THE MUMMY-HAMMER FILMS.

Music notes from the GDI release THE MUMMY. © john Mansell. 1999.

with many thanks to Margaret Reizenstein.

Composer Franz Reizenstein made his feature film debut with the score for the Hammer films production of THE MUMMY. His score is a sweeping and dramatic, yet remains lush , melodic and romantic.

The principal theme doubles as a love theme depicting Kharis centuries old affection and infatuation for princess Ananka. Reizenstein reprises the central theme throughout his score arranging it and orchestrating it to suit the mood of the film and create greater depth and give atmosphere to the proceedings. Although it is this central theme that is the heart and soul of Reizenstein’s score, there are a number of musical moments along the way that are equally as stunning and prominent. The scene where the MUMMY is seen smashing its way into John Banning’s room is accompanied by rasping brass which enhances the scene by blaring out over a background of driving strings that is further embellished by the addition of chaotic sounding xylophone. His exciting composition stops abruptly when Banning’s wife Isobel enters the room after hearing the sounds of a struggle, Reizenstein introduces the love theme from his score as Kharis ceases his attack on banning thinking that Isobel is his long lost love Princess Ananka. Kharis then beats a retreat back through the smashed doors of the study and makes off into the darkness. The sense of danger and excitement within this scene is heightened greatly by Eisenstein’s exhilarating score and his masterful approach to the scene and the way in which he places his music. The films climatic scene is another example of image and music fusing to create the correct atmosphere and mood. Kharis returns to Banning’s home intent on killing him. Things however do not go to plan and the Mummy abducts Isobel, pursued by the police, villagers and also Banning the chase comes to an abrupt end at a swamp. Racing timpani and booming percussion accompany Kharis as he enters the swamp carrying Isobel; when the Mummy is shot down the timpani resembles a heart beat that is racing as if it is the heart of Kharis, the music then accompanies his gradual disappearance beneath the swamp, eventually fading away as the Mummy disappears completely.

Franz Reizenstein was at the height of his musical powers when Hammer films commissioned him to write the score for THE MUMMY. Reizensteins music had its own style and fingerprint, the idiom being unmistakably twentieth century but not avant-garde. Many composers in the first half of the twentieth century became beguiled by the twelve tone series system, but Eisenstein found that the strict system cramped his natural style and he never cared for the tight intellectual music it produced. Reizenstein’s music flowed naturally from melodic ideas and harmonies with which the listener can easily identify. He composed concertos for piano, violin and also cello with orchestras, and two large scale choral works VOICES OF NIGHT and GENESIS. The latter was commissioned for the three choirs festival of 1958,which was held at Hereford Cathedral. The success of VOICES OF THE NIGHT led to the BBC asking Reizenstein to compose the first opera for broadcast on radio which was entitled ANNA KRAUS. This was the British entry for the prestigious Italia Prize. The composer also wrote music for documentary films and incidental music for a number of BBC productions. Shortly after his score for THE MUMMY, Reizenstein wrote the music for Sydney Hayers shocker CIRCUS OF HORRORS(1959). The composers versatility was also evident when Gerard Hoffnung asked him to write two works for the Hoffnung concerts. At first Reizenstein refused, arguing that he was a serious composer who would be reluctant to let his hair down at the Royal Albert hall. But Hoffnung persevered and Reizenstein eventually agreed contributing the witty CONCERTO POPLARE (or the piano concerto to end all piano concertos) and the hilarious LETS FAKE AN OPERA. Franz Reizenstein was born in Nuremberg on 7th June 1911. His father was a doctor and also an excellent amateur pianist. His elder sister was a painter and his elder brother played violin. The composer’s Mother was also musical and was astonished that her son could sing back to her all the songs she had sung to him in perfect pitch and time. At the age of four Franz began to teach himself to play the piano and began to also compose short pieces. When he was a teenager the sudden death of his Father inspired him to compose a piece in his memory. At the age of seventeen he decided to study composition under Paul Hindemith in Berlin. Despite opposition from his Uncle Eisenstein arrived in Berlin in 1930. As the 1930,s progressed the Jewish Reizenstein relocated to England and continued his studies at the Royal College of Music in Kensington. Whilst there he was under the tutelage of Vaughan Williams for composition and also studied under Solomon for piano. He never returned to Germany but instead adopted British nationality and remained in London until his untimely death at the age of 57, leaving a wife Margaret and a son John.

TERENCE FISHER. MASTER OF THE MACABRE.

1956, was a landmark year for Hammer films, it was in this year that the studio decided to embark on the ambitious task of producing re-workings of the classic black and white Hollywood horror movies, such as DRACULA, FRANKENSTEIN and the MUMMY etc. Hammer films are certainly full of stars as Christopher Lee, Peter Cushing and many others but some of the real stars or unsung heroes of cinema were working behind the cameras, one such important and talented figure was director Terence Fisher. It was Fisher who Hammer turned to asking him to helm the first of the horror remakes THE CURSE OF FRANKENSTEIN, and after the success of this production Fisher was also given the reins on a movie that would become one of the studios most iconic movies DRACULA.

Fisher had worked on a handful of movies for Hammer previous to stepping into the world of the Gothic horror, five years before FRANKENSTEIN he had directed THE LAST PAGE and in the ensuing half a decade the filmmaker was involved with a number of productions, STOLEN FACE, BLOOD ORANGE, THE FOUR SIDED TRIANGLE, MANTRAP and MASK OF DUST to highlight just a few. After the success of both FRANKENSTEIN and DRACULA Fisher was to become a much applauded horror director and Hammer returned to the filmmaker many times to make sequels of their first forays into gothic horror territory.

Fisher however never restricted himself to directing movies that focused upon these two iconic figures in horror history, for example he turned to the works of Sir Arthur Conan Doyle in 1958 when he directed THE HOUND OF THE BASKERVILLES and also in the same year was responsible for the entertaining feature film THE MAN WHO COULD CHEAT DEATH. As the decade of the 1950,s drew to a close Fisher triumphed again in 1959 when he was the director on THE STRANGLERS OF BOMBAY and THE TWO FACES OF DR JEKYLL, it was also in this year that the director brought to the screen an exciting and dramatic full colour version of THE MUMMY, a year later the filmmaker was responsible for introducing actor Oliver Reed to cinema audiences in the now classic horror movie THE CURSE OF THE WEREWOLF. The 1960,s was a busy time for the director and he worked on a number of projects which were varied and above all entertaining, THE DEVIL RIDES OUT, THE PHANTOM OF THE OPERA and a number of FRANKENSTEIN and DRACULA projects the 1960,s came to an end with Fisher taking up his familiar position behind the camera on FRANKENSTEIN MUST BE DESTROYED(1969). It was at this time that Fisher was to be involved in two accidents which kept him away from filmmaking for around three to four years, however when he was fully recovered he soon returned to making movies and in 1973 was responsible for Hammer’s FRANKENSTEIN AND THE MONSTER FROM HELL.

Fisher went to sea as a young man, it was thought by his Mother that after the death of his father in 1908 this career would be the making of him and stand him in good stead for what life might throw at him, however Fisher never stayed at sea and after a period of some eight years he decided to return to dry land. He began to work in the textile or clothing industry and became an assistant display manager at Peter Jones. Whilst pursuing this career Fisher began to think of going into films at first he could not decide in what area he wanted to work but eventually became a film editor working his way up the ladder at Shepherds Bush film studios from clapper board operative to the editing room where he began to work on the films of Will Hay. Fisher then changed studios and went to the Teddington Studios which were run by Warner Brothers. In 1947 Fisher was invited to take up a position at the Highbury studios by the rank organisation who were offering an apprenticeship of sorts for aspiring young filmmakers. Fisher made a handful of shorts whilst there and was picked out by Sidney Box, who gave him a chance to try his hand at directing a full length feature. The rest as they say is history. Born in Maida vale, London on February 23rd 1904, Terence Fisher passed away on June 18th 1980, I know that we will never see his like again in the British film industry.

Franz Reizenstein.

Franz Reizenstein was born in Nuremberg on June 7^th 1911, his father was a doctor and also an excellent amateur pianist, his elder sister was an artist and his elder brother played the violin. Reizenstein’s Mother was also very musical and was astonished when her two year old son could sing back any of the songs that she had just sung to him in perfect pitch and time. At the age of just four Franz began to teach himself to play the piano, and it was also at this time that he begun to compose short pieces of music. When Franz was a teenager the sudden death of his father inspired him to compose a piece in his memory. At 17, Reizenstein decided to study composition under Paul Hindemith in Berlin. Despite opposition from his uncle he eventually went to Berlin in 1930. As the thirties progressed the Jewish Reizenstein relocated to the Royal College of Music in London, where he continued to study composition under Vaughn Williams and also continued his piano studies under Solomon. Reizenstein never returned to Germany, instead he adopted British nationality and remained in London until his untimely death at the age of 57. He left a wife, Margaret, and also a son John.

The Mummy (1959 film) (Photo credit: Wikipedia)

Although Reizenstein was thought of as a serious musician and composer, by this I mean he composed mostly for concert hall performance. He did make a number of forays into the world of film music, most notably the composer worked on Hammer films production of THE MUMMY in 1959 which was the composer’s film music debut. His score is sweeping and dramatic but also remains romantic and melodically lush and lavish. The central theme that he wrote for the movie doubles as a love theme of sorts and depicts THE MUMMY’S (Kharis) centuries old obsession for Princess Ananka. Reizenstein, reprised the principal theme throughout his score and it is performed in a number of variations and arrangements an assortment of instrumentation. Although the central theme is essentially the heart of Reizenstein’s score, the composer also created secondary and other minor themes for the soundtrack which are just as important and integral to the movie and the story that is unfolding upon the screen. The images of the Mummy frantically smashing its way into Peter Cushing’s character John Banning’s library and study is underlined and accompanied by rasping brass, which blares out over driving and urgent sounding strings that are themselves supported and punctuated by a chaotic sounding Xylophone. This exciting composition stops abruptly as Banning’s wife Isobel enters the room, Kharis see’s her and believes her to be he lost love Ananka,

The Mummy ceases his attack on Banning and beats a retreat out of the house and into the night. The sense of excitement and atmosphere of Kharis’s ferocious attack on Banning is assisted greatly by Reizenstein’s highly volatile and vibrant musical score. The movies climatic scene is another example of how much the score aided the impact of the images and just how images and music can and should work in film as one. Kharis returns to Banning’s house, this time the evil Mummy is intent on killing him, things however do not go to plan and Kharis abducts Isobel, Pursued by the Police, villagers and Banning, Kharis is chased into a swamp. Booming percussion racing timpani and short brass stabs underline the scene. When Kharis is shot down Reizenstein’s urgent timpani begins to slow as if to be the heartbeat of the Mummy, and as the creature disappears below the swamp Reizenstein’s musical accompaniment fades and eventually stops. Reizenstein was at the top of his musical game when Hammer asked him to write the score for THE MUMMY, His music was quite unique and the composer placed his stylish and original musical fingerprint upon the production, the idiom of his music being unmistakably 20^th Century but not avant-garde.

Many composers in the first half of the century became beguiled with the twelve tones series system, but Reizenstein found that the strict system cramped his natural style and he never cared for the tight intellectual music it produced. Reizenstein’s music flows naturally from melodic ideas and harmonies with which the listener can easily identify. He composed concertos for piano, violin and cello with orchestras, and two large-scale choral works, VOICES OF NIGHT and GENESIS. The latter was commissioned for the Three Choirs Festival of 1958, which was held at Hereford Cathedral. The success of VOICES OF THE NIGHT led the BBC to commission him to write the first opera for radio, entitled ANNA KRAUS. It was the British entry for the prestigious Italia Prize. Reizenstein also composed music for a number of documentary films, and provided incidental music for a number of BBC productions.

Cover of Circus of Horrors

Shortly after completing his score for THE MUMMY, he wrote the music for Sydney Hayers shocker CIRCUS OF HORRORS (1959). As a composer Reizenstein was versatile and this became even more evident when Gerard Hoffnung asked him to write two works for the Hoffnung Concerts. At first Reizenstein was reluctant and refused, he argued that he was a serious composer who would be reluctant to let his hair down at the Royal Festival Hall, Hoffnung persevered, however and Reizenstein contributed the witty CONCERTO POPOLARE or (the piano concerto to end all piano concerto’s)and the hilarious LETS FAKE AN OPERA.