This column was inspired by watching the four-hour version of Anthony Mann’s movie El Cid on television. I remember seeing the original in the theatre and that version was shorter. As a matter of fact, I remember liking the tighter version better. However, the mind has a way of playing tricks on us and sometimes memory enhances the good feelings that we have for a work of art that we have not seen in a long time. Charlton Heston plays the great knight, El Cid; and Sophia Loren plays his long suffering wife, Chemin. Magnificent music is provided by Miklos Rosza. Mr. Rosza provided a symphonic film score of the type that is long out-of-date in Hollywood. However, it is fair to say that Rosza, the Hungarian-American, evokes the Spain of our imaginations.
I have a theory that all culture is connected. El Cid, the movie, is probably a perfect example of that theory. Even in Spain, there are people who claim that there was no such thing as El Cid. He is just a figment of legend. However, the Encyclopedia Britannica talks of an historic El Cid who became part legend.
In the idealized version, which came to be memorialized in the poem “El Cid” in the latter half of the Twelfth Century, El Cid is totally loyal to his king, and deals nobly with his enemies. Whereas the historical El Cid was probably a free booter who fought for himself and his cruelties to his enemies are omitted from the poem. El Cid next appears in the drama by Corneille, which is probably the greatest work of art in El Cid’s legend. Corneille and Racine created the so-called theatre of reason. In the play, which is depicted in the movie, Chemin’s father insults El Cid’s father. El Cid is forced to challenge him and kills him. Chemin fights her love for him, and everyone is forced into positions allegedly based on their reason as opposed to their passions. Thus, the name, the theatre of reason. Whether I believe that is how it works is another matter, but I certainly recommend you read the Corneille version. As a matter of fact, the drama of Corneille and Racine best exemplify the operas in the Handelian mode.
There is an opera Le Cid by Massenet that is available on RCA Red Seal Records with Von Stade, Anderson, Upshaw and Ramey. There is another version, more known to me, on CBS with Grace Bumbry and Placido Domingo. At one time, Massenet was famous only for Manon and Werther. However Le Cid came out when an attempt was made to revive Massenet’s other operas. I recall it as a worthy effort, and the ballet music from Le Cid has been excerpted as a concert piece.
Miklos Rosza can be heard on Cinema Gala of London. He is on the Shakespearean disc. You may recall that he composed the music for the Marlon Brando and James Mason Julius Caesar. It was directed by Herman Mankiewicz. The Roman army depicted on the march is among my favorite pieces of music. Rosza here can be accused of warmed over Respichi, but I love it all the same. Rosza’s more serious music can be heard on a recent Koch import disc.
Returning to El Cid, the movie, Anthony Mann, director, through the mouth of Charlton Heston, appeals for peace between Christians and Muslims. Charlton Heston has been quoted as saying that the film, some thirty-three years later, is even more relevant today. He was referring to Bosnia. Historically, Spain is the only country in the world where Islam has been thrown back once it took root. However, in doing that, the Spanish expelled all of the moors with the consequent loss to its culture. This is not to mention that it also expelled all of the Jews. However, the time of El Cid, was approximately the last half of the eleventh century, and the famous year 1492 was when the expulsions took place. Therefore, these should not be laid at the feet of El Cid. If you missed the movie, you should write to NBC and tell them you would like them to run it again . In the interim, you will enjoy the music of Rosza on London or Koch; and you may enjoy Le Cid, the opera by Massenet, although is not top flight Massenet.
I just want to leave you with another word about Anthony Mann. He was famous for spectacle dramas. The Fall of the Roman Empire and Fifty-Five Days at Peking come to mind. These films and El Cid are long films, even in their theatrical release, but they stand up today. In fact, if you look, you can certainly see the seeds of multiculturalism in all of these films. If we are to exist on this planet, we all have to work together, and it certainly appears that Anthony Mann knew that in making his films.