Poltergeist II The Other Side (3 CD Set)
Poltergeist II The Other
Side remains one of
Jerry Goldsmith's best scores of the 80's and the fact that this
could have easily been a re-hash of the Oscar nominated
first score makes this score even more impressive. Goldsmith
found a new identity to his score and the film by way of the
Indian mystic Taylor, introducing his elegant shaman theme for synths over the opening credits (The Power). The lengthy
opening affords the composer a chance to build his theme adding
layer after layer with a final presentation of solo trumpet.
From here Goldsmith introduces the ominous Kane theme, utilising
the character's evil Preacher incarnation and turning the theme
into a distorted hymn, finally adding voices for the tortured
sound of lost souls.
Things remains a major highlight and opens with an ominous
variation on the original Carol Anne theme, before revealing
a gorgeous rendition for synths, strings, harp and woodwinds.
This is further expanded in the sublime Late Call with
its mystical presentation of Carol Anne's lullaby, again for
synths but ably supported by warm strings. The Mall signals
the ominous arrival of Kane into the lives of the Freelings as
Carol Anne's theme is turned into a frantic suspense cue. They're
Back is a major turning point for the score developing from
chilling 'Omenesque' chorus, minus original lyrics, into
a thoroughbred action cue with snare drums and crisp brass.
Butterflies is a short but hypnotic rendition of the Taylor
theme and provides a rest bite before the onslaught of evil kicks
in. The Visitor is a new cue providing more of Kane's
eerie accompaniment, but develops some intriguing latter elements
of chanting and stabbing string figures. Wild Braces opens
misleadingly with Carol Anne's theme before all hell brakes loose
with distorted voices, beeping synths and more orchestral action
and chorus.
Leave Us Alone and The Smoke are low key developments
of both Kane's and Taylor's theme. The latter cue develops the
Kane theme to a crescendo with more chorus as his hideous past
is relived before the ceremonial Taylor theme returns to dominate
and close. The Worm sequence opens as a propulsive suspense
cue, with strings and electronics providing the chanting, before
things settle to a chilling and dissonant variation of the Kane
theme as Stephen is possessed by a vomit monster. As the creature
is rejected and Stephen wins the battle Goldsmith unleashes a
maelstrom of snarling brass and thundering percussion for a wild
finale. Back to Cuesta Verde introduces the final act
with Goldsmith whipping the orchestra into a frenzy with a pulse
pounding action piece for a fight with a chainsaw, before melancholy
sets in as Carol Anne's theme becomes ominously distant.
Reaching Out signals the final battle between good and
evil as the family enters the nether world to destroy evil and
retrieve Carol Anne. Goldsmith's lengthy cue is a tug of war
between three themes as the family try to pull her back, with
Goldsmith's celestial scoring repeatedly thrown between darkness
and light. Taylor's theme is now trumpeted with brass, while
electronics now take on their true role as evil. Momentarily,
with Carol Anne lost, Goldsmith provides a heartbreaking moment
with a tragic new variant on her theme, before she is returned
to the light signalling a triumphant restatement. Taylor's mystical
theme makes one final appearance to close the film and introduces
the credits with Carol Anne's touching lullaby for chorus (Carol
Anne's Theme).
This is the fifth incarnation of Poltergeist II! Now featuring
the complete score from analogue and digital mixes, the remaining short missing cues, alternates,
cues minus choir and the unused finale music with and without choir.
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