Enjoyed reading this. However I think "Beastiality" is one of those great Morricone set pieces. True it may have not worked in the film but to call it 'appallingly bad' is a little harsh.
Enjoyed reading this. However I think "Beastiality" is one of those great Morricone set pieces. True it may have not worked in the film but to call it 'appallingly bad' is a little harsh.
Thanks, I'm glad you enjoyed it.
But, hey, I can't alter my opinion of that track. I sincerely wish I could ... but ... Ughhhhh! I've never liked it since I first got the vinyl album way, way back in the 80's. Just makes me wince. LOL.
But Carpenter took the best and helped Morricone fashion what was to become an iconic genre score - that once heard, is never forgotten.
I have to admit I struggled to read through this; I share your enthusiasm about the movie and score but to be honest I found this text all over the place in vocabulary and subject matter. Too many long sentences that are rich in expletives, almost as if the sentences themselves are designed to make me think they are "the thing". Also a lot of speculation as to what the motives are behind the music and the sequences of the movie, it might have been helpful had this been a youtube video with your commentary or had there been audioclips or video fragments to go along with your text. I am a fan of the movie but you quote characters, cues, storypoints left and right at a pace I can't keep up with.
And the bits I find interesting, like why you don't care for "Humanity 2", you don't elaborate on.
Can you translate this into english for me? "This is a long piece that feels like an extended mix, but all the music that we hear in the film for this sequence is contained within its broad parameter of disconcertion."
Again, I applaud your enthusiasm and agree with many points you made I could keep up with.
"Bestiality" is one of those strange out-of-left-field Morricone cues that I couldn't stand at first but I've grown to appreciate more over the years. Yeah, it doesn't fit the movie or even the cold icy tone of the rest of the score, but it's become all the more interesting to me because of that. What exactly is he getting at with that piece? The way the motif repeats over itself could be portraying the way The Thing replicates, but the odd way the strings go up and down could be an attempt to evoke the growing paranoia of the characters. And that final discordant burst of brass at the end? Who knows?
