This is of course one of Elmer Bernstein's most popular scores and he conducts the RSNO in a first rate performance here.

The opening main title music states that well-known insolent theme which admirably characterises the sullen disdain with which the prisoners of war view their German captors who are musically depicted as being heavy handed and rather pathetically comic. The score contains much that is exciting, especially for the escape sequences. It does not neglect the more personal aspects of the story, however, for there are moments of genuine warmth in the more reflective cues such as 'Cooler Mole' and 'Blythe.' There is also an appropriate sense of tragedy and loss for the prisoners who are eventually killed or captured, after the great escape. 'Discovery' is an impressive cue with high bells and celeste contrasted with rapid rat-tat-tat machine gun fire like brass chords. 'On the Road' includes some attractive pastoral material and The score ends with an affecting quiet requiem for the greater part of 'Finale.'

In passing I would raise a general point. The Great Escape is one of those films that regularly crops up on TV movie presentation schedules and so it will be known to most people. I make this comment because even though one is familiar with a film one cannot be expected to remember every single detail of a film. Now I come to a general principal. Visitors will have noticed that we do not list cues in our reviews. This is because to do so in my opinion would be pointless. Here we have a very good example of what I mean. Unless you have a photographic memory of the detail of the film and even then this would probably not be enough what is one to make of such laconic named cues as: 'Various Troubles', 'Blythe' and 'Road's End'?

Reviewer

Ian Lace

Reviewer

Ian Lace