Word: tiomkin
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DIED. Dimitri Tiomkin, 85, Russian-born composer who won three Oscars for his soaring scores for The High and the Mighty, The Old Man and the Sea and High Noon, and another for High Noon's memorable theme song, Do Not Forsake Me, Oh My Darlin'; after fracturing his pelvis in a fall; in London. Intent on pursuing a career as a concert pianist, Tiomkin left Russia after the 1917 Revolution, made his Paris concert debut in 1924 and two years later performed for the first time in the U.S. Caught in the rush of talent to Hollywood...
David O. Selznick was worried. A scene in Duel in the Sun called for some off-camera sex between Gregory Peck and Jennifer Jones. Selznick needed "screwing music," but Composer Dimitri Tiomkin's score had a windy, rasping sound. "Dimitri, the music doesn't have enough shtup," Selznick said. "It doesn't sound like the way I make love." Tiomkin defended his score. "You love your way and I'll love mine," he said. "To me, that's lovemaking music...
...Tiomkin, 76, is perhaps the best-known practitioner of an exacting, lucrative profession: writing music for movies and television. There are no rules for capturing a visual image, an emotion or a color in sound. "I once taught a U.C.L.A. course on composing for TV," remembers Lalo Schifrin, 40, composer of the Mission: Impossible theme. "I asked my students to write the sound of the color orange. Every response was different, and each was equally correct...
When Erich Maria Remarque died a year and a half ago at the age of 72, one thought of old films rather than old books. Lush Dmitri Tiomkin sound tracks seemed to leap from the obituaries to strike Remarque's patented theme: grand passion, grand despair in wartime. In one's stereophonic memory chambers, violins throbbed counterpoint to far-off guns and the crumpled-velvet whispers of thwarted lovers. It is as if Remarque's art were defined by one of those overstylized love scenes in Arch of Triumph between Charles Boyer and Ingrid Bergman...
...professional who would always try to give the customers their money's worth and then some. If many of the metaphors in Of a Fire on the Moon seemed familiar, if Aquarius often strained for effect and struck false resonances until he reminded one of Dimitri Tiomkin's movie music, there was still much to admire and enjoy. The description of the prelaunch press conference was perfection. There was Von Braun, completely at ease with his Hitler past, translating the question of a German reporter and then bringing the house down by apologizing to the Japanese correspondents that...