After a hiatus, I am back with more "advance liner notes" for another completely unreleased Goldsmith score, this time for the 1972 TV movie Crawlspace:
Apart from some moments of suspense and three excellent and varied action cues, the bulk of this score is really very lovely and intimate (think The Other, a film score he wrote that same year). I felt a bit more rushed in writing these notes as compared with those I did for The Man and Face of a Fugitive, so don't expect quite the level of detail I provided for those. Think of the following just as a rough draft for a booklet which will probably never exist because this score is probably lost to the sands of time. As with The Man, I have included index points for all the cues so that fellow Goldsmith nuts who don't have the time to watch the actual movie can skip to all of the music (my descriptions get pretty SPOILER-FILLED near the end, so those who want to experience the film first should do so before reading the following):
0:01 - 1:37 1. Main Title 1:36 Delicate harp and woodwinds open the score before being joined by harpsichord playing the main theme. Slightly uneasy strings join in and the theme is briefly passed to flute before returning on harpsichord just before the film’s dialogue intrudes with a conversation between an older married couple, Albert and Alice Graves.
2:51 - 4:24 Classical Source 1 (“Spring” Concerto from Vivaldi’s Four Seasons, first movement - Allegro) 1:33
4:25 - 5:12 2. I Don’t Know :47 Over a persistent bass line, piano and woodwinds hint at the main theme as “Richard Atley” drives off and the couple discusses his visit, each wondering at the other’s welcoming behavior towards this odd stranger, ending on an uncertain phrase for French horns.
6:01 - 7:02 3. Crawlspace Discovery 1:01 Unnerving muted trumpets and pizzicato strings announce Albert's discovery of some personal belongings in their basement crawlspace, soon after joined by melodic piano and strings as he looks through them.
8:08 - 8:51 4. Night Approach :43 Lovely bucolic woodwinds and strings play as someone mysteriously approaches the residence and enters the basement through the unlocked external door.
10:06 - 11:01 5. Strange Noises :55 Goldsmith scores a suspenseful moment beginning with his trademark low piano rhythms, soon joined by uneasy woodwinds as Albert investigates a strange sound that has woken up his wife.
12:50 - 15:04 6. Locked Out 2:14 Low piano continues, sharper and more urgent for a shot of “Richard” running, before stepping aside for woodwinds intoning the couple’s pretty melody as they converse. As the film cuts back and forth between the couple and the youth, the music does as well (while still maintaining a certain flow). Ultimately the couple’s material joins the more urgent material as they notice their unwanted guest noisily trying to get through the now-locked basement door to the crawlspace. The cue ends after a transition to the couple discussing the incident the following morning, a painful stinger accompanying their discover of the word “GOD” scratched on their basement door.
15:12 - 16:01 Classical Source 2 (“Spring” Concerto, second movement - Largo) :49
16:01 - 16:39 7. Home :38 Piano and strings play the fullest version of the main theme since the opening titles, as Albert and Alice cuddle in bed while hearing Richard reenter their crawlspace.
21:36 - 21:47 8. Peeking Out :11 A brief cue led by harpsichord plays as Richard peers out from the crawlspace.
25:33 - 28:05 Classical Source 3 (“Spring” Concerto, first movement - Allegro) 2:32 (Apparently Richard has only one record in his collection.)
28:41 - 29:01 9. Christmas Dinner :20 Another brief cue, this time led by piano, plays as Richard finally emerges from the crawlspace (in the suit which was provided to him) and silently joins Alice and Albert for dinner.
32:41 - 33:15 10. Nice of You to Drop By :34 Low ominous harpsichord, joined by flute and harp, plays as the local sheriff departs after a brief visit where he reveals his worry about Richard.
33:15 - 36:15 Classical Source 4 (“Summer” Concerto, third movement - Presto) 3:00
36:15 - 36:48 11. Woodland Run :33 The harpsichord returns in resolute fashion over scurrying strings and woodwinds and Richard runs through the woods.
42:23 - 43:41 12. Wait Your Turn 1:18 Ominous tympani begin a cue as an ominous repeating four note motif plays when Richard is deliberately passed over by a rude grocery store clerk. The cue continues with dark harpsichord as Richard explains what happened at the store to the Graveses shortly after.
44:56 - 45:59 13. Empty Handed 1:03 A somber cue plays with the main theme on piano over strings and woodwinds as Richard and Albert leave the store empty handed.
51:40 - 54:51 14. Car Chase 3:11 Angry harpsichord threatens before rhythmic tympani and low end piano launch a largely textural but substantial action cue, as Richard leads the grocery store clerk and a friend of his in an extended car chase. Eventually, searing brass and tense scratching strings join in as the bullies repeatedly ram the back of Richard’s car.
56:39 - 57:19 15. Take Care :40 The Graveses suddenly depart for a couple of days, leaving only a note behind for Richard to inform him. The cue begins on a shot of the note, but as the film cuts to a shot of Richard watching them depart, the main theme plays sadly on strings in full form.
58:31 - 60:09 16. Too Much 1:38 A threatening cue plays as the the couple returns home to discover Richard has damaged Alice’s prized loom. The music continues through Albert’s confrontation with Richard.
61:47 - 63:12 17. Alone 1:25 The music returns with another action cue as Richard slams the front door and runs away into the woods after hearing Alice ask Albert to tell the sheriff and make him leave. This cue is very different from the car chase cue, as plucked strings and flute play a melodic line on top of racing strings, woodwinds, and harpsichord, with occasional light punctuation from tympani.
65:00 - 65:21 18. Never :21 A brief throbbing cue (the most overtly horror-like) plays as the Graves couple contemplates their situation, Richard’s yells of “I ain’t goin’ never!” echoing in their ears.
65:51 - 66:23 19. Night :32 A brief suspense cue dominated by a repeating two-note figure plays over shots of the house at night, transitioning to the sound of a car siren as the hoodlums drive by.
68:54 - 69:38 20. Leave Us Alone :44 Swirling strings and and woodwinds over pounding tympani accompany a deadly confrontation between the hoodlums and Richard.
71:35 - 73:20 (+64:06 - 64:45 from other video, at minimum*) 21. You Can’t Stay / End Credits 2:25 Tympani are joined by harpsichord, piano, and woodwinds playing hints of the main theme, building up to a tense percussive conclusion as the couple finally confronts Richard. Finally the sad main theme is played in full on piano as Richard dies, reaching out towards his safe crawlspace...
TOTAL SCORE TIME: 22:05
*NOTE: The first video (which contains the whole film in higher quality) unfortunately cuts out right as "The End" flashes on the screen. The only other video which I could find with the whole Goldsmith-scored end credits is sadly in much lower quality and has an audio glitch/jump as well, but as it's the only source available I'll append it here:
I certainly hope that tapes for this show up at some point, but if not, I'll just fantasize about James Fitzpatrick recording a collection of otherwise-lost Goldsmith TV scores for small ensemble. This would make a lovely part of such a set.
For those wondering about future additions to this series, I am going to first focus on things that are posted online so that I can include the film itself for people to actually hear the music. After that I will tackle things like Black Patch (1957) which aren't available for free streaming.
You're quite welcome! I'm a bit disheartened that most of the people who liked my previous posts in this series seem to have missed this one (but hey, maybe they're all listening to the complete new Ten Commandments release!) It really is one of the best totally unreleased Goldsmith scores. I'm so glad I took the time to get to know it. I'm making my way through Do Not Fold, Spindle, or Mutilate (1971) right now and not enjoying it nearly as much (film or especially score).
This is such a good unreleased Goldsmith effort that the little-read thread deserves a bump, I think. Mutant, whenever you get access to your editing software again I still harbor hope you'll take a crack at making a suite from this, as you did so wonderfully for the unreleased music from Damnation Alley.