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 DON’T BE AFRAID OF THE DARK/Marco Beltrami, Buck Sanders/Lakeshore
A thoroughly exquisite horror score built around a compelling waltz motif. Beltrami and Sanders team up again for this creepy monster movie written by Guillermo del Toro and Matthew Robbins, based on the 1973 TV-movie about strange creatures living in a young girl’s new home who want to claim her as one of their own. “The score began with Guillermo del Toro's request for a lullaby for Sally,” said Beltrami. “He and [director] Troy Nixey also asked that we take inspiration from not only the original film's score by Billy Goldenberg but also the classic 60's and 70's horror scores of Jerry Goldsmith, Krzysztof Komeda and Bernard Herrmann. Those were refreshing challenges compared to today's current horror sound and we decided to do a predominantly orchestral score that would feature woodwinds, 2 harps and vibraphones.” After introducing the lullaby motif in track 1, which will cling like silk to the young girl, Sally, who falls prey to the goblin entities, the composers engage in a delightfully Herrmannesque romp reminiscent of the PSYCHO main title theme with added choir and drums that surges along powerfully and opens the film with an air of adventurous romance. This motif will be varied into engaging suspense and action music as the story and score develop, with palpable Herrmannesque undulations in “Into the Basement.” The two motifs join in the gruesomely-named “Gardener Gets Snipped,” as the reverberated music-box is joined by an apprehensive bass line, wispy flutes and percussively grating synth tones, transforming into a harp-led melody over worrisome violins that soon echo the Title theme, the two motifs working together to suggest that Sally should indeed be afraid of the dark. In “Lamb Lamp Lambency,” the gentle music box lullaby is intruded upon by dark electronic reverberations that shatter its calm and ensure a mood of fright takes its place, while “Sneaky Sally” transforms the tune into a dark, pensive reverberation, and “Silly Sally” gives it a ponderous, grimly playful edge. The melody loses its music-box sensibility in “Treesome” (as it did in its introduction on Track 1) to waft waltzlike across the soundtrack like quiet winged things. “Bed Bugs” is a powerful essence of musical fear, exuding through low synth warbles, squeaky woodwind sounds, distant bells, and a ghostly female voice, to blast explosively with an aggressive dissonance of clawed, reaching hands (musically suggesting the album cover art). “Shrink Rap” (great title) is another unsettling ambiance as rolling waves of string patterns and timpani, leading into the following (and quite reasonable) “Sally Leaves,” wherein the Title theme goads the girl in her departure from this place. Beltrami and Sanders unmask the mysterious entities in “Goblin Trouble” and “Goblins in the Garage” with assertive layers of shimmering synth, low-low wandering brass notes, shuddering figures of strings and disturbingly reflective electronica that takes on its own insistent rhythmic progression, distorting the Title theme into a semblance of groaning belligerence and rage. “Return to Blackwood” recenters the score on its elegant and pastoral opening, revisiting Sally’s Lullaby in a radiant pattern; while the closer, “Voices from the Pit” can’t help but remind us that all may not end well after all. |
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