Christopher Lennertz delivers a powerful score for this new shocker from
Clive Barker (Hellraiser and Candyman etc) about two devilishly
seductive beautiful women being released from an ancient statue to wreak havoc.
Lennertz is served well by the Hungarian orchestral players and chorus. His
score is basically derivative influenced by Danny Elfman and Christopher Young
but mainly by John Williams (especially Close Encounters…) and Jerry Goldsmith
(The Omen). Much of the score is based on Latin liturgical music. The engaging
opening Benedictus/ Main Titles is a serenely meditative women's chorus, but
with an underlying threatening charge. Agnus Dei is another attractive track
and evidence of Lennertz's skill, the influences of Fauré and Verdi are
apparent. The growing threat is apparent and further choral tracks (like 'Kyrie/Naraka')
reveal a corruption of its purity. The hero Tomas, has a noble solemn theme;
piety under threat. Unusually the album concludes with the Main Theme reprised for string
The remainder of the score has all the creepy, slithering, clanging, explosive
figures we have heard so many times before but with sufficient imagination and
terrifying ingenuity to keep the ear interested if not deafened.
Lennertz is certainly an interesting voice – one I will personally look
out for in future.
Paul Tonks adds:
This score has been rather dismissively pigeon-holed alongside Christopher
Young's Hellbound. The genre and the Clive Barker connection notwithstanding,
it's a shame that anything in the world of horror that sees fit to utilise chorus
should be so readily lumped in The Omen vein. If any connections to Young's
magnum opus deserve to be made, it ought to be with a view to comparing the
possibility that both are breakout projects leading to greater things.
This is a TV movie I'm not likely to see (being in the UK), but it's easy
to cobble together the gist of what this is about. Knowing that is 'only' a
TV movie does give cause for celebration that at least somewhere there are producers
acknowledging the importance of a budget that supports an orchestral score.
More than that, this is a rich work full of choral passages. This is credited
to the Budapest Film Orchestra and Chorus, but I don't care what anyone may
say about saving costs by overseas recordings – someone got there money's worth.
Strong themes vie for the listener's attention in between some dark and
dissonant writing. As the composer himself has said, this is basically the intent
in throwing some clashing styles together knowing that they all gel in the end
(in the "Saint Sinner Quartet" reprise).
This is a limited edition, so the best way of tracking it down is from the
record label website.