"All the Universe or Nothing" Gives me chills everytime I watch this scene. Love the movie and the message of hope for the future of all mankind. The sound and visuals of the demolition of the mountain is still my favorite scene in the movie.
"Do you realize the immense task we shall undertake? When we set ourselves to an active act of peace? When we direct our energies to tear out the wealth of this planet and exploit all these giant possibilties of science that has been squandered and hithered unto by war and senseless competition. We shall excavate the eternal hills. We shall make use of such treasures of sky and sea and earth as men has never dreampt of. I would that I could see our children's children in this world we shall build for them, but in them and through them we shall live again."
Raymond Massey, my favorite fanatic, for good or ill. See him in "The Scarlet Pimpernel", "Abe Lincoln in Illinois" and "Santa Fe Trail" as John Brown. Always larger than life.
Sir Arthur Bliss: here, the equal in magnificence to Richard Strauss' Also Sprach Zarathustra for dynamism and scale, yet Bliss was only writing for film; a medium he didn't really take too seriously, yet here he creates a blueprint that started the ball rolling, and for many, not until many decades later. That we don't hear enough of his brilliant music on air today is such a shame.
In the last year or so WQXR, New York's classical station has been playing lots of soundtrack music. I suspect "purists" have been complaining, but this is exactly the kind of music I'd like to hear them play; I'm going to write them with a list of suggestions with this piece right on top!
@@joestrike8537 And Bliss was half American! His father came from Massachusetts, and I often think his music somehow combines American vigour (vigor?) and optimism with Elgarian sentiment and nobility. His ballet music (Checkmate, Adam Zero, Miracle in the Gorbals) has a directness and appeal similar to his wonderful film music.
I have to say that this film was so ahead of it's time. Certainly more than a nod toward Fritz Lang's masterpiece a decade earlier in places for sure, but those machines with the arcing electrodes or anodes or whatever one calls them and all the other machines within the futuristic set pieces; quite amazing. As for the highly skilled piecing together of Rumon Gamba's excellent BBC Philharmonic performance with the 1936 film print here: what a superb execution. The print quality is flawless. This would look good watching it in a 1930's art deco cinema like the old Odeon (now Everyman) cinema in Muswell Hill, which actually opened in 1936, while simultaneously, and across the next hill, the BBC commenced television broadcasting from Alexandra Palace. A progressive year for modernity for sure.
Thank you so much. I first encountered this on TV in the 50's. Then, through the pages of Ackerman's magazines. I became a professional model builder in no small way because of this movie. I so love the drive and hopefulness of this story -- the movie released just before world-war-two. Prophetic! Could you do the same treatment for, Transatlantic Tunnel?David
A disappointing aspect of this film is that it appears not to be very well documented. There is very little behind the scenes photographs, especially with the model work. Or perhaps there is and I have not been paying close attention?
This film found Arthur Bliss in a unique position with Wells insisting that the film be cut to the music and not the other way around. However, upon hearing a run-through, Wells remarked, "This is all very fine music Bliss, I am sure, but you're missing the point. The machines of the future are silent!" as explained in Sir Arthur's 1970 autobiography, 'As I Remember', to which Bliss remarked, "So, I did what I usually did which was to nod, agree, and then carry on exactly as I had already been doing". I used to correspond and meet Lady Gertrude Bliss around the period of the Centenary of Sir Arthur Bliss, which was from 1991 onward. This included being notified of London concerts, visits to special events or receiving dubbed recordings of broadcasts, including a filmed interview with Sir Arthur at home discussing music matters with a young Vernon Handley and another similar interview/discussion with film conductor, Muir Mathieson; both from the early 70's. I also remember Lady Bliss pointing out to me the studio that was being built at the end of Peter Gabriel's garden; as was seen from her second floor retirement apartment in West London. A very up-to-date lady who kept the light burning for her late husband's music with the Bliss Trust.
Good work. Thankfully, you used a 35mm print for this job. The colorized version of this great film tragically used an inferior and jumpy 16mm print for their restoration.
The visuals in this film were very amazing for the time. I completely agree. I tried to remix the film into a trailer on my channel if you are interested.
An excellent synching/editing job. All the footage/music up to 5:28 is almost exactly like in the film. From there on, the music and video is mostly not the same as heard/seen in the film, although I must say that, in parts, I really like your combination of video and audio better, especially over the shots of the newly rebuilt Everytown.
Right - I had to alter the video since almost all of the ending music occurs under dialogue. The tempos were so different, there was no way to keep them in synch.
Same here! It's one of my favourites since hearing the March as a kid. I think Rumon Gamba's recording is the best there is, the expanded Epilogue is magnificent. I also have a set of original 1936 78rpm records which I play on an ancient wind-up gramophone to annoy the neighbours... ;)
I'm watching this part of the movie with John Williams composition "Schindler's Workforce" from Schindler's List. The music fits the scenes much better !!
You must be joking. John Williams the magpie borrows just about anything he can from European 20th Century composers, left, right & centre. This score alone has influenced manifold 70's and 80's sci-fi films. Williams, a great arranger and orchestrator I grant you, is heavily influenced by Korngold, and to some extent, Elgar, Stravinsky, Walton and goodness knows who else.
@@123boink Absolutely. Jaws was Stravinsky's Rite of Spring. Empire Strikes Back was Elgar's 1st Symphony and Star Wars was pure Korngold. Very cleverly done, but borrowed all the same. The closing movement of Bliss' other work that he wrote about the same time as this piece, the ballet, Checkmate, which again was about the forces of evil versus good, (another precursor of what was to come across Europe?!), was surely a cue for Bernard Herrman's shower scene in Psycho. No-one has ever picked-up upon this one.
I share the same passion for this sequence as you do and for the epic score by Bliss. In many ways it reminds me of the "Enterprise" sequence from Jerry Goldsmith's soundtrack from Star Trek- The Motion Picture. Tonally, the two pieces are different and yet they represent the "march of mankind to greatness". Thanks so much for this masterful upload.
Actually teared up when I first saw the Enterprise reveal. So glad that Robert Wise insisted that Goldsmith scrap his first attempt and write a new one.
"All the Universe or Nothing"
Gives me chills everytime I watch this scene.
Love the movie and the message of hope for the future of all mankind.
The sound and visuals of the demolition of the mountain is still my favorite scene in the movie.
The perfect marriage of sight and sound. One of the all-time great film scores.
"Do you realize the immense task we shall undertake? When we set
ourselves to an active act of peace? When we direct our energies to tear out the
wealth of this planet and exploit all these giant possibilties of science that has been
squandered and hithered unto by war and senseless competition. We shall excavate
the eternal hills. We shall make use of such treasures of sky and sea and earth as men
has never dreampt of. I would that I could see our children's children in this world we
shall build for them, but in them and through them we shall live again."
Fantastic - thank you! Have loved this score since I saw the film as a teen.
Raymond Massey, my favorite fanatic, for good or ill. See him in "The Scarlet Pimpernel", "Abe Lincoln in Illinois" and "Santa Fe Trail" as John Brown. Always larger than life.
"**All the Universe.... or nothing!** Which shall it be?"
Sir Arthur Bliss: here, the equal in magnificence to Richard Strauss' Also Sprach Zarathustra for dynamism and scale, yet Bliss was only writing for film; a medium he didn't really take too seriously, yet here he creates a blueprint that started the ball rolling, and for many, not until many decades later. That we don't hear enough of his brilliant music on air today is such a shame.
In the last year or so WQXR, New York's classical station has been playing lots of soundtrack music. I suspect "purists" have been complaining, but this is exactly the kind of music I'd like to hear them play; I'm going to write them with a list of suggestions with this piece right on top!
@@joestrike8537 And Bliss was half American! His father came from Massachusetts, and I often think his music somehow combines American vigour (vigor?) and optimism with Elgarian sentiment and nobility. His ballet music (Checkmate, Adam Zero, Miracle in the Gorbals) has a directness and appeal similar to his wonderful film music.
I have to say that this film was so ahead of it's time. Certainly more than a nod toward Fritz Lang's masterpiece a decade earlier in places for sure, but those machines with the arcing electrodes or anodes or whatever one calls them and all the other machines within the futuristic set pieces; quite amazing. As for the highly skilled piecing together of Rumon Gamba's excellent BBC Philharmonic performance with the 1936 film print here: what a superb execution. The print quality is flawless. This would look good watching it in a 1930's art deco cinema like the old Odeon (now Everyman) cinema in Muswell Hill, which actually opened in 1936, while simultaneously, and across the next hill, the BBC commenced television broadcasting from Alexandra Palace. A progressive year for modernity for sure.
Fantastic .You have done a great edit .Well done !
Thanks!
Thank you so much. I first encountered this on TV in the 50's. Then, through the pages of Ackerman's magazines. I became a professional model builder in no small way because of this movie. I so love the drive and hopefulness of this story -- the movie released just before world-war-two. Prophetic! Could you do the same treatment for, Transatlantic Tunnel?David
Has the TT score been re-recorded?
this score would be excellent for a theatrical re-release of hg wells things to come 1936, a well done sci-fi classic.
Thanks for uploading this and adding a recent version of the wonderful Arthur Bliss score! I always loved this scene too.
You're welcome - it's great how faithful this version is. A little faster, but otherwise unchanged.
Thank you for the info!
A disappointing aspect of this film is that it appears not to be very well documented. There is very little behind the scenes photographs, especially with the model work. Or perhaps there is and I have not been paying close attention?
I've loved this film since I first saw it more than 6 decades ago!
Excellent work! We're only 15 years away from 2036!
I believe H.G. Wells would have applauded this video. I say, "Bravo!"
Thanks!
This film found Arthur Bliss in a unique position with Wells insisting that the film be cut to the music and not the other way around. However, upon hearing a run-through, Wells remarked, "This is all very fine music Bliss, I am sure, but you're missing the point. The machines of the future are silent!" as explained in Sir Arthur's 1970 autobiography, 'As I Remember', to which Bliss remarked, "So, I did what I usually did which was to nod, agree, and then carry on exactly as I had already been doing".
I used to correspond and meet Lady Gertrude Bliss around the period of the Centenary of Sir Arthur Bliss, which was from 1991 onward. This included being notified of London concerts, visits to special events or receiving dubbed recordings of broadcasts, including a filmed interview with Sir Arthur at home discussing music matters with a young Vernon Handley and another similar interview/discussion with film conductor, Muir Mathieson; both from the early 70's. I also remember Lady Bliss pointing out to me the studio that was being built at the end of Peter Gabriel's garden; as was seen from her second floor retirement apartment in West London. A very up-to-date lady who kept the light burning for her late husband's music with the Bliss Trust.
@@britishcomposers - I found your reply to be very informative! Many thanks!
John Cabal looks like Sir Oswald Mosley in this film but is Raymond Massey
Check out the things they were gliding on, they now have them where ya have pavement lol. Not here where I live. We still have dirt for roads
Thanks for posting this!
The visuals are way ahead of the time, and now with the music score, its even better!!! Fantastic movie!
80 years later: still no houses built by giant automated machines!
Look for '3D printed building'.
Revel in all the art deco-ness....
MAGNIFICENT STUFF!
great! i love this film.
Truly inspirational.
a fine job at sychronizing the music too-great job!
it really is superb
Thanks!
Fantastic ! Beautiful movie !
Good work.
Thankfully, you used a 35mm print for this job.
The colorized version of this great film tragically used an inferior and jumpy 16mm print for their restoration.
I actually can't recall which transfer I used. I searched online until I found the highest resolution one I could.
The Criterion blu-ray is immaculate & it includes several scenes trimmed or eliminated in the version that's been seen the most.
@@123boink see my answer to Sanchez just below (above?)
The visuals in this film were very amazing for the time. I completely agree. I tried to remix the film into a trailer on my channel if you are interested.
Thank you! Splendid job.
Thanks!
Interesting.
Back-handed compliment?
An excellent synching/editing job. All the footage/music up to 5:28 is almost exactly like in the film. From there on, the music and video is mostly not the same as heard/seen in the film, although I must say that, in parts, I really like your combination of video and audio better, especially over the shots of the newly rebuilt Everytown.
Right - I had to alter the video since almost all of the ending music occurs under dialogue. The tempos were so different, there was no way to keep them in synch.
One of my favorite scenes from one of my favorite movies.
Wonderful. Thanks for posting. Such an underrated score - one of the the very best - especially Ramon Gamba’s recording.
Thanks - amazing that the sheet music survives!
What a superb job, thank you for going to all the effort!
Thanks - love this score!
Same here! It's one of my favourites since hearing the March as a kid. I think Rumon Gamba's recording is the best there is, the expanded Epilogue is magnificent. I also have a set of original 1936 78rpm records which I play on an ancient wind-up gramophone to annoy the neighbours... ;)
Cool - is there a link to more info on the 78s?
There's not an awful lot online - this is probably the most comprehensive:
www.625.org.uk/ttc/ttcmusic.htm
Did they find any spice?
Пересматриваю раз за разом. Это есть нечто потрясающее. Я бы сказал выдающееся.
I watch it over and over. This is something amazing. I would say outstanding.
Superb
Thanks!
I'm watching this part of the movie with John Williams composition "Schindler's Workforce" from Schindler's List. The music fits the scenes much better !!
Sorry, no one beats Arthur Bliss!
You must be joking. John Williams the magpie borrows just about anything he can from European 20th Century composers, left, right & centre. This score alone has influenced manifold 70's and 80's sci-fi films. Williams, a great arranger and orchestrator I grant you, is heavily influenced by Korngold, and to some extent, Elgar, Stravinsky, Walton and goodness knows who else.
@@britishcomposers His stealing for Star Wars was outrageous!
@@123boink Absolutely. Jaws was Stravinsky's Rite of Spring. Empire Strikes Back was Elgar's 1st Symphony and Star Wars was pure Korngold. Very cleverly done, but borrowed all the same. The closing movement of Bliss' other work that he wrote about the same time as this piece, the ballet, Checkmate, which again was about the forces of evil versus good, (another precursor of what was to come across Europe?!), was surely a cue for Bernard Herrman's shower scene in Psycho. No-one has ever picked-up upon this one.
@@britishcomposers Williams also lifted from Holst, Stravinsky, and Vaughan (Flash Gordon) for Star Wars
I share the same passion for this sequence as you do and for the epic score by Bliss. In many ways it reminds me of the "Enterprise" sequence from Jerry Goldsmith's soundtrack from Star Trek- The Motion Picture. Tonally, the two pieces are different and yet they represent the "march of mankind to greatness". Thanks so much for this masterful upload.
Actually teared up when I first saw the Enterprise reveal. So glad that Robert Wise insisted that Goldsmith scrap his first attempt and write a new one.