Film Score Monthly
FSM HOME MESSAGE BOARD FSM CDs FSM ONLINE RESOURCES FUN STUFF ABOUT US  SEARCH FSM   
Search Terms: 
Search Within:   search tips 
You must log in or register to post.
  Go to page:    
 
 Posted:   Apr 25, 2014 - 8:32 PM   
 By:   peterproud   (Member)

Was just revisiting this score today and had forgotten how good it was. The main theme introduced on piano is lovely and there is so much lyricism to the score - not just a pure horror score to be sure. Really would like to see the film now, but it seems to have disappeared. Wish I could have been at the get together @ Chris Young's place a while back to ask him about this one. Anybody else a fan of this score?

 
 Posted:   Apr 25, 2014 - 8:49 PM   
 By:   Advise & Consent   (Member)

I, for one, am with you all the way. There hasn't been a single month that has goner by in the last two decades where I haven't gone back to this incredible score.

Christopher Young is not just a master horror composer, but a master composer period. I feel for certain that his name will go down in film music history as one of the top exponents of the age, far surpassing most of his 'flavour of the month' contemporaries.

Edit: In fact, I'm going to give it a spin this very instant.

 
 Posted:   Apr 25, 2014 - 8:50 PM   
 By:   Shaun Rutherford   (Member)

Love that "Prologue and Tumor" opening cue. Just listened to it today, in fact! The film is...not great, but it actually plays much better than it did in 1993. Back then, it had the stigma of sitting on the shelf for two years because of Orion's bankruptcy.

I watched a bit of it again recently and appreciated how shitty it looks compared to horror movies now, which look so slick and glossy. Honestly, this and Wonder Boys do such a good job with how dreary Pennsylvania can look in the cold of winter.

 
 
 Posted:   Apr 25, 2014 - 9:01 PM   
 By:   peterproud   (Member)

I, for one, am with you all the way. There hasn't been a single month that has goner by in the last two decades where I haven't gone back to this incredible score.

Christopher Young is not just a master horror composer, but a master composer period. I feel for certain that his name will go down in film music history as one of the top exponents of his age, far surpassing most of his 'flavour of the month' contemporaries.


Nice to hear from you A&C, I've been listening to film music long enough to remember receiving Lukas' 7-page newsletters that were the start of FSM and also remember discovering Christopher Young back in the early 80's. Have to confess I wasn't an instant convert but now think he will truly be remembered as one of the most original and consistently effective film composers of our time. His scores have staying power unlike many scores written by his contemporaries and I find I'm constantly hearing new things in his scores which is definitely the sign of a great composer.

 
 
 Posted:   Apr 25, 2014 - 9:05 PM   
 By:   peterproud   (Member)

Another Young score that rarely gets mentioned that I think is ridiculously infectious is The Vagrant...whenever a track shows up on my iTunes DJ I smile ear to ear and somehow get a feeling of how much fun Chris had scoring this thing... another film of his I haven't seen.

 
 Posted:   Apr 25, 2014 - 9:19 PM   
 By:   The Mutant   (Member)

This is one of those old varese discs I picked up just as I started collecting waaay back. Gotta give it a spin.

 
 Posted:   Apr 25, 2014 - 9:33 PM   
 By:   Advise & Consent   (Member)

Another Young score that rarely gets mentioned that I think is ridiculously infectious is The Vagrant...whenever a track shows up on my iTunes DJ I smile ear to ear and somehow get a feeling of how much fun Chris had scoring this thing... another film of his I haven't seen.

Indeed. The Vagrant is a wild and fun score.

I was a convert from day one. The first CD of his I purchased was Hellraiser, followed ion quick succession by the Flowers in Attic LP (Varese), The Power (LP - when are we going to get a CD?), Pranks, Hellbound: Hellraiser II and then THE FLY II, all of which just blew my mind. From there, Young went on from one incredible highlight to the next, making it near impossible to single out just a few albums.

So many varied and stricking scores.... The Hurricane, Creation, The Exorcism of Emily Rose, Jennifer 8, Species, The Devil and Daniel Webster, The Uninvited, Norma Jean and Marilyn, Terre-Neuve, Urban Legend, Hush, Copycat.... etc.

Edit: and very nice to hear from you my fellow Canuck. smile

 
 Posted:   Apr 26, 2014 - 12:34 AM   
 By:   Francis   (Member)

The Dark Half is my favorite score. I really like the movie as well but the score especially is so haunting and beautiful (usually Young's trademarks). The existing Varese album leaves out about 34 minutes of unreleased music (not counting source music) and there are some beautiful cues in there with variations on the theme as well as motifs not heard on the album.

I did this overview of what is missing (missing cues in boldface):

0:09 Prologue and Tumor
9:58-10:20 (0:22) short cue showcasing George Stark's book with a nice sax intro
11:50-13:56 (2:06) Thad threatening, signing the book, segues into Thad and Liz discussing what to do next while changing the babies. Has a nice variation of the theme on horns.
15:24 Jazzy source cue for when Miriam and Rick are on the phone with Thad.
18:16 Green to Green
20:50-21:58 (1:08) short cue accompanying the interview with Thad, starts off innocent but progresses to threatening when Thad explains George would hate being interviewed.
22:38 Dano
25:00-25:16 (0:16) Short eerie cue setting up the hitchhikers scene
25:35-27:00 (01:25) Homer getting killed and digger calling sheriff. Aside from the aggressive opening, this cue has a nice brief statement of the theme with choir.
28:16-28:47 (0:31) short eerie cue underscores the evidence bagging of Homer's prosthetic leg.
29:20 Half Divided One
32:48-33:16 (0:28) ambient cue when Thad spaces out for a moment
34:23-37:05 (2:42) dream sequence with at some point Elvis Presley playing in background. Very similar to last part of omnibus death, but ends in a nice statement of the theme when Thad wakes up.
37:05 saxophone playing as NY source for Clawson's body is discovered.
37:25 Mind Snatcher
41:50-44:02 (2:12) Pangborn confronts Thad about 'the sparrows are flying again', nice underscoring cue that is a toned down version of the later confrontation with stark, segueing into exposition about Thad's tumor.
44:56-46:47 (1:51) Stark invading Thad's mind, continues the repeating 4-note motif that originated in the dream sequence as Thad scribbles down gibberish.
46:57 Omnibus Death (first part)
51:53 Fools stuffing (last part)
54:05-55:14 (1:09) Photographer Mike's death scene
56:35-57:05 (0:30) Rick getting a scare by the window washer.
57:59-59:44 (1:45) beautiful cue for when Thad tries to convince Pangborn that Stark is real. Stars off with a nice string section with a brief appearance of the theme.
1:00:43-1:01:30 (0:47) Rick's death, more variation on omnibus death.
1:02:33-1:04:39 (2:06) Stark calling in to the tapped phone line announcing his departure. Mostly ambient cue underscoring the phone call.
1:06:21 Fool's Stuffing (first part)
1:09:14 Berol Black Beauty
1:11:24 Omnibus Death (third part)
1:14:55-1:15:38 (0:43) Stark's hideout
1:15:38 Catechize
1:16:50 - 1:17:25 (0:35) Stark taking off (more aggressive version of berol black beauty)
1:18:00-1:19:42 (1:42) Doctor discussing Thad's surgery up until he gets killed
1:19:42 Mr. Machine
1:23:32-1:25:12 (1:40) Thad consulting Reggie
1:26:03-1:26:26 (0:23) Stark calling Thad
1:26:26 Twin Ghosts
1:29:12-1:30:15 (1:03) Thad outsmarting the cops
1:31:33 Omnibus death (second part)
1:32:38-1:34:11 (1:33) Stark at fireplace, segues into 4-note motif from dream, only this time it's no dream.
1:34:08 more Elvis
1:34:34-1:35:44 (1:10) eerie underscore for Thad & Stark's chat in front of Liz.
1:37:02-1:43:33 (5:31) Thad and Stark's write off; this starts with some disturbing brass notes when they enter the room and builds up gradually as Stark takes more control. A very rich cue that draws on a lot of elements established in earlier cues.
1:44:06 Sparrows
Everything after this in the finale is basically an edit of Sparrows and the scare buildup from 'prologue'.
1:51:56 The Dark Half

Safe to say an expansion of this would be a dream come through! smile

 
 Posted:   Apr 26, 2014 - 5:18 AM   
 By:   danbeck   (Member)

The Dark Half is my favorite score. I really like the movie as well but the score especially is so haunting and beautiful (usually Young's trademarks). The existing Varese album leaves out about 34 minutes of unreleased music (not counting source music) and there are some beautiful cues in there with variations on the theme as well as motifs not heard on the album.


One of my favorites from Christopher Young. Having always liked the album but seeing the movie only once I was not aware that there was so much music missing, including a 5min. cue from the end of the movie. Count me in also for an expanded release!

 
 Posted:   Apr 26, 2014 - 5:59 AM   
 By:   David Kessler   (Member)

I love both movie and score and thinks this is one of the better King adaptions from the 90´s

 
 Posted:   Apr 26, 2014 - 6:00 AM   
 By:   David Kessler   (Member)

I love both movie and score and thinks this is one of the better King adaptions from the 90´s

 
 Posted:   Apr 26, 2014 - 9:01 AM   
 By:   Advise & Consent   (Member)

Nice poster.

 
 Posted:   Apr 26, 2014 - 10:00 AM   
 By:   The Mutant   (Member)

Awww. I miss those early 90's silver seals on the side of the CD case. Memories...

 
 Posted:   Apr 26, 2014 - 10:34 AM   
 By:   Francis   (Member)

Aside from the European version I have the US poster as well but prefer the UK quad the most; so much so I have one in mint condition and another with some ruffled edges, the latter to put on display. Similar to the one below though not as folded:



I like that poster design the best, it was the one used on the vhs I bought back in the day. I then got the R1 full screen dvd, then the UK widescreen dvd and the french blu-ray (which is excellent). I own the Varese CD (also signed by Young).

I also have a ton of stills, magazine articles, screenplay, book (of course), workprint, ... I really like The Dark Half. big grin

 
 Posted:   Apr 26, 2014 - 11:36 AM   
 By:   Mr. Jack   (Member)

Ever notice how much the end title theme sounds like Schindler's List?

 
 Posted:   Apr 26, 2014 - 12:15 PM   
 By:   Shaun Rutherford   (Member)

Ever notice how much the end title theme sounds like Schindler's List?

I believe this was discussed back in the day in an old FSM. But isn't the Schindler's List theme more than inspired by Maher's 8th anyway?

http://youtu.be/NSYEOLwVfU8?t=49m29s

 
 
 Posted:   Apr 26, 2014 - 12:32 PM   
 By:   Kev McGann   (Member)

I haven't played this CD for about a billion years and I've just dug the CD out - cos of this thread - and will probably play it before the eighty thousand NEW score CD's I have yet to listen to!!
How's that for exaggeration?
Life's so f*ckin random, innit!

 
 Posted:   Apr 26, 2014 - 1:02 PM   
 By:   Francis   (Member)

Also keep in mind that Dark Half was shot in 1990 and completed in 1991, due to Orion's bankruptcy failed to find distribution and only got released in april of '93. Schindler's got released at the end of '93. I think the resemblance is coincidence. Also it's not just the end title theme, it is present throughout the score and also a bit more in the unreleased material. But what a way to end a movie! Excellent cue.

Some tidbits about The Dark Half score from interviews; Romero first wanted Henry Mancini to score it but the studio didn't want him. Young got hired based on a demo he submitted to Romero consisting of existing music he thought would serve the picture. Romero requested at first a synth score from Young, but Young felt it needed an orchestral approach. Apparently Romero suffered from an ear infection, he didn't attend the recording sessions in Germany and didn't hear Young's score until the dubbing stages. If I remember correctly Young also had to come back in again to score additional material after having gone to do another score.

Also, interesting to note that on the workprint they used Marc Shaiman's Misery for temp track, though I have to say that temp track is all over the place. I'm glad Young got to do his thing!

 
 Posted:   Apr 27, 2014 - 6:59 AM   
 By:   First Breath   (Member)

Enjoyable score.

 
 Posted:   Apr 27, 2014 - 8:18 AM   
 By:   Shaun Rutherford   (Member)

Enjoyable score.

Someone write this down. A score with no synths (right?) gets the seal of approval from First Breath.

 
You must log in or register to post.
  Go to page:    
© 2014 Film Score Monthly. All Rights Reserved.