ABOUT THE FILM

NIGHT DIGGER, director Alastair Reid's second film, was produced by Alan D. Courtney and Norman S. Powell's Youngstreet Film Production company. Filming commenced in late 1970, with limited release in North America in May, 1971. The screenplay by the noted British miniaturist Roald Dahl was based on the novel, Nest in a Falling Tree, by Joy Cowley.

American actress Patricia Neal (then real-life wife of author Dahl), in her second film following her return to the screen after a series of debilitating strokes interrupted her career between 1964-68, essayed a brilliant unforgettable performance (biographer Robin Wood thought it one of her finest) in the role of Maura Prince, a lonely, frustrated middle-age spinster who, despite the attentions she lavishes on her bitter, blind mother (a memorable portrayal by Pamela Brown, the late British actress best known for her work in such films as Cleopatra and Becket), is sexually awakened by the strange young handyman she gives residence to. Nicolas Clay, in his first screen appearance (later films include Excalibur and Evil Under the Sun), received good press notices as Billy Jarvis, the sick, depraved motorcyclist who has raped, killed and buried young girls in the vicinity of nearby countryside roads undergoing Sealing (the film was titled Road Builder in the U.K.). Other cast members include Jean Anderson (Mrs McMurtrey), Diana Patrick (Mary Wingate), and the splendid Yootha Joyce, the actress whose androgynous features were an asset in many British comedies and serials (not to mention an occasional serious role, such as that in A Man For All Seasons) over the years.

This polished little Gothic thriller (a sort of poor man's Le Boucher) has been largely ignored since its limited release. It, however, deserves a second look, for not only does it benefit from fine performance from its seasoned principals, but also solid production credits which include art director Anthony Pratt's interiors, Alex Thompson's muted cinematography... and, of course, Bernard Herrmann's superb atmospheric score.


ABOUT THE SCORE

BERNARD HERRMANN was hired by director Reid to score the film in January 1971. Although his initial meetings with the composer were fraught with difficulties (Herrmann suggested changes to the film's finale), as well as writer Dahl's objection to script changes intended to emphasise Herrmann's music, the composer wrote one of his finest works. Herrmann also selected the recording location and supervised the final mix and dubbing.

Royal S. Brown in his liner notes for the Fifth Continent/Preamble PRCD 1789 release of The Inquirer noted that this particular style of music, "...for English-made thrillers dealing with psycho killers, a character type that Herrmann's music for Psycho helped put on the map and that would follow him throughout the rest of his Career...", would again find a home in Night Digger. Herrmann's often-imitated trademark "sound" of string orchestra (here with added harp), plus harmonica (performed by Tommy Reilly, who in 1992 received a MBE for his services to British music) and viola d'amore (a tenor viol, whose seven strings rather than six are tuned to the same note, usually the chord of D major, and whose sympathetic vibration gives out its distinctive and attractive tone), is introduced in the film's opening credits. It immediately establishes the mood and tone of the story, with the two solo instruments providing the audience with appropriate "cues" for the persona of Billy and Maura, respectively.

Again, Royal S. Brown notes, "... the harmonica relates directly to the psycho killer, who in Night Digger plays that instrument. Not only does it intrude upsettingly above the string orchestra playing in more conventional modes, we also hear it against the eerie background of continual, high glissandi in the violins that suggest the murderous state (or nonstate) of the handyman's mind. The viola d'amore, on the other hand, is used principally as the vehicle for evoking the poignant but tragedy-laden love, suggested more often than not by a theme built on falling phrases that could not have come from the pen of any other composer...".

The selections featured on this recording, titled Scenario Macabre for Orchestra in accordance with instructions given to this writer by the composer in 1974, are arranged in sequential order. The listener who is familiar with the film can thus follow the screen story without difficulty.


ABOUT THE COMPOSER

BERNARD HERRMANN was born in New York City on 29 June, 1911, the son of Russian Jewish immigrants. His father Abraham, a practising optometrist (the profession eventually taken up by Louis, Benny's younger brother), would encourage the future composer's interest in the arts, taking both his sons to the opera, the symphony, and giving each a musical instrument to play at a very early age (in Benny's case, a violin).

Herrmann, while a student in the New York Public School system, was a voracious reader who enjoyed the works of individualist, iconoclastic writers like D. H. Lawrence, Eugene O'Neill and James McNeill Whistler, the latter of whose essays The Gentle Art of Making Enemies would provide inspiration for him on a more volatile scale, and insure the foundation for his idiosyncratic personality, which colleague and whit Oscar Levant once described "...as an apprenticeship in insolence." Herrmann also studied the scores of the great symphonists, played his father's gramophone recordings and attended Carnegie Hall concerts. By the age of thirteen he discovered Hector Berlioz's Treatise on Orchestration, the book Herrmann later claimed would decide the course of his future career.

Herrmann's formal music education began in 1927 at DeWitt Clinton High School, where one of his classmates was the composer Jerome Moross. From Gustav Heine, his first composition teacher, Herrmann would learn all the basics of his craft --- and, perhaps, inspite of him, acquired a taste for the singular and uncommon in music, discovering the works of America's most unique composers, Charles Ives and Carl Ruggles, both of whom he would later champion as conductor of the CBS Symphony.

Herrmann's desire to learn more about the work of other American composers resulted in friendships with Copland, Thomson, Harris, Gershwin, Gould and Piston. He audited composition classes taught: by Ruben Goldmark and Bernard Wagenaar at NYU and Juilliard. By the beginning of the American Depression in 1929 Herrmann had enrolled at NYU, where he studied composition with Philip James and conducting with Albert Stoessel, who when he departed for Julliard in 1930 encouraged Herrmann to continued his studies there. He joined the Young Composers Group, headed by Aaron Copland, and whose members included, among others, Henry Brandt, Wallingford Riegger, Robert Russell Bennett, Arthur Berger, and Vivian Fine. In the autumn of 1932 Herrmann returned briefly to NYU, where he attended lectures on composition and orchestration given by the expatriate Australian composer- musicologist Percy Grainger, whose encyclopaedic knowledge of the world's music, coupled with his eccentric style and unorthodox syllabus, would cement Herrmann's lifelong interest in unjustly neglected scores by composers long since forgotten.

By 1933 Herrmann had conducted the New Chamber Orchestra in performances of his own works as well as those by Bax, Bennett, Milhaud and Ives. He was consequently hired the following year by CBS Radio's music director Johnny Green as his assistant. There Herrmann, who programmed and conducted music of his choosing, introducing his listeners to new and unusual works, many heard for the first time anywhere. In 1937 he was chosen to compose and conduct for the "Columbia Workshop", a CBS radio series featuring the talents of several great writers and directors. This followed in 1938 with similar work for their drama series "The Mercury Theatre on the Air", whose brilliant founder-director was a twenty-three year old Orson Welles and whose Holloween Eve production of H. G. Wells's The War of the Worlds would for each achieve a notoriety neither had anticipated.

In 1941, Herrmann was invited by Welles to Hollywood to compose and conduct the music for his first film Citizen Kane (1941). For each, again, their place in the contemporary art form known as the cinema was assured. Although Herrmann composed the music for Welles' next film, The Magnificent Ambersons, his music was badly chopped by the studio. There the Welles-Herrmann collaboration ended. Herrmann, who had already composed several concert works among them Aubade (1933), Sinfonietta for Strings (1935), Moby Dick (1938), Symphony (1941), The Fantasticks (1942), returned to the CBS Symphony, where he remained until it was disbanded in 1951.

Herrmann's film music career, which overlapped his tenure at CBS Radio, was further established through his work at 20th Century-Fox, where the studio's music director Alfred Newman hired him to score Jane Eyre (1943), Hangover Square (1945), Anna and fire King of Siam (1946), The Ghost and Mrs. Muir (1947), and The Day the Earth Stood Still (1951). During the 1950's -- the final decade of Hollywood's "Golden Age" -- he would compose some of his finest scores, establish a breathe partnership with Alfred Hitchcock, one which includes such unqualified masterworks as The Trouble with Harry (1955), Vertigo (1958), North by Northwest (1959) and, perhaps, most famous of all, Psycho (1960). Following the demise of the studio system Herrmann relocated to England, where his formidable talents were rediscovered by a new generation of directors -- François Truffaut, Brian DePalma, Larry Cohen and Martin Scorsese.

Herrmann, who died in his sleep on December 24, 1975, one day after the final Taxi Driver recording sessions, leaves behind a legacy of major film scores, unique in all the cinema; recordings which he conducted for English Decca, Fifth Continent, Lyrita and Unicorn-Kanchana, concert works which are only now being rediscovered by the public on digital recordings and in the concert hall. His fascinating career -- and "one-off" personality -- have, likewise, been captured in Music for the Movies: Bernard Herrmann, a first-class TV documentary released in 1992.

In many respects Herrmann remains the most influential of all composers writing for film (note that I do not say "film composers", a term Herrmann disparaged; "many great composers of whatever nationality -- Auric, Bliss, Copland, Frankel, Prokofiev, Rota, Shostakovich, Walton -- composed for the cinema," he once reminded me, "but one aspect of their creative output."). His legacy lives on: in our memories -- and, for those of us priviledged enough to have known him, in our hearts.

Copyright © 1998 by John Steven Lasher. Images copyright © 1994 by Fifth Continent Australia Pty. Ltd. All rights reserved.