Be Big - Music Cue Sheet Incidental music score consisted of these compositions:
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The least of these
compositions, like the weakest background score from these early sound
Hal Roach comedies, is still great. Only great.
Most all of the delightfully breezy music cues in BE BIG were written by the sadly unsung LeRoy Shield. His colorful compositions complemented the visuals and dialogue of Roach comedies wonderfully well, adding an essential pacing and rhythm an editor or director was frequently not capable of achieving on his own. Although the name of LeRoy Shield appears nowhere in the screen credits for BE BIG, his artistic contribution to the success and continuing appeal of Hal Roach sound shorts is clearly as significant as that of anyone else at the studio. Anyone.
The titles of Shield tunes are always intriguing. Roach studio music editors relied heavily on a cue called SLOUCHING, used in almost every other incidental music score.
Often titles reveal the sources of Shield's melodies. HUNTING SONG was a march theme first employed to score the scene with bloodhounds chasing Laurel and Hardy in their then recently completed feature film PARDON US. COLONEL BUCKSHOT was also the name of Jimmie Finlayson's character, a big game hunter, in ANOTHER FINE MESS.
HOLLYWOOD KATE was written by Shield to emphasize suspense in a Boy Friends comedy, BIGGER AND BETTER, and was named for a notorious shoplifter played by Lyle Tayo.
In BE BIG, HOOTCHY KOOTCH was the catchy cue used while Stan Laurel relaxes with the vibrating machine.
What could YASMINI mean? YASMINI served to suggest cultural aspects of the Far East in Charley Chase's ARABIAN TIGHTS (1933) and Our Gang's A LAD AN' A LAMP (1932). In the BE BIG scene with Baldy Cooke whispering over the phone to Oliver Hardy, YASMINI was used "instead of dialogue", as Piet Schreuders has written, "to suggest wild and exotic pleasures."
That is saying something.
-- by Richard W. Bann --
Most all of the delightfully breezy music cues in BE BIG were written by the sadly unsung LeRoy Shield. His colorful compositions complemented the visuals and dialogue of Roach comedies wonderfully well, adding an essential pacing and rhythm an editor or director was frequently not capable of achieving on his own. Although the name of LeRoy Shield appears nowhere in the screen credits for BE BIG, his artistic contribution to the success and continuing appeal of Hal Roach sound shorts is clearly as significant as that of anyone else at the studio. Anyone.
The titles of Shield tunes are always intriguing. Roach studio music editors relied heavily on a cue called SLOUCHING, used in almost every other incidental music score.
Often titles reveal the sources of Shield's melodies. HUNTING SONG was a march theme first employed to score the scene with bloodhounds chasing Laurel and Hardy in their then recently completed feature film PARDON US. COLONEL BUCKSHOT was also the name of Jimmie Finlayson's character, a big game hunter, in ANOTHER FINE MESS.
HOLLYWOOD KATE was written by Shield to emphasize suspense in a Boy Friends comedy, BIGGER AND BETTER, and was named for a notorious shoplifter played by Lyle Tayo.
In BE BIG, HOOTCHY KOOTCH was the catchy cue used while Stan Laurel relaxes with the vibrating machine.
What could YASMINI mean? YASMINI served to suggest cultural aspects of the Far East in Charley Chase's ARABIAN TIGHTS (1933) and Our Gang's A LAD AN' A LAMP (1932). In the BE BIG scene with Baldy Cooke whispering over the phone to Oliver Hardy, YASMINI was used "instead of dialogue", as Piet Schreuders has written, "to suggest wild and exotic pleasures."
That is saying something.
-- by Richard W. Bann --