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Come ghostbusting with Kilt-Man as he chronicles just some of the many strange and sinister phenomenon that plague Kilt-Mansion!
And all to the wonderfully eerie and spectral score to The Amityville Horror, from the awesome Lalo Schifrin!
Enter if you dare!
https://youtu.be/S2Xcp1z_TXs
Cheers
Chris Kilt-Man
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Posted: |
Nov 18, 2019 - 12:14 PM
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By: |
leagolfer
(Member)
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I love the script for its simple psychological gizmo's no outright silliness, yes, Brolin for me when possessed his stone emotion was far more interesting, unpredictable & intense than watching Sonny's messy possession maybe its Brolin's look he was far spookier. Kidder & Steiger were both colourful characters they were essentially needed to balance round unnatural proceedings, Kidder didn't have much distress which surprised me but I liked what emotion she had with Brolin, kids & the creepy house, Steiger was unused in ATH but the house in that room was spooky stuff his blindness was an evil-shocker, yea, the cast/script was FAR superior vs II affairs, & Lalo put Amityville on the horror-list for his sweeping orchestra of dark-side colours, especially those moody strings of screeching atmospheres, there's also such beauty with those choral motif's. If listening its a similar score too psycho strings if people pay attention, but I still love it.
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The screeching Herrmann strings anytime anything shocking happens. I cannot believe that Lalo would stoop to using that old trope especially at one point actually pinpointing the exact psycho notes. I think it just makes the scenes cheap and cringe worthy.
mmmm ... mayhaps you like Richard Band's Re-Animator better?
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I feel this way about the Perils-of-Pauline/silent-film-era-solo-piano ... but I don't mind the reliance upon Psycho-like strings.
Herrmann's 1960 score probably seems 'old trope' to most of us after decades of home-video media and comedy-skit spoofs, but in 1979 Psycho was still under age 20 and stabbing strings could likely get a little more mileage. After the mid-'80s, though, I don't think such was any longer the case.
Brian May's 1979 Thirst is one of my 50 favorite soundtracks, but - even so - still received some criticism about sounding 10 years out-of-date as if from a '69/'70 Hammer flick.
Everything gets filtered via the aesthetics/sensibilities/taste levels of individual listeners; that which is acceptable to one can be rejected as cliche by another.
I also appreciate Lalo Schifrin's 2006 Abominable because it sounds like olde-tyme monster-movie music.
I'm curious how PollyAnna would assess LS's Abominable? 
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