Herbert Stothart - Works

Works

Herbert Stothart is credited as the composer of:

  • Devil-May-Care (1929)
  • Rasputin and the Empress (1932)
  • The Barretts of Wimpole Street (1934)
  • What Every Woman Knows (1934)
  • Anna Karenina (1935)
  • China Seas (1935)
  • David Copperfield (1935 version)
  • Mutiny on the Bounty (1935)
  • Naughty Marietta (musical score only; the songs were by Victor Herbert, Rida Johnson Young, and Gus Kahn) (1935)
  • A Night at the Opera (1935, which also used music by Giuseppe Verdi, Ruggero Leoncavallo, and Nacio Herb Brown, with some lyrics by Arthur Freed)
  • A Tale of Two Cities
  • After the Thin Man (1936)
  • The Good Earth (1937)
  • Idiot's Delight (1939)
  • The Wizard of Oz (Oscar: Best Original Score; songs by E.Y. Harburg and Harold Arlen)
  • Northwest Passage (1940 film by King Vidor)
  • Pride and Prejudice (1940 version)
  • Blossoms in the Dust (1941)
  • Mrs. Miniver (1942)
  • Madame Curie (1943)
  • National Velvet (1944)
  • Thirty Seconds Over Tokyo (1944)
  • Dragon Seed (1944)
  • The White Cliffs of Dover (1944)
  • The Picture of Dorian Gray (1945)
  • They Were Expendable (1945 World War II film by John Ford) (1945)
  • The Green Years (1946)
  • The Yearling (arrangement of Frederick Delius's music) (1946)
  • The Sea of Grass (1947)

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Famous quotes containing the word works:

    “You are always looking for already-felt emotions, just as you like to get an old pair of trousers back from the cleaners, which seem new when you don’t look too closely. Artists are cleaners, don’t let yourself be taken in by them. True modern works of art are made not by artists but quite simply by men.”
    —Francis Picabia (1878–1953)

    “Separatism of any kind promotes marginalization of those unwilling to grapple with the whole body of knowledge and creative works available to others. This is true of black students who do not want to read works by white writers, of female students of any race who do not want to read books by men, and of white students who only want to read works by white writers.”
    —bell hooks (b. 1955)

    “His character as one of the fathers of the English language would alone make his works important, even those which have little poetical merit. He was as simple as Wordsworth in preferring his homely but vigorous Saxon tongue, when it was neglected by the court, and had not yet attained to the dignity of a literature, and rendered a similar service to his country to that which Dante rendered to Italy.”
    —Henry David Thoreau (1817–1862)