"A day for all nights" is my first blog on the cinema. Here, I try to introduce with humility some of my favourite movies and actors / Actresses.
I like all kind of movies but my main interest goes to Epic Films like Spartacus, El Cid, Ben-Hur, The Last Valley...
My aim is to celebrate some directors and producers from different continents (America, Europe, Australia ...) who had the courage to make outstanding movies which remain today classic or cult films.
If you like to know more about the film composers of these great movies, you may be interested in visiting my blog "Film Music Composers" (http://filmmusiccomposers.blogspot.fr/).
Let me know your comments.
Warmest Regards.
Eric.
A Day For All Nights
My Blog Cinema
War & Peace / Война и миръ ("Voyna i mir") / Guerre et Paix / Krieg und Frieden / Guerra e pace / La guerra y la paz / Wojna i pokój / Harp ve sulh (1956/1957)
“As the 19th century began, a darkening
shadow moved across Europe. This shadow was propelled by the voice of one man,
Napoleon Bonaparte. Only Russia and England offered impressive resistance. Over
Russia, the weather was clear, the sun was shining. Napoleon was 1,000 miles
away, and the streets of Moscow were excellent for parades...”.
The above
prologue (as heard just after the opening credits) of Tolstoy’s American film
adaptation of 1956 “War and Peace” directed by the Hollywood veteran director
King Vidor (1894/1982) for the account of Dino De Laurentiis and Carlo Ponti. In
1985, I saw the extended version (for the French market) of the film on the
occasion of a rerelease of the movie at the “Reflet Balzac”, a theater near the
Champs-Elysees in Paris. Immediately, I was impressed by King Vidor’s
direction, the outstanding cast and the brilliant photography in Technicolor.
From that time, this version became to me a glorious hymn to the love of life
and people. In my opinion, it got the same qualifies as Cecil B. DeMille's "The
Ten Commandments", two of the greatest Epic movies ever made in the 50’…
The Story
The story begins
in 1805, a few months before the great battle of Austerliz and points out a
massive panorama of the Napoleonic invasion of Russia in 1812 and its
consequences on the destinies of some characters of the aristocratic families
and also of the Russian people.
As stated by
Tony Thomas, the American film historian in his book, "The Great Adventure
Films" (1976), it seems quite impossible to issue a short synopsis of "War
and Peace" in view of the many characters involved and the complicated
events included in the story. But let us try...
Moscow, 1805.
Although he is secretly in love with the
young and beautiful Natasha Rostov, Pierre Bezoukov married his cousin Helene
whom does not love him and looks more interested in Pierre's big estates. Of
course, the marriage comes as a failure. Pierre's best
friend, Prince Andrey Bolkonsky is a soldier and returns from the battle of
Austerlitz wounded. Some years later, Pierre introduces Andrey to Natasha Rostov
and the pair fall in love. In 1812, Napoleon invades Russia. Before Natasha and
Andrey can marry, Andrey is sent to the battle (Borodino) where he is mortally
wounded. Pierre, a pacifist, goes along the battlefield. He is horrified and he
decides to kill Napoleon. The French army wins the battle. The Russian people
evacuate Moscow. Natasha and her family take refuge in a monastery away from
the town, where the young girl is reunited with Prince Andrey who is on about
to die. Pierre fails in his attempt to kill Napoleon and is taken prisoner and
forced to march with the French back to France. The winter comes and the
retreat of the French army is painful. Many soldiers die killed by the cold. At
the battle of Berezina, the Russian army defeats Napoleon's army. Pierre can
escape and returns to Moscow with many soldiers and civilians to rebuilt their
country with the new peace. Later, he finds Natasha and tells her of his love.
They marry.
Tolstoy’s monumental Masterpiece
"Voyna i
mir" (“War and Peace”) published in 1869 is considered with “Anna
Karenina” (1877) as the greatest novel achievement of one of the greatest
Russian philosopher-writer : Lev Nikolayevich Tolstoy (1828-1910).
I am not a
specialist of the Russian literature and for this reason, my presentation of
the great novel is very short...
From several
studies it would appear that "Voyna i mir" (“War and Peace”) was the
result of a long meditation and many historical researches made by Tolstoy
during many years, from 1864 to 1869. Many historians regard that the great
Russian philosopher wrote this story as a long poem and not only as an epic
novel or a historical chronicle of the Russia during the Napoleonic era.
Everyone will
agree with me to say that Tolstoy’s novel remains a great journey into the deep
of the human soul and an appeal to a better understanding between people for
keeping our world in Peace and away
from War.
From the novel to the big screen
Several
producers had already planned to make a film adaptation of Tolstoy’s novel : “Metro
Goldwyn Mayer Studios (MGM), David O’ Selznick and Mike Todd”. All those
productions were to be shot in Italy and casted Audrey Hepburn as the main
character, Countess Natasha Rostov…
Selznick hired
the brilliant screenwriter Ben Hecht, while Michael Todd hired the talented
director Fred Zinnemann and the screenwriter Robert E. Sherwood. Despite this
huge competition, two Italian producers, Dino de Laurentiis and Carlos Ponti were
also interested in making the movie and succeeded in convincing the Paramount
Studios to grant important facilities to their Italian studios while, on their side, the two producers gathered $6 million to complete the general
budget ! Eventually, MGM, Selznick and Todd halted their plans
to bring Tolstoy’s masterpiece to the screen.
The “Ponti-De Laurentiis” company (1950/1956)
In the 50’s,
Dino de Laurentiis and Carlo Ponti were two successful Italian producers. From
1950 to 1956, the “Ponti/De Laurentiis” company produced many films among
them can be reminded : « Europe 51 » (Roberto Rossellini / 1952),
“l’Oro di Napoli / Gold of Naples” (Vittorio De Sica/ 1954), “La Strada” (Federico
Fellini / 1954), “Attila, Flagello di Dio / Attila” (Pietro Francisci / 1954) ,
“Ulisse / Ulysse” (Mario Camerini / 1956), “I Tre Corsari” (Mario Soldati /
1952)…
Dino De Laurentiis (1919-2010)
During many years, Dino De Laurentiis was one of
the most prolific film producer, and he was regarded as one of the “Last
Tycoon” of the International cinema Industry.
During the period from 1946 to 1950, the young
Italian De Laurentiis was hired as executive producer by the famous Italian
Company “Lux Film”. He gained his first major success “Riso Amaro / Bitter
Rice” (Giusepe De Santis / 1949) with the famous actress Silvana Mangano who
eventually became his wife. Then, he created a partnership with Carlo Ponti : “The “Ponti-De Laurentiis” company. In 1956, he left
Ponti and developed his own company : “De Laurentiis Cinematografica”.
From the mid 50’ until the yearly 70’, he
achieved some success but also some failures with blockbusters such as
“Barabbas” (Richard Fleischer / 1961), “The Bible : In The Beginnig” (John Huston / 1966), “Diabolik / Danger :
Diabolik”(Mario Bava / 1968), “Barbarella” (Roger Vadim / 1968) and “Waterloo”
(Sergei Bondarchuck / 1970).
In 1973, he moved his offices to United States
and cooperated with many great talented directors such as : Sidney Pollack (“3
days of the Condor” / 1975), Don Siegel (“The Shootist” / 1976), John
Guillermin (“King Kong” / 1976), Milos Forman (“Ragtime” / 1981), John Milius
(“Conan the Barbarian” / 1982), Michael Cimino (“Year of the Dragon” / 1985),
Michael Mann (“Manhunter” / 1986), Ridley Scott (“Hannibal” / 2001)…
In 2001, he was awarded an Oscar for lifetime
achievement and produced in 2007, his last movie “The Last Legion” directed by Doug
Leffer.
Carlo Ponti (1912-2007)
Carlo Ponti is not only known as the husband of
the gorgeous and talented Italian actress Sophia Loren, he also was, like his
friend De Laurentiis, a very clever showman. He produced many great successful
movies, notably “Doctor Zhivago” (Sir David
Lean) with the help of the Metro Goldwyn Mayer Studios (MGM) which won 5 academy awards in 1965 !
During his career, Ponti produced many movies and got the services of some of the greatest European directors of the period among them : Michelangelo Antonioni (“Blow Up” (1966) ; “Zabriskie-Point” (1970) and “Professione : Reporter” (1975)), Jean-Luc Goddard (“Une Femme est une Femme” (1961), “Les Carabiniers” (1963) and “Le Mépris / Il Disprezzo” (1963)), Henri Verneuil (“The 25th Hour” (1967)) and Roman Polanski (“What” (1972))…
Also, we
cannot disregard his fruitful collaboration with two talented Italian film-makers
: Vittorio De Sica (“La Ciociaria / Two Women” (1961), “I sequestrati di Altona
/ the Condemned of Altona” (1962), “Ieri, Oggi e Domani / Yesterday, Today, and
Tomorrow” (1963), “Matrimonio all’ Italiana / Marriage, Italian Style”, “Amanti
/ A Place for Lovers” (1968), “I Girasoli / Sunflower” (1970)) and Ettore Scola
(“Brutti, Sporchi e Cattivi” (1976) and “Una Giornata Particolare” (1977))…
The Hollywood veteran director King Vidor (1894 /
1982)
In his
autobiography “A Tree is a Tree” (1982), King Vidor reminded that he was very
excited when Dino De Laurentis approached him to direct and adapt for the
screen, Tolstoy's novel "War and Peace”.
With D. W. Griffith and Cecil B. DeMille, King Vidor was a pioneer of the Golden Age of Hollywood. He began his wonderful career in the silent era and very soon he became a familiar of epic movies. In 1925, he directed “The Big Parade” which later was as an inspiration to Sir David Lean for “Doctor Zhivago” (1965). Among his most famous films are “Northwest Passage” (1940) and “Duel in the Sun” (1946). His last movie was the marvelous “Salomon and Sheba” (1959) which was unfortunately the last film portrayed by the legendary actor “Tyrone Power” (1913/1958) who died on the set. He was replaced by another iconic legend, Yul Brynner (1920/1985).
In 1979, King Vidor received an Academy Honorary Award for his incomparable achievements as a cinematographic creator and innovator. He received the prize from the hands of Audrey Hepburn.
A high class International cast !
Early 1955,
King Vidor was able to convince Audrey Hepburn and Mel Ferrer to participate to
the movie as the main stars. In fact, he regarded Hepburn as the ideal choice
for the part of countess Natasha Rostov with her husband Mel Ferrer who agreed
to portray the character of Prince Andrey Bolkonsky.
Some European actors joined the cast, among them : “Vittorio Gassman (as Anatole Kuragine), Anita Ekberg (as Helene Kuragine), Herbert Lom (as Napoleon Bonaparte), Oscar Homolka (as General Kutuzov), John Mills (as Platon Karataev), Helmut Dantine (as Captain Dolokhov),Jeremy Brett (as Nicolas Rostov), May Britt (as Sonia Rostov), Tullio Carminati (as Prince Vasili Kuragine), Barry Jones (as Count Rostov), Milly Vitale (as Lise), Lea Seidl (as Countess Rostov), Anna-Maria Ferrero (as Mary Bolkonsky), Wilfrid Lawson (as Denisov), Sean Barrett (as Petya Rostov) and Alan Furlan (as a Russian Officier) …”.
The part of Pierre Bezukhov
For the role of Pierre Bezukhov, several actors retained
Vidor's attention. First, he considered Paul Scofield and Marlon Brando.
Unfortunately, neither of them were available. So, Vidor proposed the name of
Peter Ustinov. The producers did not agree and, in place, suggested some other
names such as Rock Hudson. Vidor didn’t agree and continued his researches to find
out the right actor...
After the success of “Mr. Roberts” (John Ford and
Mervyn Le Roy / 1955), De Laurentiis thought that Henry Fonda would be the
ideal choice for the role of Pierre. The American Star hesitated to accept to
portray Pierre because he felt that his general physical appearance and his manners
were not at all in line with the character created by Tolstoy. But eventually,
the Italian producer found a way to convince him...
A gathering of skilled technical team
To synthesize
the greatness of Leo Tolstoy’s great novel, the two Italian producers requested
the help of six screenwriters. First, they gathered the team of film
directors-screenwriters who made the successful “Ulysse /Ulisse” (1956) :
“Mario Camerini, Ennio De Concini, Gian Gaspare Napolitano, Ivo Perilli and Mario
Soldati”. Soon upon Vidor's request, they were joined by Bridget Boland (“Anne
of 1000 Days” (1969)), Robert Westerby (“They Who Dare” / 1954) and by the
prolific playwright Irwin Shaw (“Desire under the Elms” (1958)). Some unofficial sources told that, among many other
people, the two talented French screenwriters Jean Aurenche and Pierre Bost ("Le
Rouge & Le Noir" / 1954), were approached to participate in the
project…
To help Vidor, the versatile Italian director
Mario Soldati (1906-1999 / “La
Provinciale” (19853) ; “La Donna del Fiume” (1955)…) was chosen as the director
of the second unit in charge of the main action sequences : “Austerlitz battle,
the French retreat and all Napoleon’s scenes”. He was helped by the director of
photography Aldo Tonti (1910-1988 / “Barabbas” by Richard Fleischer(1962) ;
“Cast a Giant Shadow” by Melville Shalvelson(1966)…).
An ace photographer, Jack Cardiff
The producers understood they had to impress the
audience all over the world, and they decided to shot the movie with the best
available material by using the new Vista Vision cameras so they can capture
the magnificent story in color (Technicolor). The best man to succeed this challenge
was the famous British cinematographer, Jack Cardiff (1914 - 2009). They got
their man !
For the records, let us remind that, with Freddie
Young (1902 - 1998) and Geoffrey Unsworth (1914 - 1978), Jack Cardiff was one
of the best British cinematographer of the period.
Jack Cardiff began his brilliant career as a
camera operator for the big screen with “Knight without Armor” (Jacques
Feyder /1937). Eventually, he collaborated with several famous directors
among them Michael Powell and Emeric Pressburger (“A matter of
Time” (1946), “Black Narcissus (1947) and “The Red Shoes” (1948)), Alfred
Hitchcock (Under Capricorn / 1949), John Huston (“African Queen”
/1951), Joseph L. Mankiewicz (“The Barefoot Contessa / 1954), Laurence
Olivier (“The Prince and the Showgirl” / 1957), Henry Hathaway “Legend of the
Lost / 1957), Richard Fleischer (“The Vikings” (1958) and “Conan, the
destroyer” (1984)), John Guillermin (“Death on the Nile” / 1978)), John
Irvin (“Ghost Story” (1981) and “The Dogs of War” (1981)), George P.
Cosmatos (“Rambo : First Blood Part II” / 1984))…
He also directed several movies. His first movie as
a director was the unfinished film with the Hollywood icon, then at the end of
his career, Errol Flynn, “The story of William Tell” (1953). Too bad !
He received a Golden Globe Award for Best
director with “Sons and Lovers” (1960) with the British star Trevor Howard.
Then, he directed “The Lion” (1962 / with William Holden, Capucine and Trevor
Howard)”, “My Geisha” (1962 / with Yves Montand, Shirley MacLaine and Edward G.
Robinson) and “The Long Ships” (1963 / with Richard Widmark, Sidney Poitier and
Rosanna Schiaffino) and the cult movie “The Girl on The Motorcycle” (1968 /
with Marianne Faithfull and Alain Delon)…
It can also be pointed out his fruitful
collaboration with the Australian born actor Rod Taylor (“Young Cassidy” (1965
/ see the topic), “The Liquidator” (1965) and “Dark of The Sun” / “The
Mercenaries” (1967 / 1968)).
Also, some people may be interested in hearing
that one year after Cardiff’s death, a documentary film “Cameraman : “The life
and Work of Jack Cardiff” was shown during the 2010 Cannes Festival. In this
film, the veteran cinematographer - director reviewed his prolific career with
a great sense of humor and nostalgia.
The legendary cinematographer on the set
In his autobiography “Magic Hour”, the
cinematographer described the many challenges he had to solve to make each
scene a decisive moment of the story, especially in the duel sequence where
Pierre (Henry Fonda) and Dolohov (Helmut Dantine) faced each other at forty
paces on an “exterior” snow landscape which had to be "created" in
the Cinecittà studios. In that specific moment, we can see the audacious
lighting effects used by Cardiff with an immense ingenuity and a great
professional conscience. Even after so many years, the result remains wonderful
!!!
For his outstanding work, Cardiff was nominated
for best cinematographer. He reminded :
Quote
“I was nominated for an Oscar on this film, but that year “Around the
World in Eighty Days” won the cinematography award. I should say “awards” since
sixty cameramen shot it. My sour grapes are excusable how an artistic endeavour
by one person can be equated with travelogue photography by different
cameramen, I’ll never know...”
Unquote.
The Shooting of “War and Peace”
Several times, the producers delayed the start of
the shooting of the movie because of the Audrey Hepburn’s schedule. At last, in
the summer of 1955, the filming of the Paramount Picture began in Italy at the Cinecittà
Studios (for reference, eleven mammoth sound stages in Rome, plus six
additional stages were required to shoot the movie) !
Costumes and weapons for an epic
The talented Italian costume designer Maria De
Matteis (1898-1988) was in charge of the costume and wardrobe department. Her
work was so impressive that she was also nominated for best costumes at the
29th Academy Awards Ceremony.
Three hundred large cases where needed to carry
the costumes worn by 18 000 soldiers in the battles scenes. For winter
scenes, the producers used 20 thermostatically-controlled cases to preserve the
furs.
A lot of researches on the Napoleonic period were
made so the uniforms were as far as possible in conformity with the reality. To
achieve this goal, 90 Florentine tailors were busy during half a year. An
entire Swiss button factory worked days and nights to manufacture 100 000
military buttons in due time.
Audrey Hepburn’s costumes alone cost $ 50 000 ; Fonda’s and Ferrer’s cost $ 15 000 ! Soldiers’ costumes and equipment cost $ 750 000 !
To produce the 200 old-type cannons requested by
the production, new casting had to be done, as the only cannons surviving the
Napoleonic period are under the responsibilities of museums as historical
material ! The great battles of the pictures are Austerlitz, Borodino and
Berezina. To train the soldiers, 165 expert drillmasters worked for a month.
The producers choose the great Italian production
designers Mario Chiari (1909-1989) and Piero Gherardi (1909-1971) who were in
charge to build several sections of Moscow as it appeared in the early years of
the 19th century. This set was built on a ground outside of Rome. It
required 120 000 feet of structural steel. Also, for the filming of the
Berezina battle scenes, the construction of an entire village was required to guest
11 000 people and 3 000 horses.
A funny story with Mr Lom / Mr Napoleon
In the book
wrote by Mike Munn “Great Film Epics”, we can read a very funny interview of
Herbert Lom that portrayed Napoleon for the second time. His first appearance was in “The Young Mister Pitt” (1942) directed by
Carol Reed with Sir John Mills. The Czech
origin actor recalled :
Quote
“When we were filming the Movie in Italy, we had
thousands of troops playing Russians and Frenchmen for the battles scenes… I
arrived on the set one morning dressed as Napoleon and the first assistant
director came to me and said “Could you spare twenty minutes, Mister Lom ?” He
pointed a queue of about two hundred men and this assistant director, “they
want to meet Napoleon” I said “You are joking” He replied “No, no they‘re all
officers, and they’ve expressed a desire to meet you and shake your hand”. So in
my Berman uniform I had to stand there and shake every one of them by the hand,
and keep my expression very serious. They were clicking their heel, and with
great respect they all shook hands with Napoleon…”.
Unquote.
Henri “Hank” Fonda on the set
Henry Fonda
disliked the way Vidor and De Laurentiis wanted he played his part.
Another
comment by Herbert Lom :
Quote.
“I remembered once overhearing a conversation between
King Vidor and Hank Fonda. Hank objecting to a line in the script, and he said
“Gee, I can’t say that. It doesn’t feel real”. Vidor replied “Of course it
isn’t real. It‘s a movie !””.
Unquote.
Despite many difficulties with the production leading team and in his personal life, this little funny story showed how Henri Fonda took his actor work very seriously. Some years later, he reminded : “The producer might just as well have had Rock Hudson instead of Mel Ferrer and me ; that’s just what he wanted, attractive leading men. The character I was trying to portray was quite different from De Laurentiis’ conception of it. So it didn’t come out as much of a character as I would have liked it. I would have liked to wear padding under my wardrobe and have some my hair combed forward. I couldn’t get away with that.”
Like Gary
Cooper and James Stewart, the career of Henri Fonda was one of the most outstanding
of the American cinema history. For the American audience, Fonda always
personified the perfect side of the human integrity and moral social
conscience. For these reasons, he was chosen several times by many legendary
American Directors like John Ford
(“Young Mister Lincoln” (1939), “The Grapes of Wrath” (1940) and “My Darling
Clementine” (1946)…), Sydney Lumet
(“12 Angry Men” (1957) and “Fail Safe” (1964) and Otto Preminger (“Advise and Consent” (1962) and “In Harm’s Way”
(1965)).
In my opinion, even if physically he was all wrong for Pierre, once again, Fonda succeeded in portraying with honesty and a great sensibility the humanity of the mythical Tolstoy’s character. The audience and the critics praised the performance of Fonda. The Time reviewers wrote : “…Fonda acts to the very limit of his considerable powers, and sometimes gives the impression of being the only man in the huge cast who had read the book”…
A great Score for a great Story : “Nino Rota”
With Carlo
Rustichelli (1919-2004), Mario Naschimbene (1919-2002), Alessandro Cicognini
(1906-1995) and Angelo Francesco Lavagnino (1909-1987), Nino Rota (1911-1979)
was one of the most versatile Italian film composer in 50’ and 60’.
In 1955, Rota
was already a well established composer. His work in the film industry dated
back to the 40’. The name of Nino Rota was well known by the cinematographic
historians and movies fan because of his audacious and stupendous artistic
collaboration with the legendary Italian director, Federico Fellini.
The year
before “War and Peace”, “La strada” (Federico Fellini / 1954) was a huge
success, the producer of which was the “Ponti-De Laurentiis” company. He was
also his second collaboration with Fellini. During thirty years, Rota wrote all
the movie scores for Fellini’s films from “Lo Sceicco Bianco / The White Sheik”
(1952) to “Prova d’orchestra/ The Orchestral Rehearsal” (1978) !
He also had ongoing relationships with Luchino Visconti, for whom he scored “Rocco and his brothers” (1960) and “The Leopardo” (1963) and Franco Zeffirelli, for whom he scored “The Taming of the shrew” (1967) and “Romeo and Juliet” (1968). The love theme became a huge universally popular success.
He met again a
popular success with the first two scores of “The Godfather” Saga (Francis Ford
Coppola / 1972 / 1974) and shared an Oscar (“The Godfather, Part II” / 1974)
with Carmine Coppola who supplied him for the arrangements of the source music
in the both movies. Once again, the main theme of the movie “The Godfather’s
Waltz” became a popular vocal hit.
His last
memorable scores were the Agatha Christie mystery “Death on The Nil” (John
Guillermin / 1972) and “Hurricane” (Jan Troell / 1979).
Working on “War and Peace”
“War and
Peace” gave him the opportunity to write in a grand symphonic style.
Rota composed
a beautiful romantic score and succeeded to merge a great symphonic score and the
Russian folklore music with a great ability.
Natasha's Waltz from "War and Peace" (Original Score)
For the
magnificent ball sequence, Rota composed several waltzes and especially “The
Natasha’s Waltz” for Audrey Hepburn and Mel Ferrer’s dance. Later, he will use
again one of these waltzes for another great epic film produced by De Laurentiis
: “Waterloo” (Sergei Bondarchuk / 1970).
Anatole and Natasha from "War and Peace" (Original Score)
The Orgy from "War and Peace" (Original Score)
For me, the
brilliant score of Rota’s “War and Peace” (1955) is his answer to the famous
Tchaïkovsky’s “1812 Overture” (1880) and can be regarded as a tribute to the
Legendary Russian Artist and also to Prokofiev‘s Opera.
A great step
in the musical world history was achieved !
Waltz used for "Waterloo" (1970) and "War and Peace" (Album Version)
For the
promotion of the film score, Columbia Records produced a LP Album and Franco
Ferrara conducted the orchestra. Unfortunately, the recording was released in
monophonic sound, but the elegancy of Rota’s score remained intact. In 1989, for
the first time, the US Label, Varese Sarabande, released the original score on a
Compact Disc. Later, another Compact disc version was available by the Cherry
Bed Records (2008). But, despite some efforts, no one of these recordings gave
justice to the actual score.
Concert Suite of "War and Peace" (Pt 1)
For his concerts in the 70’, the famous Italian artist arranged his score in a large symphonic suite in three movements and recorded it with some of his great scores for Fellini and Zeffirelli movies for the Italian music editor Cam Records.
Concert Suite of "War and Peace" (Pt 2)
Today, the
“War and Peace” concert suite prepared by the composer himself for the
”Filmharmonic” event in London (1973). This suite can be heard in concert halls
all over the world.
Gracie Maestro…
Just to conclude my salute to Nino Rota, I would like to remind of a critic of the score by Didier c. Deutsch who praised the work of the composer in his book “Music Hound Soundtracks”.
Quote.
“…Opulent and
magnificently mounted, the production also offered Rota with many set pieces,
where his lyrical inspiration took a free flight “The Battle of Austerlitz”,
“The charge of the Cavalry”, “Exodus from Moscow”, “Napoleon’s Retreat”), all
of which resulted in cues that are still impressively dramatic and powerfully
appealing today. One of the film’ most ravishing scenes, whirling ballroom
sequence, inspired him to create a lilting waltz (Natasha’s waltz), as fresh
and lovely as anything he wrote for the screen, that beautiful captured the
giddy atmosphere of the situation. Despite the fact that the recording is in
mono, it has all the sweep and magnificence one associates with this super
production”.
Unquote.
A huge performance from the cast
"Audrey Hepburn was born to portray Natasha"
The shooting
took four months. Despite a lot of logistic difficulties during the making of
the movie and thanks to the help of Vidor, the radiant Audrey Hepburn succeeded
in portraying marvelously the stages of Natasha’s development : “foolish and
selfish at first, she matures by living through the disruptions of war and of
romantic disappointment”.
She was born
to play the young aristocrat Natasha Rostov, If we refer to Tolstoy’s
description of his character : “A dark-eyed girl, full of life, with a wide
mouth, her bosom undefined…”.
In many
interviews, Vidor reported that he was very happy with the wonderful performance
of the talented actress who was only 26 years old ! The old veteran director stated
: “Audrey is Natasha… She is fresh out the book”.
For me, she
gave one of her most powerful performance. In the wonderful career of this
legendary Icon, we could remind of her other great performances especially in “Roman
Holiday” (William Wyler /1953) “Sabrina” (Billy Wylder / 1954), “Breakfast at
Tifany’s” (Blake Edwards / 1961), “The Nun‘s Story” (Fred Zinnemann / 1959), “My
Fair Lady” (George Cuckor / 1964) and “Robin and Marian" (Richard Lester /
1976). From 1989 to 1993, she became a special ambassador to the United Nations
UNICEF fund to help children in Latin America and Africa. She died on January
20, 1993. With Ingrid Bergman, she remains one of the most talented actresses
and a woman of exception with a generous heart forever.
Mel Ferrer, Vittorio Gassman, Anita Ekberg…
In the same
vein as Henry Fonda, Mel Ferrer also gave a very fine performance with a great
sense of charisma. Without any doubt, he portrayed a true aristocratic Russian.
I especially like the first scene in which he faced to Henry Fonda speaking
about the sense of life. The dialogues of that scene gave to the actors the
opportunity to achieve the humanist spirit of the book (see hereunder).
The well known
British actor, Sir John Mills gave a very convincing performance as Platon, the
humble peasant who in Tolstoy's mind personified the Russian soul and maybe,
Tolstoy himself. As Anatole Kuragine, Vittorio Gassman confirmed that he was not
only a handsome Latin lover, as they said, but also one of the most talented
Italian actors of his generation and of the Italian stage. The striking Anita Ekberg
remains the eternal love goddess as the vicious “femme fatal” Helene Kuragine. The veteran Austrian and theatre actor, Oscar Homolka gave a very effective
performance as General Kutuzov. The Viennese born actor, Helmut Dantine is also
to be remembered for his strong performance of the Russian officer Dolokhov, as
well as the young British actor Jeremy Brett as Nicolas (Natasha/Hepburn's
brother).
The rest of the cast was just perfect, except perhaps the performance of the distinguished actor Herbert Lom who portrayed a too parodical Napoleon Bonaparte. But, it was likely under De Laurentiis' pressure whom, as everybody knew, didn't like Napoleon. But, a movie is just a movie… if you want to know more about Napoleon in 1812, you can refer to the many books available for a true appreciation of this historical figure…
With a taste
of humor, Jack Cardiff remembered the shooting with an international cast : “…The actors was the mixture of
nationalities, with its consequent farrago accents… All this in the highly
Italianate ambience of Cinecittà in Roma…”.
The Receipt of the Movie
The premiere
of the movie took place at the Hollywood Paramount Theatre the 23rd of August 1956.
The critics qualified King Vidor’s visual version as a kind of "reader’s
digest" of the book !
At that time, many regarded “War and Peace” as a
rival to another Paramount Pictures, the biblical epic movie : Cecil B. De Mille’s
“The Ten Commandments”.
The first editing version had a duration of 6 h
20 minutes before it was reduced to 3 h 30 for the general theatrical release. In
his autobiography, Vidor reported that the studios cut thirty minutes of the
movie without asking for his previous agreement. Let us hope we will see a more
complete version some day !
One day, Sam Zimbalist met Margaret Booth, the
chief editing department of Paramount studios and asked for a private
projection of Vidor’s movie. The producer of “Quo Vadis” (Mervyn LeRoy / 1950) was
preparing his next Epic movie, produced by Metro Goldwyn Mayer studios. The
film was a remake of a silent movie success called “Ben Hur”... Zimbalist asked
Vidor if he would be interested in directing the movie. Vidor had to decline
the proposal because he was already involved in the making of “Salomon and
Sheba” produced by United Artist…
Unfortunately, “War and Peace” wasn’t nominated
for the Academy Awards of 1956 as best Picture of the Year. Only Vidor and
Cardiff received a nomination. King Vidor lost to George Stevens for “Giant”.
The Michael Todd’s production “Around the world in 80 days” obtained the Oscar
for best picture of the year. Cardiff, as already said, also lost !
Vidor’s disappointment wasn’t justified. In my opinion,
his movie is outstanding. Despite the pressures from many people : producers,
technical challenges and a lot of logistic difficulties on various locations, the
then 60 year old director was able to complete the movie in a four month delay
(from July to November 1955). Furthermore, he started the shooting before the
financial budget had been completed and the final script available. Amazing !
In France, the
film was cut by fifteen minutes because the French distributors feared that the
Napoleonic sequences (mostly because of the way Herbert Lom acted, as
previously said, the part of Napoleon plus some historical errors) could make the
French audience uncomfortable and jeopardize the overall receipt of the movie.
There are many
discrepancies between the movie and the book. But, it does not matter because, like
it is, King Vidor’s movie speaks to the heart of people because of its
humanism. Of course, it is likely that the 208 minutes of the first English
version couldn’t cover in full the 4 parts and the 2 epilogues of the Russian
monumental novel as written by Tolstoy. But, I think that the Vidor movie version
is the best way for any western audience to discover this moving story on the
big screen. Perhaps, it is also be a good opportunity to read the book and explore
more about the Russian soul.
Ending of "War and Peace" (1956)
Other film adaptations of “War and Peace”
For the
records again, this French – Italian - American Production of “War and Peace” wasn’t
the first film adaptation to the big screen. A Russian silent version was
released by Yakov Protazanov and Vladinmir Gardin in 1915 and a second by the versatile
director – actor Sergei Bondarchuk in 1967 which is the most impressive with
Vidor’s.
This Soviet production (four parts totaling 403 minutes !) was the most expensive version ever made with a cost of $ 100 000 000 (actual today estimation $ 700 000 000) ! And the money can be seen on the screen ! The historical reconstruction of Borodino is the most awesome battle ever photographed, 120 000 soviet soldiers swarm over the screen portraying both Russian and French Armies. Some historians reported that there were more soldiers on the set than in the real battlefields !
Bondarchuk that
portrayed Pierre was physically absolute ringer for the original Tolstoy‘s
description. Like Audrey Hepburn, the 17 year old dancer Ludmilla Savelyeva as
Natasha gave also a convincing performance and grow up with the production of
film which required almost five years (spread over 1963 to 1967) !
The Soviet version won the Oscar for best foreign movie of the year. This can explain why Dino De Laurentis agreed to produce three years later “Waterloo” (1970 / with Rod Steiger and Christopher Plummer). But unfortunately, the movie was a big flop at the US box office. It is unfair, because the movie can be regarded as a fascinating reconstruction of the emblematic battle.
Then, in 1975,
the acclaimed American director Woody Allen directed a very funny movie based
on the Tolstoy’s story in “Love and Death” with Diane Keaton.
Two TV adaptations should be retained.
The BBC produced
his own version and chose John Davies to direct the ambitious project of 1045
minutes based on a screenplay by Jack Pulman. The great British actor Anthony Hopkins
won the BATFA for best actor of the year for portraying the role of Pierre in
1972.
Robert
Dornhelm directed a second TV European adaptation of 400 minutes in 2007 with
Clemence Poesy (as Natasha), Alexander Beyer (as Pierre), Alessio Boni (as Prince
Andrey) and Malcom McDowell (as Prince Bolkonsky). It is the last version known
to this date for the screen. But, not the last one, I hope…
Other film
adaptations had already been planned. In 1937, the great producer-director Sir Alexander
Korda (1886 – 1956) tried to adapt Tolstoy’s masterpiece for the screen with
Sir Laurence Oliver (1907 - 1989) and Merle Oberon (1977 – 1979). Unfortunately,
he failed. Like De Laurentiis and Carlo Ponti, Korda was also the great showman
of the British cinema Industry of the period (London Film Productions : “That
Lady Hamilton” (1941) and “The Four feathers” (Zoltan Korda / 1939)…).
All these
efforts to adapt Tolstoy’s masterpiece can be saluted as the wills of some people
to remind of the powerful work to young generations and have the message of the
great novelist passed on to other peoples all over the world.
“The subject of history is the life of
peoples and of humanity” Leo Tolstoy.
Dedication for a peaceful World
The American version in 1955 and the Soviet version
in 1967 will remain the most magnificent accomplished works for the big screen.
Even if the reconstruction of the battles in Bondarchuk's version were extraordinary
photographed by the talented photographers Yu-Lan Chen (Iolanda Chen), Anatoli
Petritski and Alexander Chelenkov, my “Coup de Coeur” goes to King Vidor’s movie.
In my humble opinion, this version is the one that speaks the best to my heart,
because, maybe, of my western education and feelings which seem very close to Vidor's
ones...
Although, I am not a movie historian, I hope you
will read this review as a kind of tribute to the stupendous efforts by King
Vidor, Sergei Bondarchuk and all people that bring respect to the great work of
the Russian Philosopher Lev Nikolayevich Tolstoy.
I think the Christmas time is quite appropriate
to recall the peaceful and friendship message of the immortal book through King
Vidor' film.
As a final word, I wish to dedicate with humility
the review of this masterpiece to all people who, all over the world, fight to
keep our world in Peace.
Merry Christmas 2014 and Happy New Year 2015 to all.
“The most difficult thing – but an essential one- is
to love Life, to love it even while
one suffers, because Life is all. Life is God, and to love Life
means to love God”.
Tolstoy “War and Peace” (1869).
----------------------------
Pierre : “ I want to
discover…everything ! I want to discover why I know what’s wrong and still do
what’s wrong. I want to discover what happiness is, and what value there is in
suffering. I want to discover why men go to war, and what they really say deep
in their hearts when they pray. I want to discover what men and women feel when
they say they love. There’s enough to keep busy. It’s hard to understand
someone like me. Everything is so clear for you. You know exactly what must
do”.
Andrei : “Oh, exactly !”
Pierre : “You’re different from
me. You study, you become enlightened. I study, I become confused. You love,
you marry. You believe, you act. There’s a war, you serve”.
Andrei : “If only, I really
answered to your description”.
Pierre : “You do”.
Andrei : “Shall I show you how you
wrong you are ?”
Pierre : “I know you. I‘m not
wrong”.
Andrei : “Know why I’m going to
the war ? Because I regard Napoleon as
a monster ? Because I believe we should
fight Austria’s battle 2,000 miles away ?
Because Russia will be a greater nation after the war ?”
Pierre : “Then, why ?”
Andrei : “Because I married the
most loving attractive woman in Moscow, and I can’t stand it. Never marry,
Pierre. Or only when you’re old and good for nothing, or else everything noble
in you will be lost. You’ll waste yourself on trifles. Yes, don’t look at me
like that. You talk of Bonaparte’s career. If Bonaparte had married young, he’d
still be on half- pay carrying his wife’s handbag, inviting idiots to this
house because his wife wanted invitations to theirs !”
----------------------------
If
you want to know more about “War and Peace”, please refer to :
● Books:
a)
The Novel
-
“War and Peace” by Leo Tolstoy (in English / translation by Richard Pevear and
Larissa Volokhonsky), Vintage Classic – Reprint Edition (Paperback – 1 296
pages), Dec. 2008.
-
“War and Peace” by Leo Tolstoy (in English / translation by Aylmer Maude and
Louise Maude), Henry Gifford – Oxford University Press (Paperback – 1 392
pages), 1998, UK.
-
“War and Peace” by Leo Tolstoy (in French / translation by Boris De Schloezer),
Gallimard (Paperback Tome 1– 1 023 pages ; Tome 2 – 1 055 pages ), 2002,
France.
b)
The Movie
-
“The Picture Story of War and Peace” (1956), directed by King Vidor, adapted by
Bernard Geis from the novel and the motion picture (in English, 120 pages with
black & white photos), Frederick Fell, Inc, New York, USA.
-
“War and Peace” (1956), Photoplay Studies, a guides to discussion of the screen
Version of Tolstoy’s Novel by William Lewin (in English), Volume 23 (N°2),
Educational & Recreational Guides, October 1956, New York.
-
“War and Peace” (1956), directed by King Vidor, Souvenir Book (in Japanese, 20
pages with color and black & white photos), TOWA / Pan Pacific Production
INC, 1956, Japan.
-
“War and Peace” (1956), directed by King Vidor, adapted by Noëlle Didier from
the motion picture (in French with black & white photos), Editions Jules
Tallandier, 1957, France.
---------------------------
-
“The Great Adventure Films” by Tony Thomas (in English), Citadel Press Book, 1976,
USA.
-
“The Hollywood Epic” by Foster Hirsch (in English), A. S. Barnes and Co, Inc,
Canbury New Jersey, 1978, USA.
-
“Great Film Epics” by Mike Munn (in English), Argus books Ltd, Watford, 1982,
UK.
-
“Epic !” by Baird Searles (in English), Harry Abrams Inc, 1990, USA.
- “Adventure
and the Cinema” (in English), by Ian Cameron, foreword by Douglas Fairbanks
Jr., Studio Vista Publishers, 1973, UK.
-
“Napoléon à l’Ecran” by David Chanteranne and Isabelle Veyrat-Masson (in French), Nouveau
Monde Editions / Fondation Napoléon (La Bibliothèque Napoléon), 2003, France.
-
“Napoléon au Cinéma” by Patrick Falcon, Renée Grimaud and François Pernod(in French),
Editions Atlas (La Glorieuse Epopée de Napoléon), 2006, France.
-
“Le roman Russe au Cinéma”, Les Dossiers d’ACME, 2011(in French), France (http://www.revue-acme.com)
c)
King Vidor – The Director
- “A Tree is a Tree” Autobiography
by King Vidor (In English), Samuel French Inc plays (September 1989), USA.
- “La Grande Parade” by King
Vidor (in French / translation of Autobiography “A tree is a tree by Catherine
Berge and Marquita Doassans), Ramsay Edition, 1982, France.
-
“Directors Guild of America Oral History : King Vidor -Book N°4 by Nancy
Dowd and David Shepard (in English), Scarecrow Press (September 1, 1988), USA.
- “King Vidor, Odyssée des
inconnus” by Jean-Marie Lecomte and Gilles Menegaldo (in French), foreword by
Jean-Loup Bourget, Cinéma Action, Editions Charles Corlet (http://www.corlet-editions.fr), 2014,
France.
d)
Audrey Hepburn
-
“The Life of Audrey Hepburn” by Donald Spoto (in English), Harmony Books, 2006,
USA.
-
“Audrey Hepburn : Histoire d’une femme
d’exception” by Donald Spoto (in French), Hors Collection, 2007, France.
- "Audrey
Hepburn : La Princesse de Tiffany” by
Robert Karney (in French), Editions Gremese, 2011, Italy.
-
“A Star danced, The Life of Audrey
Hepburn” by Robyn Karney (in English), Arcade publishing, 2012, USA.
-
“Audrey : The Life of Audrey Hepburn”
by Charles Higham (in English), MacMillian Publishing, 1984, UK.
-
“Audrey : The Fair Lady of the Screen”
by Ian Woodward (in English), Virgin Books, 1993, UK.
-
“Audrey Hepburn” by Klaus-Jürgen Sembach (in French / translation by Valérie
Agema), Shirmer / Mosel, 1993, Germany.
-
“Audrey Hepburn” by Christophe Valès, Brigitte Valotto and Laurent Béranger (in
French), Regard Magazine N°4, 1993, France.
-
“Movie & Icons : Audrey Hepburn”
by F. X. Feeney, Taschen, 2006, Germany.
-
“Audrey Hepburn, La dame de Coeur” by
Henry-Jean Servat (in French), Editions Hors Collection / Mondadori Printing,
2011, France.
-
“Audrey 100” by Ellen Fontana (in French / translation by Suzy Borello),
foreword by Sean Hepburn, The Audrey Hepburn Children’s Fund / Editions Milan,
2011, France.
-
“Audrey, Une vie en Image” by Carol Krenz (in French / translation by
Marie-Line Salybaugh a&nd Anne Blot), Editions Soline, 1998, France.
-
“Irrésitible Audrey” by Iris Lanelou (in French), Galilei Books, Edition du
Chêne (Hachette Livre), 2012, France.
-
“Audrey Hepburn : Une Vie, Un Destin”
by Michael Heatley (in French / translation by Pascale Courtin), Editions
Milan, 2012, France.
-
“Audrey à Rome” by Ludovica Damiani and luca Dotti (in French), Gallimard
Loisirs, 2014, France.
e)
Henry Fonda
-
“Henry Fonda, My Life” autobiography
by Henry Fonda and Howard Teichmann (in English), Orion Productions, 1981, USA.
-
“Henry Fonda, Ma Vie” autobiography
by Henry Fonda and Howard Teichmann (in French / translation by Marion
Souaille), Editions Michel Lafond, 1982, France.
- “Henry
Fonda, A biography” by Allen Roberts and Max Goldstein (in English), Mac
Farland & Company, 1984, USA.
-
“The Complete films of Henry Fonda” by Tony Thomas (in English), Citadel Press,
1983, USA.
-
“Henry Fonda” by Jean-Pierre (in French), Editions Edilig, 1986, France.
f)
Vittorio Gassman
-
“Vittorio Gassman, Un Grand Avenir
derrière Moi” Autobiography by Vittorio Gassman (in French / translation by
Roland Stragliati), Editions Julliard, 1982, France.
g)
Nino Rota – The Composer
-
“Nino Rota, Un Timido Protagoniste del
Novecento Musicale” by Francesco Lombardi (in Italian), Cidim / EDT, 2012,
Italy.
-
“Nino Rota, Music, Film and Feeling”
by Richarl Dyer (in English), BFI Publishing, 2010, UK.
-
“Soundtrack, The Music of the Movies”
by Mark Evans (in English), Foreword by Miklos Rozsa, Da Capo Press, 1979, USA.
-
“Film Score : The Art & Craft of the Movie Music” by Tony Thomas (in
English), 1991, Riverwood Press, USA.
-
“La Musique du Film” by Alain Lacombe and Claude Rocle (In French), Editions Francis
Van de Velde, 1979, France.
-
“Sound and Vision, 60 Years of Motion Picture Soundtracks” by Jon Burlingame
(in English), Foreword by Leonard Maltin, Billboard Book, 2000, USA.
-
“Music Hound - Soundtracks” by Didier C. Deutsch, foreword by Lukas Kendal and
Julia Michels, (in English), Visible Ink Press, 200, USA.
-
“La Musique de Film” by Pierre Berthomieu (In French), Editions klincksieck,
2004, France.
-
“1 000 compositeurs de Cinéma” by Jean-François Houden (In French),
Editions Cerf-Corlet (7e Art / Cinéma Action), 2002, France.
h)
Jack Cardiff –The Director of Photography
-
“Magic Hour” by Jack Cardiff (in English), foreword by Martin Scorsese, Faber
and Faber, 1996, UK (www.Jackcardiff.com).
- “Cameraman,
The Life and Work of Jack Cardiff” by
Graig McCall, Optimum Home, Studio Canal, DVD Zome 2, Ref. OPTD1854, Stereo / Mono,
Pal 1.78.1 , English language (with English Substitles), (Bonus : Interview
with Graig McCall by Ian Christie, Jack’s actress portraits, Jack’s behind the
scenes movies, Cinematographer and dirtector relationship, Working with three
strip Technicolor, Theatrical Trailers and Photo Galleries (Jack’s actress
portraits and Production Stills)), 2010, UK.
● Video:
a)
DVD :
-
“War and Peace” by King Vidor, 1956, Paramount picture, DVD zone 1, Ref / ASIN
B00006JU7S, Wide Screen Edition, Mono Sound, NTSC, 1.78.1. (208 minutes), English
language (with English Substitles), (Bonus : Theatrical Trailers (Behind
the scenes of the movie) and re-release trailer), 2002, USA.
-
“War and Peace” by King Vidor, 1956, Paramount picture, DVD zone 2, Ref / ASIN
B00DE6NGXA, Wide Screen Edition, Mono Sound, NTSC, 1.78.1. (208 minutes),
English, French and Spanish languages (with English, French, Greek, Portuguese
Substitles), (Bonus : Theatrical Trailer (Behind the scenes of the
movie) and re-release trailer), 2003, France.
b)
Blu Ray :
-
“War and Peace” by King Vidor, 1956, Paramount picture, Blu ray zone B, Ref /
ASIN B00DE6NGXA, Wide Screen Edition, Mono Sound, NTSC, 1.78.1. (208 minutes),
English, French and Spanish, German, Japanese and Portuguese languages (with
English, French, Greek, Portuguese Substitles), (Bonus : Theatrical
Trailer), 2013, France.
-
“War and Peace” by King Vidor, 1956, Paramount picture, Blu Ray zone A, Ref / ASIN
B00NW10QOO, Wide Screen Edition, Mono Sound, NTSC, 1.78.1. (208 minutes),
English, French and Spanish, German, Japanese and Portuguese languages (with
English, French, Greek, Portuguese Substitles), (Bonus : Theatrical
Trailer), 2015, USA.
● Music
:
a) CD
Albums
•
Original Score of “War and Peace” by Nino Rota :
- Original
Score of “War and Peace” by Nino Rota, (12 tracks – Monophonic Sound – 43.39
minutes), produced by Varese Sarabande (VSD- 5225), 1989 – CBC Special Products
USA ; This album contains a special note by Willard
Carroll.
- Reissue of
the Original Score of “War and Peace” by Nino Rota (12 tracks – Monophonic
Sound – 43.41 minutes) produced by Cherry Red Records (ACMEM147CD), 2008, UK. This album contains a special note by Christopher Evans.
-
“Nino Rota Greatest Hits” by Nino Rota, (18 tracks – Stereo/Mono – 75.04 minutes) produced by Vivi Musica Soundtracks (VCDS
7001)1994, Italy.
3 tracks from the original score of “War and Peace” by Nino Rota”
(10.02 Minutes)
b)
CD Album / Re-recording
Version - Symphonic Suite of “War and Peace” by Nino
Rota :
-
Nino Rota “Live in Japan”, Concert in Tokyo on March 21, 1976 (22 tracks -
Stereo – 74.33 minutes) Symphonic Suites conducted by Nino Rota and performed
by The New Japan Philharmonic, produced by Toshiko Ohinata (SLCS – 5017), 1993,
Japan.
-
Nino Rota “Live in Japan”, Concert in Tokyo on March 21, 1976 (22 tracks -
Stereo – 74.33 minutes) Symphonic Suites conducted by Nino Rota and performed
by The New Japan Philharmonic, produced by Toshiko Ohinata (KCIP 694), 2001,
Japan.
- “Nino
Rota Movies” (14 tracks – Stereo – 60.09 minutes) Symphonic Suites conducted by Carlo
Savina, produced by CAM Records (822 747 2), 1984, Italy.
-
“Nino Rota plays Nino Rota” (17 tracks – Stereo – 67.06 minutes) produced by King Records (KICP 333),
1993, Japan.
-
“Nino Rota Film Music” (17 tracks – Stereo – 59.32 minutes) produced by EMI
Classics, Gianluigi Gelmetti conducted the Monte Carlo Philharmonic orchestra,
1992, Germany.
-
“Nino Rota, Orchestral Works” (2CDs -15 + 15 tracks – Stereo – 60.09 minutes) Symphonic Suites
conducted by Giuseppe Grazioli, produced by DECCA Records / Universal Music
Italia (2 CD 481 0394), 2013, Italy.
c) LP / EP
Album(s)
-
LP Album “War and Peace” by Nino Rota,
(12 tracks – Monophonic Sound), Columbia Records (CL 930), 1956, USA.
-
LP Album (Reissue) “War and Peace” by Nino
Rota, (12 tracks – Monophonic Sound – “360” Sound), Columbia Special Product /
Columbia Records (ACL 930), 1978, USA.
- EP “Suite from War and Peace” by Nino Rota, (1 track –
Stereophonic Sound – 3.18 minutes), King Records (FM 1050), 1973, Japan.
d)
LP Album / Re-recording
Version - Symphonic Suite of “War and Peace” by Nino
Rota :
-
LP Album “Nino Rota, Musiche da Film” by Nino
Rota, (12 tracks – Stereophonic Sound), Symphonic
Suites conducted by Carlo Savina, produced by CAM Records (SAG 9054), 1973,
Italy.
-
LP Album “Les plus grandes Musiques de Films de Nino Rota” by Nino Rota, (12 tracks – Stereophonic Sound), Symphonic Suites conducted by Carlo Savina, produced by
Ibach Discodis (60 542), 1979, France.
-
LP Album “Concerto di Musiche da Film, Nino Rota” by Nino Rota, (13 tracks – Stereophonic Sound), Symphonic
Suites conducted by Nino Rota and performed by The New Japan Philharmonic,
produced by CAM Records (Lineatre) (ZNLA 33040), 1977, Italy.
● Websites
:
a)
The Novel and Lev Nikolayevich Tolstoy
• French
Link(s) :
b)
The Movie (1983)
• French
Link(s) :
c)
The Director and the Producers
King Vidor
(Director)
• French
Link(s) :
Dino De
Laurentiis (Producer)
• French
Link(s) :
Carlo Ponti (Producer)
• French
Link(s) :
d)
Audrey Hepburn
• French
Link(s) :
e)
Henry Fonda
•
French Link(s) :
f)
Mel Ferrer
• French
Link(s) :
g)
Nino Rota – The Composer
•
French Link(s) :
• The CD albums
h) Nino
Rota and “War and Peace” Score on You Tube
• Documentary :
Between Cinema And Concert Nino Rota :
Between
Cinema And Concert Nino Rota Documentary 1/4
Between
Cinema And Concert Nino Rota Documentary 2/4
Between
Cinema And Concert Nino Rota Documentary 3/4
Between
Cinema And Concert Nino Rota Documentary 4/4
• “War and
Peace” Original Score and Concert Suite(s) :
Nino Rota – Prelude (Original Score)
Nino Rota – Natasha’s Waltz (Original Score)
Nino Rota – Anatole and Natasha (Original Score)
Nino Rota – The orgy (Original Score)
Concert Suite - The Ochestra Sinfonica della Republica di San Marino
(Pt 1)
Concert Suite - The Ochestra Sinfonica della Republica di San Marino
(Pt 2)
Waltz from « War and Peace » and also used for
« Waterloo » (1970)
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