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-BRAM STOKER'S DRACULA - Kilar.
I'm completely enthralled by this title. It is thoroughly melodic, it has creepy, scary parts, and the pounding symphonic power of it in other places is thrilling and satisfying. The score is so good that while listening to it, I have to envision my own, better Dracula movie to go with it.
Even the Annie Lennox song has grown on me, with it's wilted, bloodless melody skillfully conveying the Stockholm syndrome of a fetching Dracula victim. Her feeble embrace of the undead is eerie. But the song is just a bonus track; this CD would still be tops without Lennox.
-INTERVIEW WITH THE VAMPIRE - Goldenthal.
I don't quite get this score (although I liked the movie). Some moods and bits of creepy insanity are conveyed, but I needed more melody or something to tie it together. The CD is not long but it's tough going for me.
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This is a cool thread. I think I would have to ask myself how each of these scores has ages over the years. For me, I listen to Kilar's Dracula more often that Goldenthal's interview mostly because of the Main Titles, Dracula/Mina, and tracks such as those. Goldenthal's Interview is a splendid score though. I just find myself reaching for either Titus or Cobb in that composer's case.
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I love both. And the Glass. And the Williams. Let them all have their turn!
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I've never even heard the Williams. I'm a man of few grails, but I suspect if I ever saw this movie, I'd end up wanting the score.
It is listed at Screen Archives for $124.95 at the moment. Not gonna do it.
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Y'know, some time ago I bought the Naxos release of Kilar's music from Dracula, Konig..., Death and the Maiden, etc. and thoroughly enjoyed the selections from the former on that CD. So I went to look for the OST and I was kinda scared off by the topmost customer review for it on Amazon (titled "Great score, lousy CD").
Can any of you attest to the accuracy of what the reviewer was saying there? Is it a worthwhile recording to get aside from the editing issues?
Apparently there's a cue or two not on the CD, a mountain train ride if I recall someone saying so. But I think all the film's themes are on it. And if you enjoy high-class, top-quality eerie scares, this CD is for you. Plus, you get a thundering, massive, powerful rush of menace, like an oncoming locomotive of evil. The score has many haunting (no pun intended) musical ideas that can fill your mind with imagery.
Maybe you should rent the DVD to get an idea of the score, or borrow it from the public library. Screen Archives has the Kilar CD for $6.95 at the moment.
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I've had both scores since they were released.
Kilar's score is brilliant, effective and memorable. The pre-credit sequence music and the Vampire Hunters theme are exquisite. And there's a particularly disturbing piece loaded with creepy voices and whinnying horses that can be challenging to get through. Really well done. Kilar is a striking and potent composer.
Goldenthal's score is...well...it's good, yet it doesn't resonate terribly well. Works effectively in the film, but I never find myself wanting to revisit it. It doesn't hold the thematic power of Kilar's score.
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