Documentos de Académico
Documentos de Profesional
Documentos de Cultura
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Mancini, Henry [EnricoNicola] Page 2 of 4
Hatari!, The Pink Panther and The Great Race. In general he favoured subtlety
and restraint, and liked to score somewhat ‘against’ the scene. For example in
Breakfast at Tiffany's the first kiss between the romantic leads (Audrey
Hepburn and George Peppard) is underplayed, with a soft, shimmering
tremolo that evaporates into silence; and the ‘Baby Elephant Walk’ in Hatari!
matches an unexpected variant of a boogie-woogie for the animal's
movements. Repeatedly Mancini came up with novel instrumental effects (one
trademark being his fondness for alto and/or bass flutes), and he was equally
skilled in writing for orchestra, jazz band and small ensembles. In 1962 he
wrote and published a guide to orchestration which was widely used by
arrangers for years.
After 1965, notwithstanding his celebrity as a ‘pop’ artist, Mancini continued to
compose dramatic music for many serious films that either failed at the box
office or enjoyed only moderate success. Some fine examples are Two for the
Road, The Molly Maguires, The White Dawn, That's Life! and The Glass
Menagerie (and also Hitchcock's Frenzy, for which in 1968 he drafted a score
that was rejected as being too serious). His scores for two of the later Edwards
films, ‘10’ and Victor/Victoria, again brought him popular acclaim. The songs
for the latter film (lyrics by Leslie Bricusse) included Mancini's most familiar
trademarks: a poignantly lyric waltz, ‘Crazy World’, and a lively band number,
‘Le Jazz Hot’. The film's gender-bending ambiguities (a favourite theme of
Edwards throughout his career) has made it enduringly topical, and led to its
adaptation as a stage musical which opened on Broadway in 1995: Mancini,
suffering from cancer, died while the work was still in development; several
other musicians thus had a hand in the revised score, but his songs, including
several new ones, constitute the heart of the production.
WORKS
(selective list)
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Takes a Vacation (H. Koster), 1962; Charade (S. Donen), 1963 [incl. title song;
lyrics, J. Livingston and R. Evans]; The Pink Panther (Edwards), 1963; Soldier in the
Rain (R. Nelson), 1963; Dear Heart (D. Mann), 1964 [incl. title song; lyrics, J.
Livingston and R. Evans]; Man's Favorite Sport? (Hawks), 1964; A Shot in the Dark
(Edwards), 1964; The Great Race (Edwards), 1965 [incl. The Sweetheart Tree;
lyrics, J. Mercer]; Arabesque (Donen), 1966; Moment to Moment (M. LeRoy), 1966;
What Did you Do in the War, Daddy? (Edwards), 1966; Gunn (Edwards), 1967; The
Party (Edwards), 1967; Two for the Road (Donen), 1967; Wait Until Dark (T.
Young), 1967; Gaily, Gaily (N. Jewison), 1969; Me, Natalie (F. Coe), 1969;
Sunflower (V. De Sica), 1969; Darling Lili (Edwards), 1970 [incl. Whistling Away the
Dark; lyrics, Mercer]; The Hawaiians (T. Gries), 1970; The Molly Maguires (M. Ritt),
1970; The Night Visitor (L. Benedek), 1971; Sometimes a Great Notion (P.
Newman), 1971 [incl. All His Children; lyrics, A. and M. Bergman]; Oklahoma Crude
(S. Kramer), 1973; The Thief Who Came to Dinner (B. Yorkin), 1973; The Girl from
Petrovka (R.E. Miller), 1974; The White Dawn (P. Kaufman), 1974; The Great
Waldo Pepper (G.R. Hill), 1975; The Return of the Pink Panther (Edwards), 1975;
Alex and the Gypsy (J. Korty), 1976; The Pink Panther Strikes Again (Edwards),
1976 [incl. Come to Me; lyrics, D. Black]; Silver Streak (A. Hiller), 1976; W.C. Fields
and Me (Hiller), 1976; House Calls (H. Zieff), 1978; Revenge of the Pink Panther
(Edwards), 1978; Who is Killing the Great Chefs of Europe? (T. Kotcheff);
‘10’ (Edwards), 1979 [incl. It's Easy to Say; lyrics, R. Wells]; A Change of Seasons
(R. Lang), 1980; Little Miss Marker (W. Bernstein), 1980
Mommie Dearest (F. Perry), 1981; F.O.B. (Edwards), 1981; Trail of the Pink Panther
(Edwards), 1982; Victor/Victoria (Edwards), 1982 [lyrics, L. Bricusse; rev. for stage,
1995]; The Man Who Loved Women (Edwards), 1983; Harry and Son (Newman),
1984; Lifeforce (T. Hooper), 1985; Santa Claus (J. Szwarc), 1985; A Fine Mess
(Edwards), 1986; The Great Mouse Detective (J. Musker), 1986; That's Life!
(Edwards), 1986 [incl. Life in a Looking Glass; lyrics, Bricusse]; Blind Date
(Edwards), 1987; The Glass Menagerie (Newman), 1987; Sunset (Edwards, 1988;
Without a Clue (T. Eberhardt), 1988; Skin Deep (Edwards), 1989; Welcome Home
(F.J. Schaffner), 1989; Ghost Dad (S. Poitier), 1990; Switch (Edwards), 1991; Son
of the Pink Panther, 1993
TV series, mini-series and films incl. Peter Gunn, 1958; Mr. Lucky, 1959; NBC
Mystery Movie, 1971; The Shadow Box, 1980; Remington Steele, 1982; The Thorn
Birds, 1983; Peter Gunn, 1989; Fear, 1990; Never Forget, 1991
Orch: Beaver Valley ’37 Suite, ?1970
Some MSS, notes and sketches in A-LAuc
BIBLIOGRAPHY
GroveA (M. Marks) [incl. further bibliography]
H. Mancini: Sounds and Scores: a Practical Guide to Professional
Orchestration (Northridge, CA, 1963, 2/1973)
H. Mancini and G. Lees: Did They Mention the Music? (Chicago, 1989)
W. Darby and J. Du Bois: ‘Henry Mancini’, American Film Music: Major
Composers, Techniques and Trends, 1915–1990 (Jefferson, NC, 1990)
S. Elhaïk and D. Mangodt: ‘A Filmography/Discography of Henry Mancini’,
Soundtrack! [Belgium] (1990), no.34, pp.12–15; no.35, pp.37–43
S. Fry: ‘The Film and Television Music of Henry Mancini: a Selective
Annotated Bibliography of the Literature’, The Cue Sheet [Los Angeles],
ix/2 (1992), 27–33
R.S. Brown: Overtones and Undertones: Reading Film Music (Berkeley, 1994)
J. Burlingame: TV's Biggest Hits: the Story of Television Themes from
‘Dragnet’ to ‘Friends’ (New York, 1996)
G. Marmorstein: ‘A Passing Breeze Filled with Memories: Henry Mancini,
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