:43:02
"Who Takes Care
of the Caretaker's Daughter?"
:43:05
and, in a possible attempt
to outgun Irving Berlin,
:43:08
Ward wrote "Always and Always".
:43:11
Ward worked in musical theatre
in New York and was an alcoholic.
:43:14
Miss Foster says he ghost-wrote
for well-known names
:43:17
who she would rather not mention, often
giving them a tune for the price of a drink.
:43:21
His first Hollywood credit is for a song
in 1928's The Woman Disputed.
:43:26
He appeared on camera in the 1929
vaudeville review The Show of Shows,
:43:30
and wrote incidental music for Warner
Brothers operettas like Song of the Flame.
:43:35
He worked around smaller studios,
primarily Universal,
:43:38
where he wrote a wonderful score
for The Mystery of Edwin Drood
:43:41
and conducted Heinz Roemheld's score
for Dracula's Daughter.
:43:45
He provided uncredited cues to Mark
of the Vampire and The Devil-Doll,
:43:49
spending the late '30s
shuttling between MGM and Universal.
:43:53
Susanna says he had worked with George
Waggner in musical theatre in New York.
:43:58
Ward provided music for all of Waggner's
Universal pictures after Phantom.
:44:02
Ward's last work, uncredited,
was on Man of a Thousand Faces.
:44:06
He died in 1971, having racked up
nearly 200 feature-film credits.
:44:12
Ward used melodies from the opera
sequences as motifs for the characters.
:44:16
"Porter Song" from Martha was used for
the scenes between the rival boyfriends,
:44:20
"Heaven Protect Thee" from Martha
for scenes with Christine and her beaus,
:44:24
and the Chopin nocturne
as a tentative theme for Christine.
:44:28
"Lullaby of the Bells", Christine's song
and the basis for the phantom's concerto,
:44:32
was employed as Claudin's motif.
:44:34
The song had lyrics
written by producer Waggner.
:44:37
It was issued as sheet music, but there
were no commercial recordings made.
:44:42
The concerto, capitalising on the wartime
vogue for piano concertos in movies,
:44:47
also remained unrecorded until
the time of Phantom's reissue in 1948,
:44:52
when Mantovani prepared a performance
about seven minutes long,
:44:56
covering two sides of a 78rpm disc
for London Records.