SOUNDTRACK SUPPLEMENT NINETEEN.

With the passing of Il Maestro Ennio Morricone earlier this year, I began to look back over his career, and also re-discover many of his scores mainly from the 1960’s and 1970’s. Inevitably one then drifts onto other composers who were a large part of our lives as collectors and are now sadly no longer with us. Jerry Goldsmith, Henry Mancini, Maurice Jarre, Elmer Bernstein, John Barry, and Francis Lai amongst them, I grew up with the music of these composers, and it became an important piece of my life and still is. So I thought I would dedicate some of this soundtrack supplement to the memory of these great film music icons and look at just a few of their scores, maybe you have them maybe you missed them, if it’s the latter where have you been? 

If like me, you began to become involved with the collecting of film music in the early 1960’s then you will probably be familiar with most of the titles in this article/review. Jerry Goldsmith, was always my go to composer alongside Morricone and it is probably true to say that if there was a new Goldsmith soundtrack released and I saw it in the rack in the shop next to something by say, Goodwin or even Barry I would inevitably or should I say predictably go for the Goldsmith. There was just something about Goldsmith that you knew as a collector would make any of his score’s worth having.

My first soundtrack by Goldsmith was PLANET OF THE APES, which I got on a gatefold LP on the project 3 label, this was followed by THE BLUE MAX, which is a movie that brings back quite a few memories for me, it was the first time I was introduced to the stunning beauty of Ursula Andress and also it was the first time that I heard Jerry Goldsmith’s sweeping and dramatic soundtrack, it was also one of the first import long playing records that I purchased, which was around four years after I first went to see the movie. I think I was about eleven years old when I first saw the picture and then at fifteen managed to get the music on a mainstream recording that boasted that eye catching and colourful art work and all for the Princely sum of £3.15p including postage (thank you Michael Jones).

The score remains one of my favourite Goldsmith works to this day and this latest edition of the score on a two CD set is breath-taking. LA LA LAND records should be given a great big pat on the back for bringing us the complete score from this now classic WW1 movie. Goldsmith’s vibrant, melodic, and wistful sounding music is timeless and is still as moving and stirring as it was when he first composed it over forty years ago. The compact disc set is split into THE INTENDED FINAL SCORE which is represented on disc number one by twenty five cues, these are in the correct running order of how they appeared in the movie, and the sound quality is wonderful.

The River Wild (1994) Directed by Curtis Hanson Shown in the recording studio: composer-conductor Jerry Goldsmith

The second disc contains twenty eight cues; these are in sections of one to fifteen THE 1966 SOUNDTRACK ALBUM, Tracks sixteen through to twenty-two ADDITIONAL SOURCE MUSIC and tracks twenty three to twenty eight are categorized as ADDITIONAL MUSIC, so this is most certainly the most complete edition of the score ever produced. Scores such as THE BLUE MAX led me to seek out more by Goldsmith and soundtracks such as THE HOUR OF THE GUN followed, this is a score I still play regularly even now. STAGECOACH, THE TROUBLE WITH ANGELS, ONE HUNDRED RIFLES, RIO CONCHOS. IN HARMS WAY and PATTON followed, even though some were not at the time released.

There were also the likes of OUR MAN FLINT, LILLIES OF THE FIELD, WILD ROVERS, etc, as they often say the list is endless, but in this case it is. It was always the more epic or dramatic Goldsmith material that I was drawn too, and with the advent of the compact disc came the re-issues and also during the1980’s and 1990’s the composer seemed to be even busier than he had been in previous decades and his music (apart from MR BASEBALL ) I always found entertaining. But to be fair even MR BASEBALL has grown on me a little. So where to go next with Goldsmith?

Maybe not the 1960’s but a little more up to date THE THIRTEENTH WARRIOR for example or his breath-taking and foreboding score for THE OMEN lll-THE FINAL CONFLICT, maybe HOOSIERS (BEST SHOT), or how about AIR FORCE ONE, EXECUTIVE DECISION, NOT WITHOUT MY DAUGHTER, BASIC INSTINCT, SLEEPING WITH THE ENEMY, like I said the list is endless.

 So, lets go forTHE FINAL CONFLICT, which was the third and final instalment of THE OMEN trilogy, in this we see Damien grown to adulthood and played convincingly by Sam Neil. THE OMEN will always be my favourite score from the trilogy, simply because when it was released it was so fresh, vibrant and original, but THE FINAL CONFLICT is I think very close to that soundtrack, Goldsmith creating a more grand sound for the final instalment of the series and also giving the music a more religious and epic sound. Again it is the AVE SANTANI chorus on which Goldsmith lays his musical foundations, with the composer replacing choir in the opening bars of the films main title with imposing brass flourishes, then introducing choir that is supported by brass, strings and percussion, and moves to a gloriously tumultuous crescendo before segueing into a reverent and almost celestial interlude which takes the cue to its near calming conclusion.

This is a score that is filled with grandiose set pieces as in track number 7, THE SECOND COMING, Goldsmith creates a beautiful piece build around a variation of the AVE SANTANI but in this case it is a heavenly and triumphant sound that we hear, although it is at times interspersed with icy whispers and threatening voices, these give way to the splendour of Goldsmiths vibrant and awe inspiring music that announces the second coming of Christ, the cue ends with the AVE SANTANI motif performed on French horns, giving the cue a fearsome and commanding finish.

THE FINAL CONFLICT is filled to overflowing with rich thematic material, imposing, and affecting fanfares and flourishes plus there are still present the evil sounding verses that we recognise and relish from both THE OMEN and DAMIEN OMEN ll. This I think is probably Goldsmith largest score from the trilogy, the composer developing fully all of the elements that he may have touched upon in previous scores and adding to them, it is also a more reverent work and one that also contains a greater urgency. The highlight cues for me personally are THE MAIN TITLE, THE SECOND COMING, THE HUNT and the excellent end sequence music, which underlines Damien’ s eventual demise and heralds the appearance of The Nazarene in all his glory. It is an inspiring soundtrack an accomplished one and now an iconic work that will be recorded in film music history, for its innovative, dark and inventive persona.

From a horror scored by Goldsmith, to a tense and relentless thriller in the form of AIR FORCE ONE. From the first cue on the recording PARACHUTES there is no doubt that this is the work of the Master Jerry Goldsmith, the proud anthem like horns accompanied by timpani and string is one of his trademarks, patriotic and filled with passion the theme opens the score, but soon segues into something that is more dramatic and tense with a martial sounding aura to it, there is also hints of the theme for Gary Oldman’s character as we see the action unfolding on screen, with the music taking on a more Russian flavour. AIR FORCE ONE is one of the composers most intense scores in my opinion, it like the movie is relentless and unstoppable, Goldsmith employing his percussive elements that work alongside dark sounding piano and are laced with strings and interspersed by jagged brass stabs, in cues such as EMPTY ROOMS, THE HIJACKING, and ESCAPE FROM AIR FORCE ONE that add so much to the atmosphere of the movie, giving it a heightened sense of the frenzied or at some points emphasising the hopelessness of the situation. Then there are the triumphant flourishes as the President (Harrison Ford) fights back, as in FREE FLIGHT. It’s one Goldsmith score you should own, and if you have not managed to add to your collection as yet, well it is available on digital platforms, but I would recommend the compact disc release on LA LA LAND Records, because the digital versions are the original VARESE SARABANDE release which is considerably shorter in duration.

Finally two more Goldsmith’s I would say take a listen to are the composers unused score for TIMELINE, which was eventually scored by Brian Tyler and Goldsmith’s epic soundtrack for THE WIND AND THE LION for which he  penned a magnificent and grand sounding work. It is in my opinion one of the composers best works for cinema. Its brass flourishes and pounding percussive elements add authenticity and stature to the movie, with Goldsmith’s edgy by also sweeping strings evoking the sound and style of bygone days from film music history.

It also manifested strong thematic properties and styles that were to influence the composers later work on movies such as MULAN, THE 13TH WARRIOR and FIRST KNIGHT. Its majestic but at the same time menacing horns and driving strings which were already a trademark of Goldsmith become even more prominent and effecting within this movie, the score becoming not just a background or an accompaniment to the action, but an integral and essential part of the film itself. The love theme from the score I REMEMBER is too text-book Goldsmith, with eloquent and effecting strings that tug at the emotions, with their sumptuous and lush sound overwhelming the listener whilst also enhancing and supporting the scene being acted out on screen.

THE WIND AND THE LION is an inspiring adventure an tale, and the composer stepped up to the mark when writing the score, it is a thrilling work, and one that I know is so popular amongst connoisseurs of expressive, exciting and lavish film music.

 From one great film music Maestro to another, John Barry, what can you say about Barry that has not already been said, exactly, he was the ultimate film music composer, talented, innovative and highly sought after, so what scores if any might you have missed?  THE WHISPERERS,  was the fourth film that Barry had scored for the filmmaker Bryan Forbes, and at the time of the film being released Forbes was of the opinion that it was the best score the composer had written for one of his projects. Released in 1967,this British drama was based upon the 1961 novel by Robert Nicolson, it starred the excellent Edith Evans and was filmed in the rather run down town of Oldham in the north of England an area that was once a thriving industrial Centre for the textile industry.

The score by Barry is an affecting one and employs lilting themes and also jazz infused pieces, but it is the emotive and poignant cues such as THE LETTER that tug at the heartstrings, with Barry utilizing solo violin and subtle woods that are enhanced by vibes to purvey a sense of loneliness and fragility. Considering this was a score that came early in his film music composing career it is surprisingly mature and sophisticated. Barry, tailoring his touching and melancholy music to suit the unfolding scenario on screen.

There are also dramatic interludes, which have that unmistakable Barry musical fingerprint as in THE RAZOR ATTACK and THE THREE ATTACKERS, plus there is the central or opening theme which Barry realizes via the use of subdued harpsichord that is eventually supported by woods. This is a soundtrack that is masterfully written and also one that is precisely placed to support without being intrusive. The soundtrack was issued on LP record in 1967, on United Artists records in both the UK and the U.S.A. it was later re-issued on the MCA Label with LP and also Cassette being available, finally it was released onto CD by Ryko-disc in 1998.

THE SCARLET LETTER had been scored by both Elmer Bernstein and Ennio Morricone, with their music not being used, enter then John Barry.Who provided the movie with a soundtrack that was fragile and delicate somewhat like the subject matter of the movie. Like so many of Barry’s scores from this period, the mid-nineties, it contains wonderfully lyrical and beautiful sounding themes, which manifest themselves more prominently in the form of the cues HESTER RIDES TO TOWN and THE LOVE SCENE THE. it’s a score that I love to listen to and just sit eyes closed headphones on and allow the music to wash over me, allowing some escapism which I think we all need these days. For Barry at his melodic and romantic best, with themes that make your heart ache, this is one I have to recommend, classic John Barry. MY LIFE is another score by Barry that I recommend, again filled with eloquent and sensitive thematic material, that tugs at the heart strings both within the context of the movie and away from it.

Barry creates another superbly melodious and haunting score, that contains that unmistakable John Barry sound, in the form of a lilting and affecting MAIN THEME and also again is present in the cues,  THE LOVE THEME and A CHILDHOOD WISH, in fact it is throughout the entire score,  its one of those films that I defy anyone to say that they sat through and never shed a tear, I know I did and it was most of the time the music that created these emotions, the music is delicate, playful and just so poignant. Let’s, move on before it sets me off again shall we. 

This time to Maurice Jarre, I have fond memories of Maurice Jarre, because we became friends after a few years and it was Jarre that was responsible for me catching the film music bug as it were when I heard his soundtrack for LAWRENCE OF ARABIA, which was in 1962 at the Regent cinema in Brighton, I was 7 years of age and all I remember really was the itchy seats and the music I was hearing from the screen, I think it was the overture that got to me because in those days the overture would play before the movie had started the curtains remaining closed.

The thundering percussion and the romantic and mysteriously alluring strings that were emanating from behind the curtains did it for me and its an obsession that I have never given up on now for the past 58 years in fact I think my enthusiasm and my passion for film music has become more intense, so thank you Monsieur Jarre, Merci, Maestro. But LAWRENCE OF ARABIA is a score everyone has heard I guess, so what other Jarre scores would I say were must haves.  TAI PAN is one but mainly for its stupendous theme, which for me is four minutes of sheer delight, sweeping and sumptuous thematic and driving, it is a wonderful opening and sets the scene for a story of epic proportions. Then there are the western scores as penned by Jarre, now Morricone and many other Italian composers were credited for re-creating the sound of the western, but look at the western scores as penned by Jarre and we have here another innovative selection, RED SUN, THE PROFFESSIONALS, EL CONDOR, VILLA RIDES, all classics, with that special Jarre sound.

Like in many scores by Maurice Jarre, the Main Title for the movie EL CONDOR begins with an array of percussive instruments, in this case it is tambourines being vigorously shaken and beaten supported and punctuated by piano and castanets, these are joined by various other members of the percussion section, strumming guitars and underlying strings that build to a crescendo that ushers in the catchy central theme from the score performed on harmonica mirrored by cimbalom. The theme moves along at a brisk pace developing and picking up additional instrumentation along the way until it segues into an arrangement of the theme performed on Mexican sounding trumpet supported by strings and up tempo strumming on guitars, this returns swiftly to a full working of the theme which is taken on by the string section, and brings the opening cue to its conclusion. Stirring material which sets the scene perfectly for the remainder of the score. Track 2, BALLAD FOR TWO GUITARS, is just that, a lazy but melodious sounding composition performed on two Spanish guitars, that pick out a plaintive and pleasing ballad, the guitars are later in the cue augmented by the delicate placing of a solo flute, which although short lived has the desired effect of adding a touch of melancholy to the proceedings. Track 3, BEFORE THE ATTACK, is another arrangement of the scores central theme, this time the composer utilizing harmonica, minimal brass and woods to begin with then adding cimbalom and plucked strings combined with an almost fuzzy guitar sound with harpsichord flourishes and stabs, these components combine to build an atmosphere that is tense but one that also has an air of mischief about it. This eventually leads into a more martial sounding version of the theme that in turn develops further into a short sharp up tempo working of the central theme, performed on strings, brass and supported by percussive elements.

Track 4, HIGH TENSION AND BROKEN WALTZ, is a veritable smorgasbord of instrumentation and styles, Mexican flavours are fused with a comic air at the offset of the cue, but the mood changes quite quickly as the composer employs a slower tempi to the proceedings and treats us to another version of the haunting main theme, harmonica, trumpet, piano, strings and percussion all take part creating an entertaining and inventive composition.
Track 5, is one of my personal favourites on the compact disc, it is a bouncy version of the theme, performed by trumpet which is played in unison with cimbalom enhanced and embellished by tambourines being shaken, the rack develops in volume and also the tempo is increased as the strings are added to the mix punctuated by the use of castanets as a jaunty Mariachi trumpet solo takes the lead. EL CONDOR is a gem of a score, and it was far too long getting released, but it was worth waiting for in my opinion. Available on CD if you can still get it that is, it was released as part of the listen to the cinema series on the Universal France label. A fantastic series that includes also Jarre’s RED SUN score.

Let us also not forget the brilliant score for the western THE PROFFESSIONALS, which starred Robert Ryan, Burt Lancaster, Lee Marvin, Claudia Cardinale and Jack Palance. Directed by Richard Brooks this was a rip-roaring western. That had a score that matched the action frame by frame. Released in 1966, it was essentially an American or Hollywood western, but it did contain certain scenes and scenarios that were influenced by the then up and coming Italian made western.  Two years later Jarre scored VILLA RIDES, which was released on the same CD as EL CONDOR a perfect duo of Jarre’s western music, each score complimenting the other. The movie starred Yul Brynner with hair, and Hollywood legend Robert Mitchum. Again, Jarre provided a more than adequate score, and even incorporated the rather cheeky sounding, La Cucaracha into the fabric of his original score, thus giving the work shades of authenticity.

The composers triumph sounding central theme which opens the score, (track 11) Comes complete with whistling, strummed guitars, slow building percussion and builds to an inspiring crescendo which is patriotic and stimulating is the foundation for the entire work, it is heard in various arrangements throughout but it remains fresh and invigorating the whole time. The composer also treats to a handful of what I call secondary themes but they are in no way second class, as in Track number 12, MUCH MORE MONEY, this is a lively and highly entertaining cue, which contains a delightful mariachi style that is contagious listening. Track 13, WALTZ IN THE CLOUDS is just a wonderful listening experience with Jarre employing strings to accentuate and carry a rousing theme to accompany Pancho Villa on his revolutionary path.

THE LOVE THEME, track 16, is a variant of the central theme, but Jarre gives it a light airy waltz treatment, which is followed by a delicate and emotive Mexican serenade performed by guitar and male vocal embellished and underlined by strings. The grand piece of the score must be track 20, THE BATTLE, Jarre squeezes everything possible into this track, arranges and links all the major themes within the score together in a masterful and high energy piece which thrills and inspires. Again, Jarre delivers a work of much quality and also a score that is exciting, stirring and entertaining, overflowing with sweeping almost epic themes and energetic passages to accompany a turbulent but thrilling period in history.

Henry Mancini for me was a great source of listening to film music because he not only wrote movie scores but was responsible for releasing so many compilations that included film music by him and other composers. But I always looked forward to anything new from Mancini, he was the master of melodies and fashioned so many hit songs with the assistance of the likes of Johnny Mercer, but there is a side to Mancini that many rarely hear, the dramatic and darker side of Mancini is worth seeking out, because it is wonderfully driving as well as being melodious at the same time. Take his score for CHARADE for example, when we think of this score or soundtrack we invariably think of the nice little song, but investigate the actual score and the powerful main title in the movie, this is Mancini at his best, also remember PETER GUNN, EXPERIMENT IN TERROR, MASTER OF THE ISLANDS,THE MOLLY MAGUIRES and more up to date LIFEFORCE.

All contained powerful scores and commanding themes, which proves that Mancini was not all DAYS OF WINE AND ROSES while you sat under THE SWEETHEART TREE having BREAKFAST AT TIFFANYS on the banks of MOON RIVER.  His score for the movie SUNFLOWER, is awash with romantic musical poems, and is an emotive and affecting work.

Elmer Bernstein is a composer who figured large in the early days of my collecting, his iconic score for THE MAGNIFICENT SEVEN being one that was always on the turntable of the record player in my bedroom as a youngster. But it was not just this western score that attracted me to Bernstein’s unmistakable musical fingerprint and his distinctive sound.  THE TEN COMMANDMENTS, THE SCALPHUNTERS, WALK ON THE WILD SIDE, THE CARETAKERS, and THE CARPETBAGGERS are just a handful of titlesthat all contained that resounding style and vibrant musical aura that the composer was able to create, and from the first bars of each composition one instinctively knew that this was an Elmer.

I remember getting his rousing score for THE BUCCANEER and being blown away by the sheer melodic and sweeping content of the work, and being touched emotionally by the overwhelming quality and fragility of his score or TO KILL A MOCKINGBIRD and his affecting music for THE BIRDMAN OF ALCARAZ still to this day mesmerises and haunts me.

His jazz scores too were a source of great entertainment with the composer utilising at times complex jazz vibes and dance or big band sounds, but at the same time integrating and cleverly combining these with sweeping or intimate sounding symphonic elements. ANNA LUCASTA, STACCATO, and THE MAN WITH THE GOLDEN arm being just three examples that come to mind. Bernstein was a composer who I think bridged the Golden age and the Silver age of cinema and film music, because he worked within both era’s and beyond. His later scores from the 1980’s etc often being parodies of some of his more familiar and classic soundtracks, such as AIRPLANE, STRIPES, SPIES LIKE US and GHOSTBUSTERS.

It was however, with scores for THE GREAT ESCAPE, THE MAGNIFICENT SEVEN, THE COMMANCHEROS, THE SONS OF KATIE ELDER etc, that Bernstein became a driving force within the film music arena, and he was still in demand in his later career when he scored movies such as TRUE GRIT, THE BLACK CAULDRON, THE AGE OF INNOCENCE, FAR FROM HEAVEN, TRADING PLACES, THE THREE AMIGOS and THE GRIFTERS.  A score that I do like a lot is KINGS OF THE SUN, I alsoenjoy the film each time I re-watch it, its an unusual storyline, which I think makes it even more attractive and entertaining, and Bernstein’s music enhances, supports and underlines every single piece of action that unfolds up n the screen eloquently and perfectly. The score also contains an air of romance and grandeur. Its one I never tire of. 

From Elmer Bernstein to the composer Francis Lai, this French music-smith, was responsible for creating some of the most thematic and romantic sounding scores during the late 1960’s and into the 1970’s and 1980’s. His music for MAYERLING being one of my personal favourites, Lai’s music was always melodic with the composer creating sublime tone poems that fully immersed the listener and at the same time mesmerised the watching audience, often taking storylines to another level. His at times delicate approach was moving and ingratiating, but he was also able to provide movies with highly dramatic and action led music. Lai, was a composer who became known via his most popular themes as in LOVE STORY, A MAN AND A WOMAN and LIVE FOR LIFE all of which became themes or songs that had a life of their own in the popular music market. Some being recorded by well-known international artists.

Lai often utilised electronic support within his scores such as BILITIS which is a jaw droppingly beautiful soundtrack.  He also worked on movies such as HANNIBAL BROOK’S, I’ll NEVER FORGET WHATS HIS NAME, INTERNATIONAL VELVET, and THE BOBO, which I think are scores that are at times overlooked.

 THE HANNIBAL BROOKS MARCH is a brilliant piece filled with melody and a driving but at the same time easy listening musical persona. There is so much more though to the music of this much missed composer. Just take a few minutes to find HANNIBAL BROOKS on Spotify or any of the other digital music platforms and listen to the artistry the sheer gift of melody and the inventive expressive style of this composer, which is not just supportive of the film and its  storyline, but also becomes an entertaining and compelling listen away from the movie. Lai like the other composers I have mentioned was a rare talent, and all of them will be sorely missed.

So onto something more contemporary, or new releases, and there are again a handful that are certainly worthy of a mention, and also are well worth checking out and maybe adding to your collection. These include ANTEBELLUM, which is an American made psychological horror thriller, written, and directed by Gerard Bush and Christopher Renz in their feature directorial debuts. The musical score is by Nate Wonder and Roman GianArthur. I am bringing this score to your attention because in my opinion it is one that you should add to the collection, wonderfully atmospheric, with enticing and effective use of choir and percussion, that is supported at times by grand sounding brass laced with epic and tense sounding strings, and this is just the cue entitled THE PAST IS NEVER DEAD, its grandiose, developed and richly thematic. The remainder of the score I found to be interesting, as in I never felt the need to skip forward or come across anything that I thought, was not just quality film music. THE OPENING is a cue that makes you want to delve further into the work, it entices and beguiles with a fascinating and compelling air, the composers layering strings and adding textures via solo violin as they build a tense but at the same time forthright and attractive piece. It is symphonic and draws from the classical, did I say it was good? Well I lied; it is great. The cues HORSE PURSUIT and BATTLE CHOIR in my opinion being brilliantly fashioned fearsome action pieces, and by contrast the final cue on the recording DAY BROKEN is gorgeously affecting, with inventive use of strings, that hint at a theme but we never quite get there, it just hovers but never fully comes to fruition. The score is a triumph and if you do not just buy this well, I don’t know what is wrong with you. Highly and I mean Highly recommended.

Other scores that you should investigate include Frederik Wiedmann’s touching and emotive soundtrack for WISH UPON A UNICORN which is attender and emotive soundtrack, it is a pleasant and delicately melancholy work that for me evoked the style of James Horner in places.

Anne Nikitin’s tense and highly atmospheric score for THE PALE HORSE too is one to check out, it is a disturbing listen, very edgy and filled with apprehension, the composer making effective use of voices combined with sinewy strings and dark musical colours throughout. It seems that Anne Nikitin is becoming a regular in the soundtrack supplements, but her inventive and innovative style can only be admired.

Now to multiple award-winning Cristobal “Cristo” Tapia de Veer, who is a Chilean born, classically trained musician, producer, arranger, multi-instrumentalist and composer for film & TV based in Montreal, Canada. One of his most recent projects includes the new TV series that stars Jude Law entitled THIRD DAY-SUMMER. I watched the first episode which has music also credited to composer Dickon Hinchcliffe, and I was attracted to the score because of its originality, with diverse and unusual instrumentation making it difficult not to try and listen rather than watch the harrowing scenes that were being acted out on screen, maybe this is the wrong way to do this, but I found the drama more compelling because the score was so unusual. I am pleased that the soundtrack has been issued only on digital platforms for the moment, because it is a work that deserves to be listened too. The composer experiments with female voice, birdsong and guitar at times, but there are also more apprehensive and foreboding and disturbing passages, with synthetic and conventional instrumentation coming into the equation. It is however the use of the female voice in a lullaby sounding piece that re-occurs which is the most unnerving and memorable, think ROSEMARYS BABY and it’s that kind of atmosphere that evoked, but in this case many times more disturbing.. It is a chilling work, filled with sinister and malevolent elements, but I also found it wonderfully original. Recommended. Also check out the composers score for the 2018 Netflix production, BLACK MIRROR-BLACK MUSEUM.