Customer Reviews

The Haunting: Original Motion Picture Soundtrack

5 star:		(10)
4 star:		(8)
3 star:		(6)
2 star:		(3)
1 star:		(0)

 

 

This isn't Goldsmith's best score, but it's a necessary addition to your collection for a big reason: it's an indirect sequel to Goldsmith's heart-stopping work on Poltergeist and Poltergeist II.

You see, Goldsmith was the original composer for MGM's ill-fated Poltergeist III. When studio execs were...desperately underwhelmed with the rough first cuts of the film, they demanded re-shoots and a new ending, and slashed the film's budget by about $10 million. These cuts necessitated the removal of Goldsmith as composer (he was replaced by another, cheaper composer who created one of the least dramatic scores in film history using what sounds like a Casio keyboard).

However, Goldsmith saved much of his work from Poltergeist III and is rumored to have included most of it in this, his score for The Haunting. Indeed there are many moments here that seem to be cribbed straight from the Poltergeist films:

* Compare "The Curtains" with "The Calling" from Poltergeist I
* Compare the flute solo in "A Place for Everything" with Carol Anne's Theme in Poltergeist I's "Main Title"; the themes are obviously different, but the orchestrations are largely the same
* Both scores use the celesta for important motifs; "Home Safe" in particular sounds like it could be interchangible with several cues from the Poltergeist series
* Compare the playful woodwind motif in "Curly Hair" with Poltergeist's "The Clown"

There are many more similarities, obviously, but they would take up too much space here. Appraising the score on its own merits, it's more tuneful and sweeping and a bit sadder than Goldsmith's other horror scores. The Haunting is relatively light on the disorientating percussion and bombastic brass that trademark Goldsmith's work, but still retains his dramatic flair. If the Omen was influenced by Orff, and Alien was influenced by Stravinsky, this particular outing feels like Strauss with a bit of Debussey.

The quality is good and we're thankfully spared too many electric instruments, as these tend to instantly date the work. The exposition and development is good, if a little stunted by the limited selection of cues on display here.

All in all, better than the film for which it was made!

The Haunting, Jan De Bont's odd collaboration of bad F/X scenes, muddled story, and just stupid "feelings" and visions, was only saved by Jerry Goldsmith's mediocre score. To start, Varese Sarabande, the label, allowed a mere 30 minutes of music to their release of the CD. Now, come on. Goldsmith deserves more than that. I was also suprised at the selection of tracks. The only ones worth discussing are tracks one and eight. 1 begins with a funny little waltz placed under the name "The Carousel". It uses synthesized beats and weird bells in a truely genious jingle that sounds a lot like that Meow Mix one. The best part of this track, however, is the powerful roar of trumpet, which I believe should have been elaborated on. It is played the most, making it the theme. And shouldn't the theme be the spine of the whole release? Last, 8, FINALLY HOME, is a great track. It begins by slowly rolling over and over again a very tedious theme, constantly growing stronger, ending in a burst of life as a synthesized beating and horns entrap the viewer to that scene when the ghost of Hugh Craine came alive, out of his portrait. These are, I'm sorry to say, the only true highlights of the release. The other tracks are a bad mix of subtle undertones and The Haunting's main theme, played again and again and again and again! 2, TERROR IN BED, encorporates the same beating as 8 does, but in a more dramatic situation. Track four, A PLACE FOR EVERYTHING, has a beautiful flute and harp piece, which tell us the many things going on in Nell's head. 5 and 6 are just bad; misplaced blends of wierd noises and beats that die as soon as they start. I wouldn't recommend this to anyone, just the ones to have the money hanging around.

If you like horror movie music that is really eerie and mysterious, then this is the cd to get. I love it, it's not one of his best, but it's up there. Another good one is The 13th Warrior.

Essentially a series of vignettes from past Goldsmith horror & thriller scores, but with fewer of the accompanying chills. "The Haunting" is a technical wonder, with mature themes, motifs, and strong moments befitting a composer of Goldsmith's sagacity, yet they never quite gel emotionally; the musically over-streamlined disc does not help, and neither will residual memory of the film (for those who had the misfortune to see it). By the end, the music is as potent as a mildly distraught pussycat.

This is Jerry Goldsmith when he is not at his peak. A few good moments only. It is missing the usual Goldsmith touch. It is also missing the aw inspiring beautiful track that is usually on all of Goldsmith's scores. The film was good and I liked it a lot, the score went great with the film but alone it is not as impressive. For serious Goldsmith fans only.

well, this is one of the best soundtrack make by jerry golsmith in is career. and do you know that this music was originally made for poltergeist III, before joe renzetti do it?

First of all, excuse my bad English! I'm sorry for the mistakes. "The Carousel" is a fantastic horror-theme. The Piece sounds funny, but it's really strange. But Track 8, "Finally Home", is one of the best Pieces in Goldsmith's career. He used so much classic-style like synkopis (my grammar is also horror...:-)), fantastic modulations and, of course, the synthesizer. This one fly lightly over a heavy rythm and saves the piece from sounding cheap. The change of rythm and tonality before the final climax is so thrilling, that I get goose flesh everytime I hear it. This Piece is DEFINITELY not normal for Goldsmith. It's much more important and better like "Planet of the Apes". The Rest of "The Haunting" is sometimes lyrical, sometimes romantic. Buy it!

I went to this film with high expectations. Robert Wise's original version is great. However, there are only two similarities between these two films: the title and the effectiveness of the score in each film. In fact, the music for the 1999 production is the about only redeeming factor of the film. Once again, Jerry Goldsmith conjures up a potent mix of human and supernatural in this score. However, unlike THE OMEN and POLTERGEIST which explode with raw terror, this score has a more stylized representation of fear. This fits the stylized nature of the film, but the fact that the score succeeds where the film fails is a testament to Mr. Goldsmith's talent.

This soundtrack has the feeling of being presented in three sections: an introduction, conflict, and resolution. Right from the beginning, the listener is thrown off balance by the sounds of "The Carousel." This serves as good introduction for the soundtrack because, although the nature of the track is supposed to be harmless and pleasant, the quirky, reeling contour of the melody exposes the fact that everything is not right at Hill House; it is a merry-go-round, but a merry-go-round in a nightmare. This sense of foreboding is further punctuated by the sudden and abrupt intrusion of the low brass and their sombre choral statements. The brass are followed by the strings which introduce the anxious falling gesture of Hugh Crane's theme which permeates the entire score as the rancid soul of Hill House. (...edited for length..) In the final confrontation in "Finally Home," Crane roars and tries to conquer, but is vanquished by the triumphant return of Elinore's theme in "Home Safe." Her theme gets the most expanded treatment in this track, but Hugh Crane's theme is the last one to be heard, perhaps as a reference to the tie between the two characters, or maybe as an echo of who had Hill House built.

This score is another very good addition into the catalogue of Jerry Goldsmith. Its brilliance completely overshadows the film for which it was composed which is quite forgettable. The main problem with the soundtrack is its short playing time of 35 minutes. Mr. Goldsmith deserves to have more included than that. If you want to see the story, watch the 1963 version. If you want music for a dark and stormy night, get this soundtrack and light some candles. Just remember that I'm not responsible for any nail-biting that comes from either experience.

Goldsmith at his most bored. Should have passed on this idiotic film. It does receive the score it deserves: smooth, glossy descriptive music for a big empty over-produced haunted house movie. Score seems to derive it's materials from a bland carousel theme but the structure barely registers, just presents a few minor mode string effects that flirt with becoming a melody, then some predictable set-piece cues that are more asleep than frightening (think CASPER 2). Score is a long way from Goldsmith's classic impressionism and modernity found in THE MEPHISTO WALTZ and POLTERGEIST. All the cool ideas and jagged edges have been worn smooth and Horner-like by 90s commercial constraints. Not recommended. For 100-proof Goldsmith hold out for his best score in a long time, THE 13TH WARRIOR.

Jerry Goldsmith is a wonderful music maker and "The Haunting" continues his record of excellence. However, I have noticed of late (Air Force One, US Marshalls and, now, The Haunting) the short duration of the CD's. I was so thrilled when Mr. Goldsmith's "The Mummy" was a full length CD (nearly or over an hour). I just hope that the studios are not shortening the soundtrack to cut costs because it keeps excellent music from reaching those of us who want to hear it. Keep up the excellent work, Mr. Goldsmith