Henry Mancini | 100
Name: Henry Mancini (born Enrico Nicola Mancini)
Birth: 16th April 1924, Little Italy, Ohio, U.S.A.
Death: 14th June 1994 (age 70 years), Beverly Hills, California, U.S.A.
Profession: Composer, Conductor, Arranger, Pianist & Flutist
Career: 1952-1992 (40 years)
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This year, in 2024, Henry Mancini would have turned 100 years old. So, I thought, before the year was out, I would dedicate a blog post to him and his illustrious film career, for, he has always remained my most favourite composer of all time. Even though he wasn’t known for writing any notable ballets, which is of course always important to me, there is something about his music and his style that captured my heart from a very young age. He blended Jazz, Latin, and Classical music together in such an elegant and stylish way. I like how I feel when I listen to his music, I like who I can imagine myself being, and I am not sure whether many other composers have managed to tap into that same sentiment. I also admire his innate ability to write pieces that are fun, goofy, and tongue-in-cheek. His music never comes across as overly serous or stuck-up, and yet as it is so beautifully orchestrated and crafted, it always retains its integrity, no matter what.
Come with me as we take a look at some of the high points of his long and hugely memorable career as the greatest and most distinctive film composer of all time…
Early Beginnings:
Henry Mancini was born in Little Italy, Ohio, to Italian immigrant parents, his father being both a laborer at the Jones and Laughlin Steel Company and an amateur musician. Mancini started learning the piccolo at eight years old, and was inspired to pursue film composition after seeing The Crusades (1935) and falling in love with Rudolph G. Kopp's score, ultimately going against his father’s hopes for him to become a teacher. At twelve years old, he took piano and orchestral arrangement lessons with the concert pianist and conductor Max Adkins. In this time, he would write arrangements for Stanley Theatre bands, including something for the up-and-coming band leader Benny Goodman.
In 1942, Mancini graduated from Aliquippa High School, and went onto the Carnegie Institute of Technology in Pittsburgh, before transferring to the Juilliard School of Music in New York City later that year, after a successful audition. With WW2 in full force by then, Mancini joined the US Army Air Forces in 1943, taking basic training in New Jersey, which is where he met musicians that were being recruited by Glenn Miller. By Miller’s recommendation, Mancini was initially assigned to the 28th Air Force Band. Later, he was transferred to France as part of the 1306th Engineers Brigade , and in 1945, he aided in the liberation of the Mauthausen-Gusen concentration camp in Austria.
After being discharged from the army in 1946, Mancini first became a pianist and an arranger for the Glenn Miller Orchestra. As Glenn Miller had passed away in 1944 (aged 40), while fighting for the Allied forces, this newly reformed band was led by Tex Beneke. While working, Mancini continued to broaden his studies in composition, counterpoint, harmony and orchestration.
By 1952, he had been employed in the Universal-International’s music department, contributing to over 100 films during his six year stint working there. Most notably, one of those films was The Glenn Miller Story (1953), for which he earned his first Academy Award nomination, for the Best Scoring of a Musical Picture. Later, he worked on The Benny Goodman Story (1956) too. It seems like this was a full circle moment for Henry Mancini. Having met and worked with both these men in his lifetime, and with Glenn Miller having been lost in such a tragic accident, Mancini’s work on these pictures must have felt like a way to honour them and their impact that they had had on his early life. Only through listening to the work of Glenn Miller and Benny Goodman and then that of Henry Mancini’s, you can hear that he is a descendant of their musical style and way of thinking, and yet, still on top of this he still managed to develop his own distinguished voice.
Significant TV Shows:
Peter Gunn (1958-1960) | Mr. Lucky (1959-1960)| Newhart (1982-1990)
In 1958, Mancini left Universal-International to become an independent composer/arranger, with his first commission being to write the score for the TV series Peter Gunn. This score is still one of Henry Mancini’s most recognisable and well-remembered works, really helping to cement his cool and jazzy style, with notable tracks such as Dreamsville and Slow & Easy.
A year later, he scored another TV series called Mr. Lucky, which is where we start to hear more of the Latin influences that became such a significant element of the Henry Mancini sound. He further developed his work for this show, releasing an album titled Mr. Lucky Goes Latin in 1961 (after the one-season drama had aired), placing a heavier accent on the Latin beat for added sophistication and flair. Softly and Blue Satin are noteworthy tracks from Mr. Lucky, and Lujon and Blue Mantilla stand out on Mr. Lucky Goes Latin.
Although, Mancini contributed to the scores of many TV shows, his last memorable project in this category, which occurred much later in his career, was the theme music for Newhart. Running for eight years, this hit sitcom was beloved by many, and there is no doubt that its title track is part of its charm and nostalgia. Throughout his career, Mancini wrote a total of 15 TV scores and 25 TV themes.
The Audrey Hepburn Collaboration:
Breakfast at Tiffany’s (1961) | Charade (1963) | Two For The Road (1967) | Wait Until Dark (1967)
Now, for me and many other Audrey Hepburn fans, it is through her films that we discovered Henry Mancini’s music in the first place. As much as Givenchy did a lot to create the iconic Audrey Hepburn image, Henry Mancini very much contributed to what many might think of as the Audrey Hepburn sound. She was style, elegance, and sophistication personified, and so a perfect match for Mancini’s music.
Their first collaboration was, of course, Breakfast at Tiffany’s in 1961, with a score that has become so celebrated and beloved by all. It was this score that led me to fall in love with Henry Mancini, and it still remains as my favourite film score of all time. Wonderfully chic and with a heavy Latin influence, there is a balance between the slightly slower and more graceful tracks and the more fun and spirited moments that put you in a party mood. Some notable pieces from the soundtrack include Breakfast at Tiffany’s, Loose Caboose, and Where’s the Cat?
The song ‘Moon River’ with its melancholy lyrics by Johnny Mercer, has been covered by over 500 artists, and yet it’s Audrey Hepburn’s definitive performance that still shines out as the best and most sincere. As Audrey wasn’t a trained singer, Henry Mancini tailored the song specifically to Audrey Hepburn’s vocal range. After the first preview screening of the film, the head of Paramount Pictures, Martin Rackin demanded that the song was cut, saying something to the effect of, “I love the picture, fellas, but the f***ing song has got to go.” In response, Audrey Hepburn shot out of her seat, replying curtly “Over my dead body.” And so, the song was saved. On the release of the movie, the song was so popular, the first printing of its sheet music sold over one million copies. It went onto win an Academy Award for Best Song, alongside the entire score which also won an Academy Award for a separate category. Proof, perhaps, of the importance in sticking to your guns when you know something to be good.
Their next collaboration came a couple of years later, with Charade, an old-fashioned caper with a lot of twists and a lot of style, rather wryly dubbed “the best Hitchcock movie Hitchcock never made”. Again, the Latin influence is present, which Mancini weaves elegantly into the somewhat light-hearted atmosphere of mystery and suspense that suits the film’s blend of thriller, romance, and comedy. The title song is written as a gentle waltz reminiscent of the music of an old merry-go-round but with much more beauty and polish. It has rather sorrowful lyrics by Johnny Mercer that juxtapose the films overall breezy nonchalance. There is another instrumental version of the song that Mancini has appropriately orchestrated to imitate the music for a carousel that features later on in the picture, capturing the more sinister side of their childlike farce. Other unforgettable moments from the soundtrack include Megeve, Latin Snowfall, and Punch & Judy.
Two for the Road, a tale that travels through time, chronicling the ups and downs of a 12-year marriage, was the third film that they worked on together. Set in the South of France, the score has a summery and easy-going feel with that famous Latin beat never far behind. It conjures an serene atmosphere that is relaxed, carefree, and perfect for daydreaming. The title song encapsulates the film’s mellow and romantic feel, with innocently endearing lyrics by Leslie Bricusse. Some of my other favourite peices on the soundtrack include Something for Audrey (which is very reminiscent of Lujon), Happy Barefoot Boy, and French Provincial.
The final film in the Hepburn-Mancini collection is none other than Wait Until Dark, released the same year as Two for the Road. A psychological thriller, this film is much darker than many of Audrey’s other films. Therefore, the score is suitably different to the other three, which have all followed a similar Latin-inspired airy elegance. In Wait Until Dark, Henry Mancini employs more unusual synthesised sounds and detuned harmonies for added eeriness and to capture a mood that is ominous and menacing. In some of the lighter moments, Mancini squeezes in some of his beloved Latin beats (Radio Source He's Got Time, Phono Source I & II) for great effect as their juxtaposition helps to make the darker moments feel more heavy and unnerving. The title song also exploits the Latin style and has lyrics by Jay Livingston and Ray Evans, that do little to give away the ominous storyline of the film. Unfortunately, the full score for Wait Until Dark is not shared on Spotify, which is a shame as it is one of my favourites of Mancini’s. We hear a different side to him here, one that is more experimental and eccentric. I think it is one of those score in which he was able to show off his talent for really encapsulating the essence of an emotion in a narrative and transforming it into sound. Some of my favourite tracks include the Main Title, Bulbous Terror, Gassy Strum Along, The Doll, and Cutting Roat a New One. Fortunately, I have found the full soundtrack on Youtube which I have shared in the sources list at the bottom of the page, so do take a listen if you can.
The Pink Panther Saga
Film:
The Pink Panther (1963) | A Shot in the Dark (1964) | The Return of the Pink Panther (1975) | The Pink Panther Strikes Again (1976) | Revenge of the Pink Panther (1978) | Trail of the Pink Panther (1982) | Curse of the Pink Panther (1983) | Son of the Pink Panther (1993)
Although I say that the Breakfast at Tiffany’s soundtrack is what led me to become a Henry Mancini fanatic, it surprisingly (or unsurprisingly), wasn’t the first piece of music I had ever heard by him. Instead, that was The Pink Panther theme music which I heard very young, along with Baby Elephant Walk. Both these tracks make their way into children’s music collections because they are so distinctive, fun, and full of character. It is hard to not love them. And, when it comes to The Pink Panther, the music stands up on its own outside of the films themselves. It is another example of Henry Mancini’s wonderful ability to accurately depict a narrative through sound, a talent I so admire and one I wish more composers would celebrate and practice nowadays.
Now, before writing this blog post, I have to admit, I wasn’t aware of just how big the Pink Panther legacy was. Sure, I knew the music, a couple of films and a few cartoons, but I never imagined that it would be this extensive. It pretty much spanned the majority of his career, his life, and then continued after his death. It was the gift that kept giving, a golden egg in an already diamond-studded body of work.
Of the nine original Pink Panther movies, Henry Mancini scored eight of them. As there are so many, I will do my best to go through each one very quickly as much of it is a variation on an already established sound world. Of course, the soundtrack to the first film will always remain the most iconic, with classy pieces such as Royal Blue, Champagne and Quail, and Piano & Strings. Unfortunately, I couldn’t find the whole soundtrack for A Shot In The Dark online, but of the tracks I could find, the title track and The Shadow Of Paris were my favourites. The Return Of The Pink Panther gives us The Greatest Gift, ‘Here’s Looking At Your, Kid’, and Dreamy. For me, there are many stand out tracks for The Pink Panther Strikes Again which are The Inspector Clouseau Theme, The Ending, 8M2, and Come to Me. Revenge of the Pink Panther brings us Simone, After The Shower, and Almond Eyes. It seems that the majority of the tracks from Trail of the Pink Panther originally featured in the earlier films, however, The Easy Life In Paris stuck out as one that was both new and very beautiful. Curse of the Pink Panther has Piano Source and Something for Clifton, and the soundtrack for Son of The Pink Panther was nowhere to be seen. A few of these soundtracks weren’t shared on Spotify, so of the ones I could find, I have shared their YouTube equivalent at the bottom of the page.
The third film in the franchise, titled Inspector Clouseau (1968) was not scored by Henry Mancini, nor was it directed by Blake Edwards or starred in by Peter Sellers. This all came about because all three men were working on a different film that year, named The Party. Nevertheless, the studio still wished to go ahead with it, with Ken Thorne composing the score.
In the 2000’s, Pink Panther had a resurgence with two films: The Pink Panther (2006) & The Pink Panther 2 (2009). These, evidently, were released many years after Mancini’s death, and yet still they used his famous theme tune alongside new scores composed by Christophe Beck.
TV:
The Pink Panther Show (1969-1978) | The All-New Pink Panther Show (1978) | Pink Panther and Sons (1984-86)
The Pink Panther Show aired for around 11 years and went through several rebrands, with a whole host of different titles. Aimed at children, likely the most remembered parts of The Pink Panther Show were the short animated stories. Charming and funny, many of the earlier cartoons were somewhat similar to silent films, in so far as there was no talking, just the animation enhanced by the music that helped to tell the story. However, I believe that later episodes included voiceovers alongside the music.
It seems that Henry Mancini didn’t necessarily write all of the music for these shows. If he’d had had to, he would have never stopped working, due to the T.V. shows long run. It is unclear how much new music he wrote specifically for the T.V. show, or whether his contributions were his music from the films being re-worked and re-used instead. Of course, his famous Pink Panther theme would have got a lot of use here, but it seems that other tracks from the different films he composed for were often used also. The other composers listed as having also contributed to the show throughout the 11 years include: Doug Goodwin, Walter Greene, Steve DePatie, and William Lava. Whether, it was them who re-worked Henry Mancini’s music for the purpose of the show while composing their own in a similar style, I am unsure, but I imagine the situation was something to that effect.
Other Significant Films:
Experiment in Terror (1962) | Mr. Hobbs Takes a Vacation (1962) | Hatari! (1962) | Days of Wine & Roses (1962) | Victor/Victoria (1982)
Across the entirety of his career, Henry Mancini worked on a total of 186 films, including full scores, contributions, and arrangements. As his colossal output was so extensive, I have handpicked a selection of his biggest films, outside of the Audrey Hepburn collaboration and The Pink Panther legacy, to highlight. From my selection, you can see that 1962 must have been quite an amazing year for Mr. Mancini. Just one year after the success of Breakfast at Tiffany’s, and he was working like nobody’s business.
So, first on the list is Experiment in Terror, a neo-noir thriller about a psychopathic murderer who threatens to kill a bank teller if she doesn’t agree to steal a large sum of money for him. Although quite a dark storyline, the first third of the soundtrack is complete with typical Mancini-esque cheerful melodies, such as Fluter’s Ball and Kelly’s Tune. However, as the narrative takes its more sinister twists and turns, the soundtrack becomes increasingly more ominous and unnerving, with examples such as the title track and Final Out at Candlestick Park. The track Nancy, full of dissonant intervals, perfectly captures an atmosphere of suspicion and foreboding. However, it is White on White, a doleful yet elegant piano piece, that makes my top spot for this particular film.
Mr. Hobbs Takes a Vacation is a comedy film set within the complications of a family holiday. Opening with a wonderful example of one of Henry Mancini’s ‘big band’ moments, the soundtrack contains a mix of different variations of the main theme, for example: Up His Nose, Early To Rise, Roger & Peggy, Rudders & Sails, All Clear/ Red Cap & Farewell to Vacation. It is very impressive to see how Mancini was able to ensure the return of the main melody captured the different moods of each scene, ensuring that the tune was recognisable but that its repetition wasn’t boring. Some other notable tracks include Cream Puff and Something for Lauri.
Set in Tanzania and depicting real wildlife, Hatari! is a rom-com that tells a story about people who capture animals for zoos. Obviously, this kind of film likely wouldn’t make the cut today, as fortunately, our views on zoos and the importance of animal welfare are changing for the better. Nevertheless, it is this movie that is home to one of Mancini’s most popular pieces of music: Baby Elephant Walk. Lively, fun, and comical, this track is great for children due to its distinctively merry melody and bouncy orchestration. Other noteworthy tracks for this film include: Night Side, Big Band Bwana, and The Soft Touch.
Days of Wine and Roses is romantic drama that explores the pitfalls of alcoholism within a relationship. Complete with a beautiful soundtrack, it is the title song that won Mancini his third Oscar. Another collaboration with Johnny Mercer, the lyrics simply consist of two fairly unusual stanzas that, in true Johnny Mercer style, conjure imagery that is a touch wistful and melancholic.
As the circumstances of this film are on the more serious side, Mancini effortlessly create a sound world that is neither wholly cheerful or deeply depressing. Instead, he finds that uncertain middle-ground, where even though on the surface something might seem fine, the undercurrents give it away that it is not. Tracks like Gorgeous & Guilty and Crazy Smell, to me, depict this sentiment very well. For added contrast, he adds weight to the darker moments by leaning into them, an example being Some Laughs. Since the full soundtrack for this film is not shared on Spotify, I have shared a link to the soundtrack suite at the bottom of the page.
Last on my list is Victor/Victoria, a musical comedy film with lyrics by Leslie Bricusse that won Mancini his final Oscar. Set in 1930’s Paris, the soundtrack is charming and elegant, capturing a certain nostalgia for this past era. Some examples include, Crazy World, You and Me, and Le Jazz Hot. There are also some beautiful romantic moments, such as Alone in Paris, A Sub for Lover, and Bedroom Radio. As this film was made in 1982, it is easy to expect it to have a very different soundtrack due to the stereotypes of that decade, but Mancini doesn’t stray from what he knows he does best, resulting in a timeless score that is touched with a certain old Hollywood cinema magic.
Oscar Wins :
Breakfast at Tiffany’s (1961)- Best Music Score of a Dramatic or Comedy Picture
“Moon River” (1961)- Best Song
“Days of Wine & Roses” (1962)- Best Song
Victor/Victoria (1982)- Best Original Song Score and Its Adaptation or Adaptation Score
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In addition to his 4 Academy Award wins, he received 14 nominations, including one for his first picture, The Glenn Miller Story (1953). He was nominated for a total of 11 Golden Globes, of which he won 1 for "Whistling Away the Dark" from Darling Lili (1970). Overwhelmingly, he was nominated for a total of 72 Grammy Awards in his lifetime, of which he won 20, celebrating his work in Peter Gunn (1958), Mr. Lucky (1959), Breakfast at Tiffany’s (1961), Days of Wine & Roses (1962) and The Pink Panther (1963). In 1969, his "Love Theme from Romeo and Juliet" won him a Grammy for Best Instrumental Arrangement. It was a number-one hit in the U.S.A. that year, topping the Billboard Hot 100 singles chart and, on certain radio stations, competing against the likes of The Beatles and The Rolling Stones, due to its popularity.
And there we have it. I hope you enjoyed this trip through the many highpoints of Henry Mancini’s wonderfully long and inspiring career. You will find most, if not all, the tracks that I have mentioned in this blog post within the Spotify playlist or the sources list below, which I hope you will enjoy listening to!
Baci x
The Spotify Playlist
Sources:
Listen to the Wait Until Dark soundtrack here
Listen to the The Pink Panther Strikes Again soundtrack here
Listen to the Curse of The Pink Panther soundtrack here
Listen to the Days of Wine & Roses soundtrack suite here
Did They Mention The Music? The Autobiography of Henry Mancini (1989) by Henry Mancini
Sounds and Scores: A Practical Guide to Professional Orchestration (1962) by Henry Mancini