John Williams Blogathon- “Valley of the Dolls” (1967)

When I saw this blogathon announced and saw that John Williams was mentioned as having scored Valley of the Dolls, I was intrigued. I love ‘Dolls’ and I hadn’t realized that John Williams who is famous for so many classic film scores (Star Wars, Jaws, Raiders of the Lost Ark, Jurassic Park, Close Encounters of the Third Kind, just to name a few) also scored what I think might be the greatest movie of all time (okay, I kid. The greatest movie of all time is actually The Long, Long Trailer). I’ve seen ‘Dolls’ multiple times and hadn’t really thought of the score. I researched Williams’ participation in this film and learned that he was responsible for composing the film’s score and doing the arrangements of instrumental versions of Andre and Dory Previn’s songs. To write this blog entry, I popped my Criterion-edition blu ray into my player and focused on Williams’ score as I watched this soap opera unfold.

From left to right: Barbara Parkins (Ann), Sharon Tate (Jennifer), and Patty Duke (Neely)

Valley of the Dolls opens with Dionne Warwick’s mournful rendition of “(Theme from) Valley of the Dolls” playing as snow falls in slow-motion. The despondent sounding lyrics, combined with the snow, lull the viewer into some sort of trance. Warwick sings lyrics that hint at the levels of desperation our three heroines will reach during this film.

Gotta get off, gonna get
Have to get off from this ride
Gotta get hold, gonna get
Need to get hold of my pride
“(Theme from) Valley of the Dolls” written by Dory and Andre Previn, performed by Dionne Warwick

We watch Ann Welles (Barbara Parkins) arrive for her first day at work as a secretary at a theatrical agency in Manhattan. Despite some misgivings from her employer, Producer Henry Bellamy, Ann is given her first assignment: delivering contracts to Broadway star, Helen Lawson (Susan Hayward) and having her sign them. As Ann arrives at the rehearsal hall, she sees up-and-comer Neely O’Hara (Patty Duke) doing a show-stopping rendition of the song she is performing in Helen’s show. Ann makes her way to Helen’s dressing room and manages to get Helen’s signature on one contract. However, Ann’s visit is interrupted when Helen is made aware of Neely’s talent and how her song in the show should propel Neely to stardom. Helen is jealous and orders Neely’s song cut from her show. Nobody but Helen Lawson will be the star.

Neely is outraged that her song was cut from the show and quits. Convinced of her talent, Bellamy’s business partner, Lyon Burke, books her a gig on Joey Bishop’s variety show. Neely is a sensation and soon she’s on her way to Hollywood. Meanwhile, Ann is given a glamorous job modeling cosmetics in both television and print advertisements. Finally, another acquaintance of Ann and Neely’s, Jennifer North (Sharon Tate), a beautiful young actress with an abundance of looks, but limited talent, finds herself in a challenging situation. Jennifer falls in love with nightclub singer, Tony Polar, who lives with his sister/manager, Miriam (Lee Grant). On the surface, Miriam seems to be very controlling; but in reality, she is concealing a hereditary condition which Tony has. She is worried that 30-year old Tony’s illness, which has remained dormant until now, will soon emerge. Unfortunately, Tony’s illness is right on schedule. Soon, he is unable to walk. Jennifer and Miriam move Tony to a sanitarium so that he can receive proper care. To pay the bills, Jennifer starts making French “art films” or “nudies” as Neely snidely, calls them.

Ann and Jennifer’s storylines are fine. They have their moments, but truly the real star of this film is Neely. Neely is a complete disaster. She is my hero. After getting treated to a delightful 1960s montage of Neely getting ready for her Hollywood debut, we watch her quickly fall apart. She becomes swiftly addicted to “dolls” (i.e. barbiturates) and as an added bonus, also becomes an alcoholic. Neely cannot function without her dolls and booze. She needs them to wake up. She needs them to work. She needs them to sleep. Eventually, Neely is unemployable and finds herself divorced and walking down a seedy boulevard lamenting the constant presence of “boobies.” Neely truly hits the bottom of the barrel when she discovers that she had sex with a stranger who later steals from her.

“Boobies, Boobies, boobies. Nothin’ but boobies. Who needs ’em? I did great without ’em!”
Patty Duke as “Neely O’Hara” in “Valley of the Dolls” (1967)

“Who’s stoned? I am merely traveling incognito.”
Patty Duke as “Neely O’Hara” in “Valley of the Dolls” (1967)

Ann and Jennifer both have their misadventures with dolls as well; but neither of them have as spectacular a collapse as Neely. Ann’s battle with doll addiction lasts all of five minutes. Unfortunately for Jennifer, she receives some life-changing news and is unable to cope. Neely has an amazing scene toward the end of the film when she confronts Helen and Helen ends up with her wig in the toilet.

“Give me that damn wig! What the hell are you doing in here?” “Giving it a shampoo. Goodbye pussycat. Meooow!”

Throughout all of Ann, Neely, and Jennifer’s misadventures with dolls, John Williams’ score punctuates the action with the intense sound of strings. The score is somewhat jazzy to fit the vibe of the action and the era. The score used in Neely’s recollection of her treatment at the sanitarium has a horror movie vibe, which juxtaposed with the bleak surroundings, is like a horror movie within a camp classic. Jennifer’s “art film” has music which evokes visions of Paris, with its use of the stereotypical Parisian accordion type music (I am not sure how to describe it). Williams’ score in ‘Dolls’ features swelling strings and over the top arrangements that fit the soap opera that is Valley of the Dolls. Williams ended up being nominated for the 1968 Oscars for Best Scoring of Music–Adaptation or Treatment. He lost to Camelot, which I haven’t seen, but I’d like to go on the record to say that John Williams was robbed.

Gotta get off, gonna get
Out of this merry-go-round
Gotta get off, gonna get
Need to get on where I’m bound
When did I get, where did I
Why am I lost as a lamb
When will I know, where will I
How will I learn who I am
Is this a dream, am I here, where are you
Tell me, when will I know, how will I know
When will I know why?
“(Theme from) Valley of the Dolls” written by Dory and Andre Previn, performed by Dionne Warwick