Roy Webb(1888-1982)
- Music Department
- Composer
- Art Director
Trained in classical music at Columbia University, Webb worked on
Broadway by the time he was in his
mid-20's, not only composing incidental music, but co-writing original plays with his older brother, the director Kenneth S. Webb.
By 1923, he worked as conductor/arranger on hit shows like "Music Box
Revue" and "Stepping Stones". Two years later, a collaboration with his
illustrious peer Max Steiner led to
a lasting friendship, as well as (by his own admission) profoundly
influencing his own future career as a composer. At the end of the
decade, Steiner, then head of the music department at RKO, persuaded
Webb to accept an assignment in Hollywood, scoring the musical
Rio Rita (1929).
Steiner remained in charge until his departure in 1935, when Webb effectively took his place, remaining a fixture at RKO until 1955. He often worked in conjunction with Bernard Herrmann and C. Bakaleinikoff, supervising, conducting and composing scores for literally hundreds of films. As a composer, his style was somewhat akin to that of Herbert Stothart, in that it was more subtle, less overtly dramatic, yet still perfectly integrated with the action, or imperceptibly underscoring the dialogue. A good example is the romantic violin-laden score for the sentimental drama Le Cottage enchanté (1945). The piano concerto from this film was performed later that year at the Hollywood Bowl.
Better still, were his understated, eerily effective horror themes, setting the mood for the films of Val Lewton, of which La Féline (1942) and Le Récupérateur de cadavres (1945) are absolute standouts. Webb's other noteworthy contribution was in the field of thrillers and films noir, notably Deux mains, la nuit (1946), Les enchaînés (1946) and La griffe du passé (1947). After RKO wound down, Webb free-lanced for several years, working variously at Warners, Paramount and for John Wayne's Batjac Productions. Though his entire collection of manuscripts was sadly lost in a house fire, copies of his scores from the RKO vaults have been preserved at UCLA.
Steiner remained in charge until his departure in 1935, when Webb effectively took his place, remaining a fixture at RKO until 1955. He often worked in conjunction with Bernard Herrmann and C. Bakaleinikoff, supervising, conducting and composing scores for literally hundreds of films. As a composer, his style was somewhat akin to that of Herbert Stothart, in that it was more subtle, less overtly dramatic, yet still perfectly integrated with the action, or imperceptibly underscoring the dialogue. A good example is the romantic violin-laden score for the sentimental drama Le Cottage enchanté (1945). The piano concerto from this film was performed later that year at the Hollywood Bowl.
Better still, were his understated, eerily effective horror themes, setting the mood for the films of Val Lewton, of which La Féline (1942) and Le Récupérateur de cadavres (1945) are absolute standouts. Webb's other noteworthy contribution was in the field of thrillers and films noir, notably Deux mains, la nuit (1946), Les enchaînés (1946) and La griffe du passé (1947). After RKO wound down, Webb free-lanced for several years, working variously at Warners, Paramount and for John Wayne's Batjac Productions. Though his entire collection of manuscripts was sadly lost in a house fire, copies of his scores from the RKO vaults have been preserved at UCLA.
