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I remember this '83 score as trying to re-create the verve of POLTERGEIST, albeit with new thematic idioms, and coming up short of that career zenith.
That said, there were a lot of "ripping" moments. Enough to prove that JG could rip with the best of them (Herrmann).
And I listened to the "Gentle Norman" stuff more than I initially thought I would.
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I think the tagline on the back cover is also incorrect. I don't believe the word "finally" was on the original poster. Also, why is it in quotes? Did a character in the movie actually say that?
I dropped an email to Intrada to let them know about the misspell, granted they were probably already told. Perhaps they can correct the insert before they mail it out.
The error in the tagline doesn't bother me. They used the cool, original poster for the cover so I'm happy.
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I rarely ever listen to Herrmann's score, the complete score is far too bleak and somber, great in the film but not for listening to on its own.
I don't think I've ever read a more egregious example of bad taste on this board.
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Aside from the main titles and maybe one or two other cues, I completely agree. It's a pretty boring listen.
Do I have bad taste too?
Only in facewear.
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If you can't find beauty in Herrmann's score, I suspect you probably didn't listen very intently.
This is my final word on Those Who Disdain The Psycho Score As A Listening Experience.
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Posted: |
Apr 2, 2014 - 4:11 PM
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By: |
danbeck
(Member)
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As a huge Goldsmith enthusiast I must admit that I've never owned this soundtrack and never felt a strong desire to seek it out. There's no explanation for this. I remember how Page Cook, in his Films in Review column, lambasted the score for even daring to thread where Hermann had previously. Granted, this is a different (and far inferior) film. I guess that in retrospect it is to my advantage that I never paid it much attention because now I can hear it anew.
Once you're aware of the "shock" aspects of the storytelling, I actually prefer Psycho II (the movie) over the original Psycho. There's something genuinely touching and creepy about Perkins' performance that raises it above the original IMHO.
And Goldsmith's score is spot on! It didn't have to "try" as hard as Herrmann's did. It could focus on other, more subtle things.
It may be considered an heresy but I prefer the film Psycho II over Psycho. I never liked Psycho that much (I much perfer Vertigo, Rear Window or The Birds). Somehow I think the charaters in II more engaging, Perkins at his best as Norman strugling to keep his sanity, Mary becaming tormented about what is hapening but unable to help Norman, and Lila becaming the "vilain" seeking revenge at any cost, and a clever plot that plays with the expectations keeping you gessing until the last scene and some great shock and suspense sequences.
I love Herrmann classic score but somehow I also prefer Goldsmith's as a listening experience, even if it could never be as iconic as the first score.
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