- Pronouns
- he/him
Discuss this article by @RyanF here
-
Hi Guest!
The costs of running this forum are covered by Sea Lion Press. If you'd like to help support the company and the forum, visit patreon.com/sealionpress
You are using an out of date browser. It may not display this or other websites correctly.
You should upgrade or use an alternative browser.
You should upgrade or use an alternative browser.
An Alternate History of Horror IV: The Silent Screams
- Thread starter Gary Oswald
- Start date
'Dr Jeckyll is of course not as sophisticated as we're used to in 1920', is that the first example of a horror classic being called not cool enough for the hip modern audience?
- Location
- Derbyshire
There really is little you could do to understate the impact of the 30s refugees on Hollywood.
As another example, the Austrian Jewish composer Erich Korngold- seen in Vienna as the brightest star of his generation, a successor to Mahler, perhaps well on his way to becoming the Opera composer of the early 20th Century in the same way Wagner had been a generation before or Puccini was to Italy, ended up leaving in 1934 as the rise of the Nazi party meant that the offer of a job in Hollywood seemed to be the best thing for his family.
Once in Hollywood, Korngold essentially defined the big budget film score- most notably through his composition for The Adventures of Robin Hood in 1938- by essentially treating them as an Opera without any singing. And (after an intervening period in the immediate post-war era that moved away from the big orchestral scores) that decision ended up heavily influencing John Williams score for Star Wars.
It's certainly not impossible that Korngold would have ended up in Hollywood anyway- he was essentially headhunted by the studio execs- but its certainly feasible that he'd have stayed in Vienna.
Heck it's feasible he'd have ended up becoming a major contributor to the domestic Austro-German film industry.
As another example, the Austrian Jewish composer Erich Korngold- seen in Vienna as the brightest star of his generation, a successor to Mahler, perhaps well on his way to becoming the Opera composer of the early 20th Century in the same way Wagner had been a generation before or Puccini was to Italy, ended up leaving in 1934 as the rise of the Nazi party meant that the offer of a job in Hollywood seemed to be the best thing for his family.
Once in Hollywood, Korngold essentially defined the big budget film score- most notably through his composition for The Adventures of Robin Hood in 1938- by essentially treating them as an Opera without any singing. And (after an intervening period in the immediate post-war era that moved away from the big orchestral scores) that decision ended up heavily influencing John Williams score for Star Wars.
It's certainly not impossible that Korngold would have ended up in Hollywood anyway- he was essentially headhunted by the studio execs- but its certainly feasible that he'd have stayed in Vienna.
Heck it's feasible he'd have ended up becoming a major contributor to the domestic Austro-German film industry.
- Location
- NYC (né Falkirk)
- Pronouns
- he/him
All it needs is for the critic to say no generation has ever or will ever be as progressive as they are.'Dr Jeckyll is of course not as sophisticated as we're used to in 1920', is that the first example of a horror classic being called not cool enough for the hip modern audience?
I'd go further to say you could do little to understate the impact of migrants in general between the Wars. Even before the arrival of refugees fleeing the political violence with the rise of Nazism you had the likes of Bela Lugosi and James Whale leaving their native countries to make their way to Los Angeles.There really is little you could do to understate the impact of the 30s refugees on Hollywood.
There were pull factors as well as push, since the advent of sound cinema meant the studios were scrambling for those with theatre experience. Whale was poached from the UK as a dialogue director, and Lugosi was brought west from Broadway (where he had been since the early 1920s) to recreate his most famous stage performance on film, but we'll hear more about both in the next article.
Has to be said as well how many of the original studio heads like were themselves Jewish immigrants had left the German and Russian Empires a generation prior.
"For the first time, Van Helsing has a girl sidekick who CAN HOLD HER OWN and is MORE THAN A MATCH for him"All it needs is for the critic to say no generation has ever or will ever be as progressive as they are.