Browse Tag

The Chosen

Review: The Chosen

[Originally published in Movietone News 58-59, August, 1978]

There’s a sharply defined moment at which The Chosen goes bad: just past the halfway point of the film, when the mad logic that has been carefully built up through imagery and coincidence convinces us that one of the film’s characters really is the Antichrist; and then, suddenly, a belated red herring is introduced, and we are asked to spend the next two reels identifying with the impossibly misplaced judgment of our hero who, having as much information as we do, has no excuse for being wrong. You see this kind of thing a lot in giallo and Italian horror. It’s a critical error, and because of it, The Chosen ends up a disappointment. Yet there’s a lot of promise in the film, particularly its first half; and it is superior in almost every way to the film of which, at first glance, it appears to be merely a cheap imitation: The Omen.

Keep Reading

Keeping Score – Scary Music: the Sequel

For last Halloween, I offered a list of 13 movie scores that I believe stand out as landmarks in the in the history of scary movie music. I got some comments from a few readers who were disappointed that some of their own favorite fright film scores and composers weren’t represented. Well, there’s a lot more great stuff out there, and so, with Friday the 13th upon us, here’s a second set of 13.

princeofdarkness
John Carpenter and Alan Howarth: "Prince of Darkness"

13. Prince of Darkness, John Carpenter and Alan Howarth, 1987.

This remarkable film and its score came in for new and long-delayed recognition in 2008 with the release of a two-disc recording of the Carpenter-Howarth score, probably the best of their many collaborations. There’s an insistent underbeat throughout the film, the advance of relentless evil, over which Carpenter and Howarth weave motifs of traditional Gothic sound in non-traditional electronic instrumentation.

12. Orson Welles’s Great Mysteries, John Barry, 1973.

For a little-watched and little-remembered television anthology series, John Barry created one of his best themes, an infectious melody with a distinctively creepy, almost threatening reach.

11. Cannibal Holocaust, Riz Ortolani, 1980.

Ortolani, who remains best known for “More,” the popular theme tune from Mondo Cane (1962), had a stock in trade of putting music to the graphic horrors of Italian shockumentary, and the ensuing cannibal cycle of film-making that assayed previously unimagined depths of gore and cruelty. The notorious Cannibal Holocaust boasts a score that features one pretty melody, several jaunty passages set to a Latin beat, and several savage musical embodiments of horror and revulsion.

Keep Reading