This was Duke Ellington's first film score, undertaken at the urging of Anatomy of a Murder's director, Otto Preminger. The full range of the composer's previous work was brought to bear on this 1959 work. Ellington was a natural choice to convey the rich and varied emotional moods of this drama. Tension and release, danger and safety, movement and stillness, darkness and light; the textural palette that was Ellington's signature was always compellingly cinematic.
In these orchestral settings, Duke's soloists (Cat Anderson, Clark Terry, Johnny Hodges, Harry Carney, and others) shine, as their playing reflects true variations on a theme in a classical sense. That's not to say that this set doesn't swing, too – "Happy Anatomy" is a short but fully cranked gallop. This is an album of rich variety and evocative writing.
Reveals the shared narratives found in individual and collective ideologies of hate, and how we as a species can overcome them. For six years the filmmaker worked with unprecedented access to some of the most venomous ideologies and violent conflicts of our time including the white supremacist movement, Christian Fundamentalism as an anti-gay platform, Muslim extremism, the Palestinian Intifada, Israeli settlers and soldiers, and US Forces in Iraq. By juxtaposing this verite footage with interviews from leading sociological, psychological, and neurological experts, and interspersing stories of redemption told by former "combatants", the film weaves a tapestry that reveals both the emotional and biological mechanisms which make all of us susceptible to acts and ideologies of hate, and demonstrates how these very same traits make us equally capable of overcoming them.