When provided an extended exposition it provides some of the scores most cherished moments. As the score’s only feminine construct it Steiner imbued it with gentility, beauty and elegant romanticism. Elsa’s Theme serves not only as her identity, but also as a Love Theme for her and Perry. This theme is also versatile as we hear it during battles scenes transformed into a harsh war anthem. It’s simple construct is exotic, always rendered darkly in the lowest register served as the perfect foil to the British identities. Yet it also has a transpersonal expression, as it serves as the identity of Suristani warriors. Surat’s Theme supports our villain and abounds with malevolence. The theme is quite malleable and expressed as both an anthem, and a marica militare. Martial drums and proud horn declarations empower this classic military anthem, which abounds with pride and heroism. He would employ leitmotifs to underpin his score, using a multiplicity of fine themes including Geoffrey’s/British Army Theme, which serves as his personal identity, but also on a transpersonal level the British army. Steiner understood that he would have to speak to setting, incorporating British, Indian and Russian sensibilities into the fabric of his score, replete with national anthems, fanfares and marches. This would be Steiner’s debut with Warner Brothers, and the success of this film score led to a long-term contract that blossomed into a three-decade collaboration with over 100 films. However, his employment was short-lived as he was sacked when studio executives were informed that Max Steiner was interested in the scoring assignment. Warner Brothers was committed to supporting the film with a robust musical score and hired Ernst Toch who had gained renown with his fine effort with Peter Ibbetson the previous year. It also secured three Academy Award nomination for Best Assistant Director, Best Sound and Best Film Score, winning one for Best Assistant Director. The film resonated with the public and was a commercial success, earning $2.76 million or twice its production cost of $1.33 million. Geoffrey avenges his comrades by slaying Surat Khan, but forfeits his life in the process. The charge is valiant and succeeds in overrunning the Russian lines, but with the decimation of the 600 lancers of the Light Brigade. Geoffrey replaces official orders to withdraw the Light Brigade, instead ordering the epic charge. A shift to Crimea and the battle of Balaclava affords the opportunity Geoffrey has sought in that Surat Khan is inspecting the Russian troops, with whom he has allied. Geoffrey and Elsa are spared by Khan as payment of his life debt to Geoffrey, but Geoffrey never forgets and from this point on resolves to avenge the death of his comrades. Colonel Campbell, the British Commander surrenders to avoid a massacre only to have Khan betray him by massacring his soldiers and his family. Surat Khan sees opportunity and lays siege to Chukoti with a massive army. When most of the British garrison for Chukoti is transferred to Lahore. By chance Geoffrey saves the life of the rajah Surat Khan during a hunting expedition, which earns his eternal gratitude. Geoffrey does not know that his brother Perry has betrayed him by stealing the love of his fiancé Elsa. The film opens in the city of Chukoti in colonial India circa 1854 where Geoffrey and his brother Perry are stationed. Michael Curtiz was tasked with directing and a stellar cast was assembled, including Errol Flynn as Major Geoffrey Vickers, Olivia de Havilland as Elsa Campbell, Patric Knowles as Captain Perry Vickers, Henry Stephensen as Sir Charles Macefield, Nigel Bruce as Sir Benjamin Warrenton, Donald Crisp as Colonel Campbell, David Niven as Captain Randall, Robert Barrat as Count Igor Volonoff, and C. Samuel Bischoff and Hal Wallis were given the reigns to produce the film with a generous $1.33 million budget. Screenplay writer Michael Jacoby’s script for the story found favor with the studio and was purchased, although Rowland Leigh was brought in to make some edits. It was decided that their vehicle would be a retelling of the epic charge of the Light Brigade during the Crimean War. Warner Brothers Studio executives saw the success of Paramount Studio’s Lives of a Bengal Lancer in 1935 and decided to cash in on the British Empire Adventure Tales genre.
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