Helen Of Troy (1956) on CD
by Benoît A. Racine

A review of the Mythus original soundtrack recording
Music: Max Steiner
Label: Mythus 1955F195.1/2
2-CD set with the “complete original film score” (in genuine stereo)

Track listing:

DISC 1

DISC 2

TOTAL PLAYING TIME: 1 hour and 48 minutes

Many of my generation’s movie music collectors were attracted to the music of the big screen by the first giant wide-screen spectacles they saw in what was then the heyday of the film theatre experience: The Ten Commandments (1956, Elmer Bernstein), Ben-Hur (1958, Miklos Rozsa), Spartacus (1960, Alex North), etc. The visuals were imposing, the sound was hi-fi and stereo and the music could be perceived as an exciting advance, in some respects, on the classical chestnuts of the last century we were exposed to in music appreciation class. Possession of the film soundtrack, furthermore, was the only way - before video and short of ripping the poster from the theatre marquee - to take home some of the films’ magic.

I was too young to see Helen of Troy in 1956. It was never reissued and I never even saw it on television. As it wasn’t the kind of religious/biblical film that the Quebec Catholic school system would call to its students’ attention, I wasn’t even aware of its existence until it came out on laserdisc some 10 years ago. Although I did know of Max Steiner, the music of this particular spectacle was almost a shock to me: it didn’t try to mimic Rozsa’s pseudo-historical orientalism; it didn’t jazz up ancient history à la Alex North and it wasn’t particularly Wagnerian à la Bernstein. It didn’t even have much to do with the earlier Max Steiner Americana scores I knew. It was just right and it fit the picture perfectly while giving it a life and an extra-temporal dimension it probably wouldn’t have had without it. I’m sure many of the film’s fans were absolutely and unconditionally taken in by the film’s charm because of the film’s music as much as by Paris’ (Jacques Sernas) and Helen’s (Rossana Podesta) seductive powers, even if they didn’t recognize it as an important factor.

In many aspects, Helen of Troy is an original opera for the big screen, with speeches filling in for the arias. Its themes and orchestral forces are fresh, clever and imposing and used in such a way as to fill the whole theatre to brimming (4-channel sound) with the expanse that is required in such a giant spectacle. The music also tells the story and continuously gives clues as to the significance of what is happening on the screen – a particularity that can be dismissed as mickey-mousing by some critics - in what has to be a rather pointed misnomer since what Steiner accomplishes is arguably an instance of the “total theatre” that Wagner could only dream about.

The Mythus CD: Is it a bootleg?

It’s not easy to get one’s hands on the music of Helen of Troy. A few suites exist on CD (most notably SILVA America SSD 1035, “Gone with the Wind – The Classic Max Steiner”, Kenneth Alwyn conducts the Westminster Philharmonic Orchestra, in a 11:28 suite); Elmer Bernstein recorded excerpts of this film and A Summer Place on a legendary LP that was never transferred to CD ( http://www.elmerbernstein.com/disc/disc.html ); and there is a Tsunami bootleg (that I haven’t heard) comprising about 59 minutes of music, available on www.amazon.co.uk/ ( http://www.amazon.co.uk/exec/obidos/ASIN/B000027QO4/ref=br_lf_m_h__5/202-1413627-5991060 ).

TOTAL PLAYING TIME: 58 minutes and 6 seconds

There is also a German bootleg by “The Max Steiner Memorial Society” advertising music from Helen of Troy and Now Voyager with no further details.  It is my understanding that the Now Voyager part of this CD is from a 1940’s mono Steiner recording legitimately available elsewhere.  But the source of the Helen of Troy portion remains a mystery. Could it be a bootleg of the bootleg or even a bootleg of the Elmer Bernstein suite? Your guess is as good  as mine.

I have acquired the German-made Mythus 2-CD set on eBay on a “Buy Now” (no bidding) basis for about 24 GBP. I suppose it is permanently available that way, even though the laconic liner notes advise “Promotional copy, not licensed for public sale”.

I have made inquiries about this record with Screen Archives Entertainment ( http://www.screenarchives.com ), purveyors of fine Max Steiner scores produced by arrangement with the Brigham Young University Film Music Archives, holders of most of Max Steiner’s archival material. My question was: “Why don’t you make this soundtrack available and why must collectors rely on bootleg copies?” Their official answer was that any effort in that sense would be counterproductive as the Mythus bootleg seems to fulfill all consumer expectations. Even more mysteriously, Lukas Kendall of Film Score Monthly ( http://www.filmscoremonthly.com ) - a magazine which will not review “bootlegs” by the way - once wrote to me that the original recording session tapes for this film were no longer available (whatever that means) and that it was a lost cause trying to secure the rights.

There is a puzzlement here as the Mythus 2-CD set sounds exactly like the original recording session master tapes of the film should sound. It comprises (except for two instances mentioned later in this review) more music than is actually heard in the film, making it the original from which the actual soundtrack was surely assembled. Its sound is clearly from well-preserved stereo tape elements and is clear as a bell without even a hint of tape hiss. The Screen Archives Entertainment people were certainly right in saying that it fulfills all consumer expectations…

I am left to wonder – and this is pure speculation on my part – whether the Mythus recording wasn’t produced secretly under the aegis of the Max Steiner estate as a way to siphon directly the proceeds from its sales, which would presumably not be the case if it was sold through the Brigham Young University/Screen Archives Entertainment/Film Score Monthly’s limited distribution channel. It would be nice to know, on the one hand, that the money goes directly to the Steiner estate (including three ex-wives) and it would also explain, on the other hand, how such quality material has found its way on the bootleg circuit.

The music

So many things are pleasing about this recording, it is hard to begin. Its music cues are almost all present in a longer form than is heard in the film and it also features the interesting, at times “barbaric” and atypical Overture (otherwise present on the laserdisc and DVD editions). As Bill Wrobel has commented below, it is a complex score introducing and wrangling a variety of themes in numerous, sometimes subtle variations: The imposing Troy theme, the joyous Troy theme, the lovely, engulfing, romantic “Paris” theme (which is really the “Paris loves Helen” theme most often associated with Helen, the love scenes and the movie itself), a seafaring theme, which doubles as the “Pelagos” theme in that it appears whenever Paris and Helen discuss the possibility of sheltering their love on an half-imagined secluded island called Pelagos, the Menelaus (jealousy) theme, the “Dangerous Spartans” stinger-theme, which twice degenerates into an orgy/orgy of violence theme, the “slaves of the palace” theme associated with Andraste (Brigitte Bardot) and Helen, masquerading as a slave (introducing the “magic of the moon” cue), the war-like Athena theme, and various shorter “danger and action”, suspense or funereal motifs.

Some themes are only present as musical “cells” as Bernard Herrmann would have called them. For instance, a four-note (do-fa-mi-do) motif first heard when Paris wakes up after washing up on the Spartan beach. It evokes: “This is Sparta - beware”, but also “This is Helen, wife of Menelaus”. It is neutral enough in itself but it can be at times comforting and downright “homey”, as when it introduces the “Pelagos” theme in Helen’s peasant hut while she is reviving Paris, or menacing, as when Priam chastises Helen for launching a thousand ships to the shores of Troy, or when the same Helen attempts to give herself back to Menelaus. It also modulates (or degenerates) into the “Dangerous Spartans” motif played whenever Spartan soldiers intrude upon a scene or when Greek soldiers pillage Troy and its surroundings.  Despite the complexity of the interweaving of all those themes, their meaning becomes crystal-clear and almost “instinctual” during the viewing of the film.

The longer material is interesting in that it shows where the original version of the film was cut, most notably after Paris and Helen jump into the sea. The music evokes a pagan ritual which is alluded to in the film’s trailer, where priests seem to read the future into a fire and perform some kind of ceremony which quickly degenerates into a carousing orgy at Menelaus’s palace. This music manages to incorporate the “danger” motif of the preceding escape scene, the “Helen, wife of Menelaus” music cell and the Menelaus jealousy theme. The introductory “Troy” cue is much longer and celebratory in the soundtrack than in the film. Another important cut happens when Paris is making his way by moonlight across the cliffs to the ship Helen has arranged for him and even in the trumpet calls announcing Paris’ return to Troy, a very high point of the film. The first battle scene is also longer and more detailed.  Needless to say, all those “restored omissions” are a pure delight for fans of the film.

A soundtrack exists to complement the images on the screen and this is evident in many instances of background music for dialogue – which are always a perfect fit creating interesting synergies - but also in other moments where the sound effects or the dialogs actually add to the music, such as in “The cestine”, a cue that is introduced by a simple gong accompaniment that is made much more dramatic by the actual clang of the metallic cestine of the floor, or the blacksmith’s hammer in “Preparations for war” or when Cassandra’s warning (“Helen… Helen of Troy”) adds a sinister twinge to Steiner’s musical stinger (which sounds remarkably like the final gong call of Puccini’s “Turandot”s first act finale).

There are two important omissions in this recording, which are fortunately present in the film. The first is the actual musical accompaniment to Paris and Helen’s jump into the sea. It is a very short but complex “danger and action” cue that is a turning point in the film itself. It was possibly recorded or re-recorded later and not part of the original recording sessions. It also reverberates in the first, slower, part of the “Spartan orgy” cue, missing in the film but present on the recording. It is one of those musical examples that merit analysis because one suspects that it contains in short-hand many important related themes.

The same goes for the flute solo played in the film after the drunken revellers around the Trojan horse leave the main square. It is short but dreamily evocative and it is missing in action, which raises the possibility that it was actually re-written, recorded - or maybe even improvised? -on the film’s soundstage, the better to fit the choreography of a female flute player carried on the shoulders of a male love interest.

For all its musical complexity and dramatic power, the hallmark of the Helen of Troy film score is its apparent simplicity. Whether the music takes centre stage (most notably in Paris’ spectacular return to Troy, the first Greek defeat and the wooden horse episode) or quietly comments on Paris and Helen’s dreams for the future, it evokes at all times the rustic directness of a more simple, primeval era, no small feat for a composer we more often associate with unbridled nostalgia and the quoting of actual folk melodies, American or otherwise. But we are talking about Max Steiner here, a musician who, very early in his career (1933), was able to muster the primitive, percussive horrors of King Kong.  In other words, Steiner’s musical universe had become so self-sufficient by the time he wrote for this film that he had the power to evoke youth, freshness and spontaneity, seemingly at will, without quoting anyone, not even himself.  This faculty also explains why, a few years later, he would be able to write a melody with such novelty and youth appeal as the immortal so-called “Theme from A Summer Place” (1959), which became a certified juke-box hit.

All in all, this Mythus 2-CD set of the original soundtrack recording is highly recommended and is an absolute must for all fans of the film and of Max Steiner.

***** (five stars)

©Benoît A. Racine, 2005. The author, born in Québec, lives in Toronto, Ontario, Canada.
baracine@idirect.com
This review was written on August 17, 2005.

Update, November 2006: Film Score Monthly and Screen Archives Entertainment have joined forces to offer a 12-CD collection of all the recordings conducted by Elmer Bernstein in his memorable “Film Music Collection” series of LPs (1975-1979). The price is steep but this unique collection contains, besides a 20-minute “Helen of Troy” suite, many unavailable records that are the holy grails of every film music aficionado’s dream collection and that were never available on CD before. Go to http://www.screenarchives.com/title_detail.cfm?ID=5785 for complete details but hurry, quantities are limited and those records are only available through their websites. This film music enthusiast/blogger (http://archer-bullseye.blogspot.com/2006/11/its-towering-wonders-span-age-of.html ) also offers his own modified re-recording of the Mythus album for free on rapidshare.com. He has speeded up the recording by a whole semitone in order to make it sound like it does on the DVD. His blog also offers other legendary film scores unavailable in any other format, like Bernard Herrmann’s “Marnie”. Enjoy!

HELEN of TROY
Music by Max Steiner
written by  Bill Wrobel

[commenced Monday evening, January 31, 2005]
The following is a descriptive cue rundown analysis of the 1956 Warner Bros. set piece epic directed by Robert Wise, Helen of Troy (H.O.T.). At least I feel that the film score by Max Steiner is “hot” indeed (!), although the emotional tone of the movie itself seems a bit formal. Many excellent British actors give it a proper reserve and respectability surrounding the two non-British leads, Jacques Sernas (as Paris) and Rosanna Podesta (as Helen). [Note: This is written March 13th: Further down this text just before the actual rundown (pages 8-9), I will be adding interesting information about the preliminary screen tests for the lead roles that I researched at Warner Bros. Archives on March 11, including the fact that Arlene Dahl (remember her in Journey To The Center Of The Earth??) tested for the role of Helen]

Overall I still liked the film very much. It has a “classic” look and approach. It’s not unlike appreciating a beautiful statue, such as the one seen in the Spartan marble hallway in the Main Title sequence. You admire its beauty the more you look at it (or, in analogy, upon repeated viewings of the movie). In terms of comparison, it is a far better and more enjoyable movie than the recent remake Troy starring Brad Pitt! 

I had just exchanged the unopened Rio Choncos cd for $19.99 at Tower Records I purchased for the 2004 dvd incarnation of the Troy legend directed by Wolfgang Petersen. The movie starring Brad Pitt (as Achilles) is, as given, Troy. After all, since I am now writing the rundown of the 1956 Warner Bros. version (Helen of Troy), I thought it only fitting that I should watch Troy and listen to the score by James Horner and then make comparisons to the Robert Wise version and the Max Steiner score.

Well, there is no remote comparison in terms of quality and lasting memory.  Helen of Troy is far superior, especially the score by Steiner. I am disappointed with Horner’s music for this movie (although I greatly admired Krull and other scores by the composer). He has shown rather poor musical judgment in this score. The predominance of that solo singer badly singing her odd middle-eastern chant was quite annoying, and musically out-of-place, I feel. The oft-repeated four note fast figure of the horns I’ve heard in past scores of his, including Brainstorm. It’s a tired, uninspiring (and sadly forgettable) score, while Steiner’s score is classic and unforgettable. A hundred years from now, film enthusiasts will be focusing far more on Steiner’s Troy than Horner’s Troy. Moreover, future film historians will praise Helen of Troy as a movie overall but give Troy a reference as a mere footnote in comparison. 

The movie itself is an overly technical, effects-laden bore, and way too violent.  Wolfgang Petersen was at the helm of this battleship of a violent movie, glorifying this odd version of Achilles (played by Brad Pitt). The movie is so different in adaptation from Helen of Troy that there is almost no point in comparison. The focus is basically on Achilles (Pitt) and Hector (Eric Bana). Helen is just a minor plot device! My wife thought the actress playing her was far too modern-looking or “hip,” not anywhere close to being “classic” looking at the Podesta version of Helen. She didn’t have the “Greek” look or demeanor. And Paris is far from a noble, heroic figure in comparison to the Sernas Paris.  Peter O’Toole is pretty much wasted here.

So I object to this version of the Troy legend. It’s definitely not a very tasteful adaptation, nor inspiring. There is no mystique. The movie was not fun. In fact, it was pretty much a chore to watch. The music score was a big disappointed. If I had liked the score, then at least something would redeem the movie. Oh, well. Helen of Troy is classy, nicely paced in its formality, had a great supporting cast, and I never tire of watching it (while I doubt very much I’ll ever watch Troy in its entirety again) I liked Sernas and Podesta in their roles. Sernas was a likeable character in the lead role as Paris, while Brad Pitt in the lead role as Achilles was very un-likeable, an anti-hero, a severely disturbed personality ever ready to kill the enemy for “glory.” I recommend that you bypass this remake, especially if your time and money is limited. It would be better spent on Helen of Troy! Let’s call the remake starring Brad Pitt a Fight Club sequel or prequel! Call it Fight Club II: Ancient Greece!

Now: In certain terms, all great ancient epics represent allegories descriptive of deeper and hidden meanings (not that the writers and director of this film intended any symbolic depth!). Paris would represent the Eros principle, the evocation of generative forces in the positive or male side of the polarity by the highly attractive negative or female side of the polarity (Helen, whom Paris first thought was the goddess Aphrodite incarnate!). Aphrodite is the Greek Goddess of love and beauty; daughter of Zeus and Dione; mother of Eros! Aphrodite represents the Venus principle or beauty-love pleasure.  Helen was considered the most beautiful woman in the world, promised to Paris by Aphrodite. Now, be aware that the story depicted in the movie is of course a Hollywood adaptation, and only very remotely similar to the actual myth. It’s certainly not a historical drama. After all, it’s “only a movie”! To learn of that story (and other Helen of Troy sites, go to:

http://www.pantheon.org/articles/p/paris.html 
http://www.pantheon.org/articles/h/helen.html
http://ablemedia.com/ctcweb/consortium/troy1.html
http://www.fjkluth.com/helen.html
http://www.geocities.com/tmartiac/thalassa/helen.htm

Now: I even liked the dubbed voice of Jack Sernas. I cannot yet answer with certainty who dubbed his voice, but I found in an obscure hit from Google that it may have been a fellow named Geoffrey Toomey [one source] or Geoffrey Toone [another—accurate—source]. I would have liked to hear Jack’s own voice, but I suppose the producers (and director?) wanted to have his French accent removed, replaced by a British accent to blend harmoniously with the predominantly British cast. Stanley Baker plays hot headed and arrogant Achilles who sails the Aegean Sea to siege Troy. Baker would later traverse the Aegean Sea in The Guns of Navarone playing Private Butcher Brown. Niall MacGinnis plays Menelaus, the King of Sparta, husband of Helen. Years later he would play Zeus in Jason and the Argonauts. He had a nice, distinctive voice.  The gentleman who dubbed Paris’s voice is quite fitting too. Richard Boone had a wonderful voice. Being attuned to music, I am also attuned to voices, and I would create a list of the hundred best voices. Richard Boone’s voice (before it turned permanently Southern twangy or hicksville-esque as he got older) would be one of the Top Ten. James Robertson Justice (prominent in Navarone) also had a terrific deep, resonant voice. As a spontaneous question, I just asked my wife (we’re both eating a dinner salad she made): “What role in Helen of Troy would’ve Richard Boone been good in?” She answered immediately: “Menelaus!” Now that would’ve been interesting casting! My own casting idea: How about having Thayer David as Menelaus?! Remember him as Count Saknussem in Journey To The Center of the Earth ? It would be good casting if you want a creepier Menelaus! Of course, one would have to ask, “Gee, what did Helen see in him?!” But if it were Richard Boone cast for the role, then the question would not be so immediately asked. 

I delighted in Torin Thatcher as Ulysses, the “brains” of the Greek rulers. He was as crafty as Sokurah the Magician later on in The Seventh Voyage of Sinbad. Robert Douglas as Agamemnon is fine but certainly not as memorable or major a role as the Duke de Lorca in the Steiner-scored film, The Adventures of Don Juan, but I’m glad he was in the picture. Very young Brigitte Bardot is cute as Helen’s slave, Andraste.  Actually I was not even aware that the girl was Bardot until I looked at the credits. I guess I was more interested in Max (his music, that is)! 

Speaking of Max, here is an Internet site that describes the various Helen of Troy compact discs: http://www.soundtrackcollector.com/catalog/soundtrackdetail.php?movieid=8287  I may have even purchased the Elmer Bernstein Filmmusic Collection FMC-135-40, the first LP released of the series, but I do not remember anymore. I certainly do not have it if I did. I am particularly interested in that German Mythus 1955F195.1/2 with its hour and forty-eight minutes of music. The Tsunami TSU 0128 holds an hour and four minutes of music. Here’s another link (and photo) of that cd: http://www.geocities.com/~bs-magazine/i_dobste.html

As an audio (and of course visual) reference, I will rely on the nice dvd of the film released in the spring of 2004. Not only is the soundtrack remastered in dolby digital 5.1, it includes three black and white Behind The Cameras segments hosted by Gig Young that discuss the making of the movie. The best is the second featurette titled “Interviewing Helen.” Here Gig Young is magically transported back in time and alternate dimensions to that Siege of Troy and meets Helen (yes, played by the star, Rossana Podesta). She unveils her face to him when he inquires, “Helen of Troy?” She looks deeply and curiously at him, and he comments, “The face that launched a thousand ships.”
Helen: “Who says this of me?”
Gig : “History.”
Helen: “Then history lies. Do you think a woman and her love could be the cause of all this?”
Gig : “It has been written.”
Helen: “Two armies massed, a city locked in siege—for a lost love? That is Greek talk to fool the Trojans. I am only the excuse for war, not the reason….”
 

The interesting conversation continues with scenes of the movie as she discusses various characters and events. It is so unusual to see the unusual juxtaposition of seeing this twentieth century man (Gig Young) there in his modern suit and tie having a conversation with a Trojan soldier and then Helen herself in period costume. Very creative! Of course Gig Young several years later goes back in time again, but not quite so far back! Remember that Twilight Zone episode “Walking Distance” where he (as Martin Sloan) goes back to childhood home and time to meet his parents, and even himself as a young boy? 

Now: On a completely different note, my latest blog (Blog #18) focuses on the readings of psychic Edgar Cayce discussing music topics. Well, it may interest a few readers here that Cayce in trance did indeed discuss, yes, Helen of Troy. Back in March 5, 1925, Cayce gave a reading to a twenty-year old female born September 1, 1904, New Orleans. Apparently, in a “past” life, this woman was indeed the very same historical Helen of Troy that became the basis of later myth making. I confess I was surprised by this revelation in the Cayce material that I happened to come upon the information in a A.R.E. Membership series small book titled “Edgar Cayce on The Reincarnation of Famous people” by Kevin J. Todeschi (1998). I never researched the Helen of Troy story in great depth, and I always assumed that it was a complete myth (that Helen was a myth, not necessarily Troy). If you accept the Cayce material, then apparently Helen was an actual personality behind the myth that was built around her and the siege of Troy. Here is most of the Cayce reading:  “

…..One who has the ennobling influence of Jupiterian forces, with that of filial love.

“One slow to wrath, yet one who holds grudge when once aroused. Hence one who keeps the forces of wrath dominant in self when aroused. One who has much of the mental abilities to weigh the conditions of life and of the surrounding forces in earth's plane, and with the will's force may put aside much of those elements as found in the Martian conditions. 

“In the abilities with the mental development, with the love development, with the ennobling influence that bring monies and position to the entity, one who would be well balanced under such conditions as will arise, provided will's forces are exercised in that of the mental towards holding of grudge. 

“In the elements then in self, we find the entity given to art lines in the way and manner of the forces pertaining to old conditions. That is, the entity desires to surround self with those elements that have their greater force in association and sentiment, yet with the highest order of sentiment, with the elements of art in same, and expresses same in life, as we will see, from the conditions as merited in the development. One we find who is meeting those conditions in present plane through the development of others.

Incidentally, I just purchased two dvds about Troy to further educate myself on the background of the famous story. The most informative or educational is National Geographic’s “Beyond The Movie: Troy” (2004). Various classical historians discuss the myth and the reality behind Troy. Indeed Troy did exist. In fact, there were nine successive Troy’s on that same overall site, and I believe it was Troy VI or VII that is the historical basis for the Troy legend written by “Homer” in the Iliad. I also liked the bonus dvd feature: “Recreating Troy: Behind the Scenes with National Geographic.” The next dvd is “Troy: Myth or Reality?” produced by Eagle Media (2004). It cost me $6.99 (while the National Geographic version cost $19.99). While you get what you pay for, still it was a more-than-adequate presentation. Certainly the actress playing Helen in this dvd was far more beautiful than in the National Geographic production, but the production values of the latter were far superior.

I should mention also that I just recently purchased the 2-disc edition of the television version of “Helen of Troy”(2003 USA Cable Network), music by Joel Goldsmith. I still have to finish watching the film but I can say I like it better than Troy overall, including the music. The Helen that is portrayed is not very appealing, however! 

Now: I was tempted to first do a rundown of Steiner’s The Caine Mutiny because I managed to obtain the complete (or nearly complete) score, whereas I worked by slow, laborious hand-copying procedure to do only a small percentage of the score for Helen of Troy. However, since my research is so fresh on the latter score, and I am really excited about the music (more so than The Caine Mutiny), I decided to at least give the reader a good idea of how Max cooked up his musical recipe for dear Helen! I also just finished my research on Addinsel’s Goodbye, Mr. Chips, but that rundown can wait for later in the year because Helen’s face (and score) launched a thousand more smiles on my face than Chips. 

There were (I believe) 33 large folders of Helen of Troy score materials (Full Score/Conductor score/Parts). I worked on it at Warner Bros. Archives on June 4, 2004, and then again on Friday, January 21 and also Friday, January 28. The cue sheets of three pages were dated December 13, 1955. Running time written on the top page: 83 minutes, 41 seconds.

[resume Wednesday, February 2, 2005 at 5:33 pm]
Now: In an Inter-Office Communication memo dated December 22, 1954 from R.J. Obringer, we read about the employment of Max Steiner by Warner Bros. to score Helen of Troy: 

“MAX STEINER has been engaged to write and composer such musical compositions as may be designated or required by us for use in connection with Helen of Troy. The term commenced December 9, 1954, and continues for the time reasonably necessary for the completion of such services. (Services during the first 6 weeks are exclusive—thereafter non-exclusive.) Total guaranteed compensation is $17,500, payable in 8 equal installments of $1,500 each, the first of which was due on Wednesday, December 15, 1954, and a similar installment on Wednesday of each of the next succeeding 7 weeks, and a final installment of $5,500 is due on the Wednesday next following the first Saturday after Steiner has completed all services required of him.  Customary and 1% MPRF deductions are to be made. 

“For your information and guidance. 

“HH “cc-Stacy “ Pease R. Obringer

“Verbal Messages Cause Misunderstanding and Delays
“(Please Put Them In Writing)” 

Note: The following is written Sunday, March 13 at 9:49 am: 

On Friday the 11th I again was at the Warner Bros. Archives at 3716 S. Hope Street, three or four blocks away from USC campus. Before I researched the written score for Steiner’s Distant Trumpet, I first looked at the various documents (legal papers, script, correspondences, etc.) available for Helen of Troy (Production #388). One of the interesting finds was a response letter from Max (typewritten but signed by him) to Jack Warner, dated April 5, 1955: 

“Dear Jack,

Thank you for your nice letter. 

I am very, very happy that you like the “Helen of Troy” music. I, personally,
think it is my best score to date.  I am watching every foot of dubbing, as the
music is very tricky. 

 I will take care of the “McConnell” trailer as soon as I get it.

Most sincerely, Max.” 

Another interesting find were the various screen tests for the major roles in the movie. On Tuesday, 2-16-54, Virginia Mayo and Guy Madison both tested from 8 am until 6:35 pm (“Sound & Photography” tests on Stage 16). I believe most people were aware that Mayo was considered for the part initially (she became pregnant within that time period, however), but this is the first time I was aware that Will Bill Hikcock (Guy Madison) was trying for the role of Paris! I wonder if he was trying to get Andy Devine for the role of his cousin, Prince Aeneas (casted in the movie by Ronald Lewis)?! Before that on 1-28-54, Jeanne Crain and Laurence Harvey were tested. Interesting! Whereas Madison would’ve brought a freshness and lightness to the role (besides the blonde hair or wig!), Harvey would’ve brought a heavy or serious element to the role, I feel. I don’t know if either one of them would’ve been the “right” casting for the role of Paris, but I sure would’ve liked to have seen the screen tests.   PN 2-14-54, Ralph Meeker and the lovely Arlene Dahl were tested. Now I think Arlene Dahl being tested was a positive brain wave on the part of the powers-that-be. I think she would’ve contributed not only the needed outer beauty but also the inner strength of character for the role of Helen (I am reminded of her excellent performance in Journey To The Center of the Earth). While I feel Podesta was terrific, I wish (in some alternate universe or probability line) that Arlene had won the role. At least it would’ve been quite revealing to see the comparison.  As for Ralph Meeker—well, I really cannot see the chemistry between the two (with Dahl) nor, for that matter, as the perfect casting for Paris to begin with. On 2-8-54, Mara Lane and Mark Dana were tested. I do not know who these two actors are, except that Dana played minor roles in W/B movies such as The Desert Song and King Richard and the Crusaders. 

Now: I can verify that Geoffrey Toone did the voice of Paris. For example, on 3-22-55 he did “Post-Recording Dialog” work for the voice dubbing. Also Barbara Fuller did dubbing work on 5-2-55 in projection room #14. I do not know whose voice she dubbed. Also a gentleman named Glenn Langon (I believe I am spelling it correctly). On 12-18-54. Sernas himself did montage and pickup shoots on 11-18-54. As for Toone, he has played bit parts in various movies and tv shows. He played the role of Hepesh in the 9th season of DOCTOR WHO, episode titled Curse of the Peladon. I’d be very interesting in buying that (if still available) just to hear his voice. I believe he also appeared in The King & I and also The Entertainer. 

Podesta’s real name was Carla Dora Podesta. “Rosanna Podesta” was her professional name. If I am not mistaken with the many documents provided, a contract was made on March 8, 1954 for 120 days work for 20 million lire. She was loaned out by Lux Films. Another document states 12 million lire (about $19, 200). I did not have time to read the documents in great detail since I needed to work on Distant Trumpet.

The film was originally estimated to run 180 minutes but ultimately edited down to 121 minutes. There were many scenes either “speeded up” or cut entirely. I discuss one of these below in R6/1 “Search for Paris.” In a document dated April 22, 1955, item # 3 stated “Speed up bacchanal.” Item #6 states, “Shorten scene of Menelaus crying on Helen’s couch.” Item #7 staes, “Speed up last part of return to Troy,” while item # 8 states, “Speed up Trojan preparation for war.” Item #9: “First attack on Troy too long.” Item # 11: “Take out second Greek War Council before first attack on Troy.” Item #12:  “Cut out fight between Achilles and Hector after Achilles wounds Polydorus.” Item #14:  “Speed up commando raid or discuss complete elimination” [obviously the editors cut that scene out completely]. Item #15: “Speed up rescue of Helen.” Item #16: “Fight between Achilles and Hector too long.” It should also be noted that virtually all of the narration intended for the movie was cut. For example, item #2: “In spite of Cassandra’s prediction of trouble, the voyage to the Greek court of King Menealus of Sparta goes smoothly for many days..”(etc). Item #3: “For three nights Queen Helen continues to masquerade as a slave, bringing food and garments to Paris…” (etc).

The budget for the movie (dated March 26, 1954 at least) for the intended 19 weeks was $3,314,600 dollars (including the music). Robert Wise stayed at one point at least in Hotel Hassler, Trinita dei Monti (certainly in late December 1953). 

There was a four-page synopsis of the movie in one document folder. It begins, “In 1100 BC, the prosperous city of Troy, impregnable behind her mighty walls, and a tempting prize of war for the Greek kingdoms…” Paris is the idealist who believes in beauty and peace (especially the former!). Polydorus is the warmonger brother (played by Robert Brown) while brother Hector (played by Harry Andrews) was the natural leader.  His sister is the prophetess, Cassandra (played by Janette Scott). Aeneas (played by Ronald Lewis) is his cousin, the Count (I liked his performance). The synopsis then discusses other characters, including Cora (Barbara Cavan) and her fisherman husband (Eduardo Ciannelli), the slave-girl Andraste (Bardot), the deaf-mute Adelphos (Tonio Selwart), Ajax (Maxwell Reed), and so forth. Ulysses (Torin Thatcher) is the “worldlywise startegist) who has many plans (including the Sacred Wooden Horse at the end of the tale). 

Warner Bros. Presents tv show was presented on Tuesday, Feb 14 at 6:30 pm (Chicago time) previewing the movie. One viewer wrote Warner stating that she saw on Podesta’s arm a vaccination scar! 

In another editing document, it stated, “Mr. Warner thought the Bacchanal in Sparta should include an early cut of Menelaus to establish where the Bacchanal is taking place.” Wise agrees, and agreed to shorten the scene. Item #8 stated that Mr. Warner particularly liked the shot of the Wooden Horse low angle (slate 560B). Item #9 stated that Mr. Warner spoke very enthusiastically of a girl who had been tested to dub for Helen. Interesting. In another item, it stated how Mr. Warner “emphasized the need for a first-class musical score.”  With this cue, we come now to the rundown of Steiner’s excellent score that rose as magnificently high as the impregnable Trojan walls!
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For the Analysis Link to Original document (Page 10)

 

Final Note
End of score. Time to let my wife use the computer for eBay! (6:10 pm). I will be going to Warner Bros. Archives on Friday to read the legal documents and script and communications available on Helen of Troy. If there is any material of particular interest, I will include it either here or in the first long, preliminary section of this rundown. [Dated Sunday, March 13, 2005 at 11:34 am. Okay. I just finished adding new information, as intended above.]
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Completed Sunday, March 13 at 11:36 am
(C) Copyright 2005 Bill Wrobel
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