Search - Jerry Goldsmith :: The Haunting: Original Motion Picture Soundtrack

Interesting mostly for a little-known piece of trivia...

Musical Lover | Ohio | 06/15/2006

(4 out of 5 stars)

"This isn't Goldsmith's best score, but it's a necessary addition to your collection for a big reason: it's an indirect sequel to Goldsmith's heart-stopping work on Poltergeist and Poltergeist II.



You see, Goldsmith was the original composer for MGM's ill-fated Poltergeist III. When studio execs were...desperately underwhelmed with the rough first cuts of the film, they demanded re-shoots and a new ending, and slashed the film's budget by about $10 million. These cuts necessitated the removal of Goldsmith as composer (he was replaced by another, cheaper composer who created one of the least dramatic scores in film history using what sounds like a Casio keyboard).



However, Goldsmith saved much of his work from Poltergeist III and is rumored to have included most of it in this, his score for The Haunting. Indeed there are many moments here that seem to be cribbed straight from the Poltergeist films:



* Compare "The Curtains" with "The Calling" from Poltergeist I

* Compare the flute solo in "A Place for Everything" with Carol Anne's Theme in Poltergeist I's "Main Title"; the themes are obviously different, but the orchestrations are largely the same

* Both scores use the celesta for important motifs; "Home Safe" in particular sounds like it could be interchangible with several cues from the Poltergeist series

* Compare the playful woodwind motif in "Curly Hair" with Poltergeist's "The Clown"



There are many more similarities, obviously, but they would take up too much space here. Appraising the score on its own merits, it's more tuneful and sweeping and a bit sadder than Goldsmith's other horror scores. The Haunting is relatively light on the disorientating percussion and bombastic brass that trademark Goldsmith's work, but still retains his dramatic flair. If the Omen was influenced by Orff, and Alien was influenced by Stravinsky, this particular outing feels like Strauss with a bit of Debussey.



The quality is good and we're thankfully spared too many electric instruments, as these tend to instantly date the work. The exposition and development is good, if a little stunted by the limited selection of cues on display here.



All in all, better than the film for which it was made!"