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I think both scores offer very unique and moving musical solutions to the films they accompany. I'm sort of surprised to see so many people complaining about the lack of thematic material in Goldenthal's score, as the entire thing is built on a fairly long-lined theme that's hidden in early every other measure of the score. I do think that the album is poorly arranged though, for in mixing up the chronology of the pieces, it loses the gradual progression through musical history that Goldenthal builds into the score - Baroque music for Lestat gives way to Romantic music for Louis, which gives way to Impressionism for Claudia, etc. all. More than any of that though, I think it's an emotionally riveting score, one that perfectly captures the slow melancholy loss of humanity on the part of the protagonist.
Kilar's score works on more of an abstract and less a specifically character-driven level. It is in many respects the best Dracula score for me, as it breaks down the various components of the character - Slavic roots, Gothic Romance, animal depravity - without attempting to bind them all into one concrete identity. And I love the way it enhances the constant fracturing of identity that plays out in the film. For example, there's a point in the film when the same yearning/romantic theme plays as the film cuts between Dracula and Mina's lovemaking and Jonathan Harker's escape from Dracula's caste - it's as though the music is drawing all the characters together in something that's bigger than all of them, and keeping us pigeonholing any of them with ONE theme or ONE identity marker. The way music reshapes the content in that film never ceases to fascinate me. But both Kilar and Goldenthal's efforts are amongst my very very favorites.
Paul
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I'm sort of surprised to see so many people complaining about the lack of thematic material in Goldenthal's score, as the entire thing is built on a fairly long-lined theme that's hidden in early every other measure of the score. I do think that the album is poorly arranged though, for in mixing up the chronology of the pieces, it loses the gradual progression through musical history that Goldenthal builds into the score - Baroque music for Lestat gives way to Romantic music for Louis, which gives way to Impressionism for Claudia, etc. all. More than any of that though, I think it's an emotionally riveting score, one that perfectly captures the slow melancholy loss of humanity on the part of the protagonist.
Paul
Well, that's interesting. Do you know the film sequence to rearrange the INTERVIEW cues into? I recently put THE WRATH OF KHAN into film order and it became twice the score it was.
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Does anybody want to weigh in on re-seqencing INTERVIEW to improve the experience?
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Zap, As an additional listen, since you mention INTERVIEW I want to suggest QUEEN OF THE DAMNED by Richard Gibbs and Jonathan Davis. Stylistically much different from those two, and one of the most listenable vampire scores, with a most cool use of violin.
Thanks, JS. I'll keep that one in mind. I recall thinking that the movie didn't capture the flavor of the book, and the casting was off, but if it comes around on cable again I'll pay special attention to the score.
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)