Nathan Wilson portrays Luis Olsen, in the movie LOON LAKE, Olsen had originally lived in LOON LAKE, but moved to the city, he decides to move to a farm that is owned by a friend. He has recently lost his wife and decides that he needs a change of environment to put his mind straight after her passing. He was conscious of the legend of LOON LAKE when he left and about Mary Jane Terwillinger, who in the 1880’s was killed because it was said that she was a witch. The legend also states that anyone stepping on the place where she is buried will disturb her spirit and suffer after three days a horrible and unnatural death.


Olsen arrives at the farm and it is not long before he discovers more stories of Trewilliger and it dawns upon him that he might have become effected by something that this witch might has done. A series of events begin to occur that make Olsen begin to wonder if the death of his wife has affected him more than he thought and maybe he is having a mental breakdown of some sort. He begins to hear things such as footsteps in the basement of the house, but when he goes into the basement to investigate, there is no one there and then he hears the footsteps on the floorboards above him. He tries to be rational and maybe thinks that because he has recently heard of the sorceress that his mind is playing tricks on him. The movie works well in transporting the audience back and forth between the present and the 19th Century, And when we are in the 19th century, it is unclear if Trewilliger is actualy a witch or has just been labelled one by the local priest, portrayed by David Selby, who is also cast as Olsen’s neighbour in the present.




It could be that the priest was spurned by Trewillinger for his advances towards her and is persecuting the woman and this is all down to a spiteful revenge. It never really gives away many clues as to what the outcome will be, and I certainly am not going to tell you, watch the movie and make up your own minds. Directed by Ansel Faraj, this is an interesting, entertaining, and absorbing tale. The musical score, is superbly done by composer Bill Wandel, it is a fusion of both symphonic and synthetic, the composer balancing the mix wonderfully, with at times it being difficult to distinguish between conventional and electronic. It is a well written work, and works for the movie in so many ways, it is one of those scores that is also easy to enjoy and savour without watching the movie, I felt at times there were little references to the style of maybe Pino Donaggio, especially in the way the string section is employed, although essentially a horror movie, it is not all atonal or bangs and crashes that we hear on the soundtrack, there are numerous pieces and interludes that are filled with a melodic air or are based upon thematic material that has to it a romantic and beguiling atmosphere. I think at times the composer employs a less than challenging or foreboding style that one would expect within a horror picture, which is in many ways more effecting, because it eases the audience into a mind set of everything being calm, but then as we see it is not.

I think that they call this scoring away from the scenes content, ie; if its violent then underline it with something that is soothing or even calming, which in turn will elevate the scene to greater heights dramatically and visually giving it more of an impact. Either way this I think is a very good score, I just loved it and returned to it a few times, to soak in all of the atmospheres that were oozing from it. It’s a score I would recommend without reservation, one to add to the collection.


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