Magnificent melodies

Those who follow such things, and that includes you dear reader, will recall a myriad of magnificent melodies. One magical memory came with a recent viewing of the fihn DOir ystery: Laura, tautly directed by Otto Preminger, based on the novel by Vera Caspary starring Gene Tiemey, Dana Andrews, Clifton Webb, Vincent Price and Judith Anderson.

Film premiered at New York's Roxy Theatre, October 1944; General Release, Odeon circuit, Jan 1 1945. Truly intriguing, viewers being led to believe breathtaking, beautiful Laura has been slain; detective Dana Andrews thins so, nonetheless falls in love with a life-size portrait adorning a luxurious Manhattan apartment.

Through shocking, seductive suspense the most haunting theme tune envelopes. Gorgeous riveting quality pervades every split second; in no way the least intrusive this absolutely captivating melody becomes a welcome and eventually necessary addition.

Cinema patrons besieged management and Twentieth Century Fox (who released the film); record counters were being asked for the tune on a regular basis. So, a lyric was added as the renter said "for exploitation purposes only". So much for exploitation, the melody by composer David Raksin, with lyric by the gifted Johnny Mercer is still being heard, played and sung these 60 plus years.

The music has soul, warmth and wonder, equally matched by a genius words-smith who literally turned his hand and pen to anything and everything. His brilliance crops up in many a musical quarter pairing him with such giants of the genre as Harold Arlen and Jerome Kern. Sights were set high with Laura and by mid­summer 1945 Mercer's mystical, poetic words gained a momentum beyond mere Best Seller, landing squarely m the Evergreen catalogue.

While the film had first showings and during early countrywide release there was a devastatingly excellent orchestral version from lush, lovely David Rose and His Orchestra. This was added by the magnificent baritoned-voiced Dick Haymes, and a hit parade venture for then hep-hip bandleader Woody Herman, vocalising as well as playing solo clarinet; this version stayed in the US hit parade for several months.

Through the years Laura added to her reputation, many of these still readily available at record counters where nostalgia is not maligned. One orchestral marvel comes from the Percy Faith bank of superlative strings; another from home­grown Frank Chacksfield and His Orchestra.

Vocally and recently re-mastered genuine sounding Matt Monro, to worthily place alongside starry Frank Sinatra, Robert Goulet, Ella Fitzgerald, Julie London and in accapella style as only they can: The Singers Unlimited.

Earlier versions akin to 44/45 come from the Geraldo Orchestra with sensitive vocal from Len Camber, Glenn Miller's MF Orchestra, Robert Farnon, Les Brown and His Band of Renown, pianist Sir George Shearing and countless others.
In fact choose from well over one hundred different versions in current catalogues. Seek out this musical beauty and like me you too will find passion in lovely, lilting, alluring Laura.
 
 Copied from Greater London Pensioner - Article by  Neil Stevens -