The Diary of Anne Frank is a 1959 film based on the Pulitzer Prize-winning play of the same name, which was in turn based on the diary of Anne Frank. It was directed by George Stevens, with a screenplay by Frances Goodrich and Albert Hackett. It is the first film version of both the play and the original story, and features three members of the original Broadway cast.
The film was based on the personal diary of Anne Frank, a Jewish girl who lived in hiding with her family during World War II. All her writings to her diary were addressed as “Dear Kitty”. It was published after the end of the war by her father, Otto Frank (played in the film by Joseph Schildkraut, also Jewish). All of his family members had been killed by the Nazis. The film was shot on a sound stage duplicate of the factory in Los Angeles, while exteriors were filmed at the actual building in Amsterdam.
The film was positively received by critics and is still often considered the best film adaptation of Anne Frank’s Diary. It currently holds a 78% critics rating on Rottentomatoes. It won three Academy Awards in 1960, including Best Supporting Actress for Shelley Winters. Shelley later donated her Oscar to the Anne Frank Museum. In 2006, it was honored as the eighteenth most inspiring American film on the list AFI’s 100 Years…100 Cheers. (wikipedia)
Given the subject matter, that this is a serious film score is no surprise — as of 1958, when the movie went into production, some 14 years after the end of World War II, Hollywood had not done too many movies (forget major films) that even referred to the destruction of European Jewry by Nazi Germany, much less dealt with this event as their main subject, and everyone involved with the movie on a creative level, whatever their background, treated it as a rare and special opportunity to say something important through their work. That said, Newman’s “Overture,” which opens the album, has always seemed appropriately profound, but the rest is far more subtle, introspective, and lyrical, almost counter-intuitive to the moods, settings, and images that one associates with the Holocaust.
That’s because Newman based his score on the interior emotional life of its characters, rather than the exterior events around them. The result is one of the more beautiful bodies of movie music ever written for a Holocaust-related movie, and one of Newman’s better psychologically oriented scores, surprisingly not far removed from his work on How Green Was My Valley. It also contains some of the most beautiful string writing of Newman’s career. The CD production gives the decades-old recordings a full, rich sound, and the annotation is extremely thorough. (by Bruce Eder)
Symphonic Orchestra conducted by Alfred Newman
01. The Diary Of Anne Frank (Overture) 3.41
02. Families In Hiding (The Secret Annex) 5.33
03. The First Day 5,25
04. The Captives – Spring Is Coming 4.21
05. Ericka 1.32
06. Date With Peter 4.57
07. The First Kiss 3.43
08. The Dearness Of You, Peter 7.45
09. Epilogue (I Still Believe People Are Really Good At Heart) 1.25
Music composed by Alfred Newman
The real Anne Frank:
Anne Frank (12 June 1929 – February or March 1945)