Lionel Newman(1916-1989)
- Music Department
- Composer
- Soundtrack
Lionel Newman was the youngest of a triumvirate of accomplished
virtuosos, composers and conductors, who dominated the music department
at 20th Century Fox for more than four decades. Already a highly
regarded pianist by the age of 15, Lionel went on the national
vaudeville circuit as accompanist for
Mae West, before joining his siblings,
Alfred and Emil, on the West Coast. He completed his music studies
under
Mario Castelnuovo-Tedesco in
Los Angeles and, by 1934, fronted his own musical ensemble, 'Newman's
Society Orchestra', aboard the luxury cruise ship SS Rotterdam on the
Holland-America Line.
Under the tutelage of older brother Alfred (who headed the music
department at 20th Century Fox from 1939-60), Lionel gradually broke
into the movie business. He was first commissioned to write the title
song for the modern western,
The Cowboy and the Lady (1938).
For this, he shared an Oscar-nomination for Best Song with lyricist
Arthur Quenzer. In 1942, Lionel was hired
by Fox as rehearsal pianist and songwriter. He scored his first major
hit in 1948 with the standard "Again" (written for the movie
Road House (1948)), which rode high in
the Hit Parade, and was covered by many top stars of the day, including
Mel Tormé,
Doris Day,
Vera Lynn and
Tommy Dorsey & His Orchestra.
By the early 50's, Lionel was receiving more prestigious assignments,
both as musical director and as composer. From the time they first
worked together on
Don't Bother to Knock (1952),
he struck up a close working relationship (and subsequent friendship)
with fellow Fox contract player
Marilyn Monroe. He became her favorite
conductor on some of her best films, including
Niagara (1953) and
Gentlemen Prefer Blondes (1953).
He also wrote the title song for
River of No Return (1954)
(with lyrics by Ken Darby), plus
another piece from the movie, "Down in the Meadow" - both sung by
Marilyn. Other notable films he worked on over the years, include
North to Alaska (1960),
Cleopatra (1963),
The Sand Pebbles (1966) and
Alien (1979). Among his compositions are
the theme for
The Proud Ones (1956) (with
pre-Spaghetti western whistling) and (as co-writer with brother Alfred)
the stirring opening theme for the gritty revenge western
The Bravados (1958), starring
Gregory Peck.
Following Alfred's departure from Fox in 1959, Lionel was promoted to
music director, then to vice president in charge of feature and
television music. During the following decade, he supervised the
majority of musical segments at the studio, in addition to composing
some classic TV music, such as the jazz-tinged theme from
The Many Loves of Dobie Gillis (1959).
In 1969, Lionel won an Oscar (shared with
Lennie Hayton) for Best Score of a Musical
Picture for Hello, Dolly! (1969).
The following year, Alfred died and Lionel took over the mantle of
general director of music at Fox, a position he held until his own
departure in 1985. He subsequently joined MGM/United Artists in a
similar executive capacity for the remaining years of his life.
Known for his consummate perfectionism, as well as his often raucous
sense of humor, Lionel was greatly respected by his peers and
appreciated by up-and -coming film composers. A scholarship for young
classical conductors is named in his honor.
virtuosos, composers and conductors, who dominated the music department
at 20th Century Fox for more than four decades. Already a highly
regarded pianist by the age of 15, Lionel went on the national
vaudeville circuit as accompanist for
Mae West, before joining his siblings,
Alfred and Emil, on the West Coast. He completed his music studies
under
Mario Castelnuovo-Tedesco in
Los Angeles and, by 1934, fronted his own musical ensemble, 'Newman's
Society Orchestra', aboard the luxury cruise ship SS Rotterdam on the
Holland-America Line.
Under the tutelage of older brother Alfred (who headed the music
department at 20th Century Fox from 1939-60), Lionel gradually broke
into the movie business. He was first commissioned to write the title
song for the modern western,
The Cowboy and the Lady (1938).
For this, he shared an Oscar-nomination for Best Song with lyricist
Arthur Quenzer. In 1942, Lionel was hired
by Fox as rehearsal pianist and songwriter. He scored his first major
hit in 1948 with the standard "Again" (written for the movie
Road House (1948)), which rode high in
the Hit Parade, and was covered by many top stars of the day, including
Mel Tormé,
Doris Day,
Vera Lynn and
Tommy Dorsey & His Orchestra.
By the early 50's, Lionel was receiving more prestigious assignments,
both as musical director and as composer. From the time they first
worked together on
Don't Bother to Knock (1952),
he struck up a close working relationship (and subsequent friendship)
with fellow Fox contract player
Marilyn Monroe. He became her favorite
conductor on some of her best films, including
Niagara (1953) and
Gentlemen Prefer Blondes (1953).
He also wrote the title song for
River of No Return (1954)
(with lyrics by Ken Darby), plus
another piece from the movie, "Down in the Meadow" - both sung by
Marilyn. Other notable films he worked on over the years, include
North to Alaska (1960),
Cleopatra (1963),
The Sand Pebbles (1966) and
Alien (1979). Among his compositions are
the theme for
The Proud Ones (1956) (with
pre-Spaghetti western whistling) and (as co-writer with brother Alfred)
the stirring opening theme for the gritty revenge western
The Bravados (1958), starring
Gregory Peck.
Following Alfred's departure from Fox in 1959, Lionel was promoted to
music director, then to vice president in charge of feature and
television music. During the following decade, he supervised the
majority of musical segments at the studio, in addition to composing
some classic TV music, such as the jazz-tinged theme from
The Many Loves of Dobie Gillis (1959).
In 1969, Lionel won an Oscar (shared with
Lennie Hayton) for Best Score of a Musical
Picture for Hello, Dolly! (1969).
The following year, Alfred died and Lionel took over the mantle of
general director of music at Fox, a position he held until his own
departure in 1985. He subsequently joined MGM/United Artists in a
similar executive capacity for the remaining years of his life.
Known for his consummate perfectionism, as well as his often raucous
sense of humor, Lionel was greatly respected by his peers and
appreciated by up-and -coming film composers. A scholarship for young
classical conductors is named in his honor.