Listening to Stanley Kubrick Read Free

language of the newsreels. He was also inspired by a distant fanfare in an orchestral work from turn-of-the-century French composer Claude Debussy. 10 The main theme of the cue is this fanfare, played by woodwinds and brass. This line is the flute part, easily heard, while the rest of the orchestra fills it out with harmony:
    Example 1.1. March of the Gloved Gladiators. Main theme.
    Unfortunately, this cue was replaced by a similar piece—not by Fried—when the short film went into franchise. Most existing versions of the film feature this other music. When asked about this change, Fried had no explanation: “Somebody, for some reason, replaced the original music.” 11 The “Gloved Gladiators” theme exists in its entirety on two compilation albums (see appendix C), so one can still enjoy Fried’s triumphant fanfare.
    The uncredited driving march that accompanies the title cards continues throughout the first two minutes of the film, during Kubrick’s exposition on boxing and its popularity. The segment ends with a montage of knockouts from various fights that are accompanied with rat-a-tat brass and worried tremolos. When the narrator asks, at about two minutes in, “But why do they do it? The fighters,” the music changes. The underscore becomes sweeter, with a melody in the strings as Kubrick shows us from where—and from what professions—boxers come. But as we return to the gym to see these men from various walks of life train to fight, once again the music becomes more aggressive to match the rhythmic sounds of punching bags and jumping rope. There is something militaristic—even patriotic—in the music here. Once again, the music changes tone as Kubrick cuts to footage of boxing historian Nathaniel Fleischer, who is flipping through a book about boxing. 12 The smooth descending melody once again relies on the strings and the woodwinds for a sweeter sound. There is hardly a need for percussive underscore to accompany Mr. Fleischer’s turning of pages. When Fleischer stops on a particular page, the narrator says, “Let’s take one name out of the book at random. Say, Walter Cartier. What would his story be like?”
    Now that we have reached the focal point of the story, Fried’s music enters the soundtrack and reflects the change. The tone darkens considerably as Kubrick shows footage of New York City while the narrator explains that during the day of a big fight, waiting is the hardest part. Fried has the low woodwinds pulse a relentless moderate beat over which the higher woodwinds play slightly dissonant and ominous-sounding chords. 13 The low brass adds to this dark mood, which culminates as Walter and his twin brother Vincent take communion at an early mass on the day of the fight. The narrator intones: “It’s important for him to get holy communion in case something should go wrong tonight.” Fried’s music shows hints of doubt, melancholy, and darkness. Boxing is a dangerous sport, he seems to be telling us, but of course, that is what makes it so intriguing to its audience. The tone of the Look feature on Cartier struck a similar mood. One caption read: “Boxing’s atmosphere discourages gaiety and lightheartedness. The scenes are grim, filled with slashing blows of leather on flesh.”
    Kubrick found ways to bring contrast into the film, as did Fried. In an interlude, Vincent makes breakfast for Walter. The short cue is in a major key, underscoring the neutral activity of breakfast as the narrator explains that Vincent—who lives out of town—stays with Walter before big fights. Vincent, in addition to being a lawyer, is also Walter’s manager. Kubrick seems to want to stress their connection, the sweetness of their relationship, and Walter’s gentleness (he is later seen playing with a dog) 14 to bring a sharp contrast to the violence of Walter’s day job. This gentle theme is played by the oboe (with harmony provided by the other woodwinds).
    Example 1.2. Gentle theme from Day of