1:03:03
is prominent on the cast page of
Balderston's first draft of June 9th, 1934.
1:03:08
It's still there six weeks later
in the July 23rd script,
1:03:12
only now Elsa is indicated
as both Mary Shelley and the mate.
1:03:16
Ted Kent's montage
for the creation sequence
1:03:19
is as artistically valid
as anything by Sergei Eisenstein -
1:03:22
and it won't give you an urge
to take up collective farming.
1:04:17
It was noted in the 1970s that the first
three notes of the bride's musical theme
1:04:22
are the same as the first three notes
of the song "Bali Hai" from South Pacific.
1:04:27
By the 1990s, this casual observation
became conflated into an urban legend
1:04:32
that had Franz Waxman receiving a hefty
settlement from Oscar Hammerstein.
1:04:36
The Waxman archives confirm
that no litigation occurred.
1:04:40
Franz would hardly sue the librettist
of a Richard Rodgers composition,
1:04:44
and there are, after all,
only eight notes in the diatonic scale.
1:04:48
Waxman's score for Fritz Lang's 1933
French production Liliom for Fox Europa
1:04:54
caught Whale's ear - particularly the
ethereal music for the heaven sequence,
1:04:58
with its airy colouring of celeste
and ondes Martenot,