death Star's Trash Compactor scene was used over an extended shot of the arrival into Mos Eisley inserted in the film's Special Edition. Musical similarities exist between the final scenes of The Phantom Menace with Finn's confession to Rey in The Force Awakens , probably a result of temp-track choice.
Other composers for the franchise used Williams' principal themes in their own compositions, whether it be for the trailers to the main films, spin-off films, television series, or video games. More often than not, these composers also use the principal themes more for their emotional effect for their respective projects.
The same can be said about some themes only composed for the prequels such as Duel of the Fates , which would have been perfectly applicable to the films in the first trilogy, had they been produced in the narrative order. In fact, since the prequels featured both their own stock of leitmotifs and recurring themes from the previous films, they boasted a larger catalog of themes, whereas the use of the leitmotifs in a cycle of works typically involves increasing density towards the later installments in the narrative order.
Also, the themes in the prequels appear in shorter, blockier statements and the motives themselves are often short, rhythmic ideas, as opposed to longer melodies used in the first trilogy. Also, in the prequels the motives are often associated with places and events, rather than with characters as they are in the rest of the scores, creating a further discrepancy in the musical narrative.
Even within each trilogy, Williams often abandons a motif after a single score or two as he did with Anakin's theme , writes across several films multiple motifs that serve a similar function e. In other cases, a motif is supplanted by a new one, as the Imperial March replaced the original, Imperial motif — a problem only confounded when he returned to that theme with the prequels, only for it to disappear entirely for what is now supposed to be the fourth episode; sometimes, the existing motif simply changes its thematic meaning: Ben Kenobi's theme turned into a theme for the Force by The Empire Strikes Back , and Luke's theme — into the "Star Wars theme".
The Last Jedi , specifically, departs from Williams' method of relying primarily on new thematic material, and instead relies heavily on pre-existing themes, in keeping with Johnson's temp-track choices. As a result, a number of themes and motifs from the previous films are constantly repeated, often in very familiar settings, such as statements of Yoda's and Leia's theme that are lifted from the concert arrangements, a reprise of the Binary Sunset rendition of the Force theme, and recurring statements of Rey's and Kylo's themes.
There are some incidental phrases similar to existing themes such as Battle of the Heroes, The Immolation scene, et cetera, and some deliberate, tongue-in-cheek references, such as a quote of the Death Star motif for a scene with a clothes iron that is shot to look like a landing Star Destroyer.
To provide musical variety, it did not follow the chronological order of the film. Now available on RCA Victor and Sony Classical presenting the complete score in chronological order for the first time. The two releases present exactly the same track listing. The only difference between these editions is that the RCA release includes complete notes on each track by Michael Matessino and that the Sony Classical release does not include these notes.
The score won another Oscar nomination for Williams. The soundtrack was first released as a seventy-five-minute double LP released five days before the premiere of the film , but the first compact disc release ran only half the length of the 2 LP set.
Re-recordings of the score even included music that was not on the CD soundtrack! Because of the decrease of popularity for the vinyl format, Return of the Jedi , which is the longest score of the Original Trilogy, was only release on one LP instead of two like Star Wars and The Empire Strikes Back. If you believe that any review contained on our site infringes upon your copyright, please email us. Close X Tell A Friend.
Close X Music Lists. Description optional. To create a music list, please sign in. S teams. Best of all, the new associate wellness movement connects employees to our larger purpose and activates them at a grassroots level to participate. Another example comes from Rajeev Dubey, group head of Mahindra, working with Ananda Mahindra, chairman of the global enterprise, with the goal of making the organization more innovative.
StrawberryFrog developed a cultural movement called "Rise," working in close collaboration with the leadership of the conglomerate. Mahindra's inertia took the form of a tendency toward caution and conformity, and we knew that activating their purpose would require both internal and external initiatives.
StrawberryFrog engaged employees from the middle of the organization out in addition to role-play among executives and coaching sessions.
We worked with the CHRO to establish Rise culture qualities as the yardstick for annual performance evaluation, and as key criteria for new hires into the company. We were able to anchor the new Rise culture across the organization.
Within a relatively short time, the Rise movement helped this company with the largest tractor business in the world create the Pininfarina Battista, the world's most deluxe electric super-car.
This was only one if possibly the most glamorous of a string of innovation successes for the company that followed the activation of their Rise Movement inside the organization. In the course of the pandemic, we talked to several HR executives about their leadership during these times.The Forest Battle (Concert Suite) download. M. The Immolation Scene download. M. The Levitation/Threepio 's Bedtime Story download. M. The Rebel Fleet/End Title download. M. The Starkiller download. M. Binary Sunset (Alternate.