FEAR STREET PART THREE. 1666.

The Netflix trilogy is already creating a lot of interest and the musical scores for this trio of movies is also generating lots of interest and rightly so. I think out of the three I do prefer part three 1666, this is both for storyline and musically. The score for part three in my mind is more varied and has to it a much more alluring persona. The composers create dark atmospheres as one would expect with such a subject matter but at the same time there is a real beauty to many of the compositions. I am amazed just how much music there is in part three, and it is all exceptional and excellent. Marco Beltrami, Anna Drubich, and Marcus Trumpp have created a score that is filled with edgy and malevolent sounds but have also fashioned an equal amount of themes that are lavishly romantic and hauntingly emotive.

I have already touched upon parts one and two of this trilogy, in soundtrack supplement where I sensed a homage to Goldsmith especially his soundtracks for the Omen movies, Part three seems more of an original sounding work the composers utilizing voices to great effect, these either being dark and guttural or in the majority of cases sounding ethereal, uplifting, hopeful and near celestial. There is also an intimacy present a richness and a poignancy that is conveyed within the music and also in the way it is orchestrated. This could possibly be one of the best scores to arrive in 2021, The music is highly inventive but at the same moment familiar, and I see this as also possibly one of Beltrami’s best works, and yes I do realize this is a collaboration of three talents, each one of them contributing sections and notions, but within it I do hear some of the old Beltrami trademarks as in Goode Ending which could be straight out of Scream or The Faculty.

The jagged brass, use of anvil, the driving strings with percussion and more rasping brass flourishes being unleashed is terrific. A high octane score with heart is the way I would describe this, its also a score you must own, Sarah’s Fate is a cue that I think stands out if that at all is possible in a soundtrack that just oozes class and excellence, the cue is initial dramatic as in action led but soon alters and becomes a heartrending and powerful piece for strings, choir, Soprano, and solo violin, it’s one of those tracks that when you listen to it you get goosebumps and can’t believe the quality of the music and the emotion that is stirring. Many critics have commented that this is the weakest in the trilogy story wise, but I have to say musically it is the best.  Do not bypass this just go and get it Now and be amazed totally.

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