In my previous post, I discussed how E. B. White’s Stuart Little put the ideas of world federalist Emery Reves into literary form. Next time, I’ll talk more generally about how White’s view of international law is implicated in his depiction of nature and his approach to English prose style. Today, I’d like to take a brief detour.
You may not know the name Marvin Hamlisch, but you more than likely have heard his music, especially if you enjoy Hollywood or Broadway. He wrote some of the greatest scores for both, from “The Sting” to “A Chorus Line.” As one might have expected of someone who enrolled in The Julliard School at the age of seven, he was one of an exceedingly small group of musicians to have won an Emmy, a Grammy, and Oscar, and a Tony—such paragons of popular song are known as EGOTs—and he was one of only two musicians to have won all those awards and a Pulitzer. Here is the theme he wrote for the James Bond film “The Spy Who Loved Me”—followed by a recent performance of the song by Radiohead, for readers who may not want to be reminded of the 1970s.
And Hamlisch didn’t just write hits. If you want to get a sense of how important his background music was to the power of American film, try imagining this sequence from Woody Allen’s “Take the Money and Run,” about the hapless bank robber Virgil Starkwell, without Hamlisch’s score: