Customer Reviews

Psycho: Original Motion Picture Score

5 star:		(1)
4 star:		(5)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Unfortunately since the original Psycho score by Bernard Herrmann has never been issued commercially (and was most likely recorded in single track mono given the budget of the film) there are a slew of re-recordings by different orchestras (including one conducted by Herrmann which is now out of print). The problem most of the time is the tempo: "the murder" is usually slower than it was in the movie which is about a painful to listen to as the shower scene. So here comes Danny Elfman with his adaptation for the 1998 remake and lo and behold, the tempos are right on. Most people forget that this score is all strings and Elfman's near-obession with Herrmann renders this a faithful recreating of the original.

One of the greatest film composers ever to grace the screen adapting a score from another of the cinema's greatest composers; one could ask for little more. In general, Danny Elfman sticks pretty close to Herrman's original music, but he speeds up the tempos and adds noisier orchestrations for the more exciting parts of the score, adding to its intensity. The result is a less refined but fresher and more intense score, perfectly suited for a newer generation of film music fans. The only problem with the cd is the legnth; we only get about half of the score.

This is the best adaption of Psycho since the filmsoundtrack, 40 years ago, itself. Many have tried (McNeely, Johnson) but failed. Is it so hard to do this properly? I guess not because Danny Elfman understands this music. Tempo is very important with this soundtrack and he found the right one where McNeely amongst others failed. And also reverb plays a important part. McNeely's version sounds like recorded in a huge church and it should sound short and very dry like recorded in a 'dead room'. Again Elfman did this right. The only downside on this soundtrack is that it's not the complete score. What a pity. But it still deserves 5 stars for the effort and execution.

Bernard Herrmann create one of the best score ever made. The only man that could adapting this score are Danny Elfman. The interpretation are very good whit a small touch of Elfman's style espacially in track #1 ''Intro/logos'' But we didn't have the complete score int this album. WHY? Some of the best adaptation passages, present in the film, are MISSING... Overall, it's a good ''Hommage'' to Bernard Herrmann's masterpiece; and more better than the precedent album song (Music inspired by the Motion Picture soundtrack).

Bernard Herrmann create one of the best score ever made. The only man that could adapting this score are Danny Elfman. The interpretation are very good with a small touch of Elfman's style espacially in track #1 ''Intro/logos'' But we didn't have the complete score int this album. WHY? Some of the best adaptation passages, present in the film, are MISSING... Overall, it's a good ''Hommage'' to Bernard Herrmann's masterpiece; and more better than the precedent album song (Music inspired by the Motion Picture soundtrack).

One of the few things that actually worked favorably on Gus Van Sant's otherwise pointless remake of "Psycho" is Danny Elfman's interpretation of Bernard Herrmann's score. Some selections work better than others, but it's an otherwise satisfying soundtrack. Great selections include the opening credits, "The Peephole," and "Temptation," and the "Finale." My disappointments include "The Murder" which strays a bit too far from the 1960 original. The clanking noise at the end is a bit too distracting. Besides that, the music is richer, fuller, and more alive than the original, which was apparently done in mono. Recommended. (Notice: this is not the COMPLETE score to the 1960 movie. Various selections are omitted here. Only certain highlights are on this album. Film score gurus take note.)

Good... but hard on the ears. Compared to McNeely's version, it seems almost as if one does not need this cd. McNeely's version does what needs to be done. The music is quicker here and matches the reworked film rather than the original. McNeely's version matches the original rather than the reworked film. This is the main difference. The music resembles Herrmann's music as seen through the eyes of one who enjoys rock. It sounds as if the score is on drugs. McNeely's version resembles music as seen through the eyes of one who enjoys classical music, which was the eyes of Herrmann.
The end result: the music here sounds hard and hyper, and does not lean towards listening, but toward a rock sound.
The sound is clear, the music is good, but the version here is the reworked score, not that of the original. This should be kept in mind (do I want Herrmann's original score, or the score for the reworked film).
From my perspective, McNeely's version is preferred. Easy to enjoy as Herrmann's music. This version is harsh and is easy to listen to as a translation of Herrmann's score.

The suprising box office success that preceeded Gus Van Sant's 1998 'Psycho,' is nothing short of miraculous. A poor cast, well-intended but badly presented direction, and a step further in gore than the original made this overdone plot a flop for today's Freddy and Michael Meyers crowd.

The score, though a good test of Elfman's mastery and verve, is flawed, by the removal of several tracks from the original '60 cut. 'Prelude,' 'Temptation,' and 'Murder,' the three signature motifs of the film, are thankfully punched-up a bit, Elfman-style, but that's one of the very few quality points.

I would like to say, however, that Hermann's music is successfully adapted for the current generation, and the general presentation of the violins-only orchestra, is still breathtaking. On the other hand, Bernard Hermann, I'm sure, would roll over in his grave.

Fans of Hermann will be disapointed, fans of Elfman will love it, what else is there to say?

Heard it, liked it a little, bought it (regrettably),
--GIGI