Cult Soundtracks - Part 1 of others
To listen to soundtracks separately from films is already a cult activity for itself. But it's still quite curious to check for alternative works seldom mentioned on film music history. Once cult term refers to minority preferences, one can think of soundtracks rarely remembered by most listeners. Or that would be rarely included in anthologies and retrospectives of soundtracks.
Fact is that there are soundtracks that have become as interesting as the films or even more, for example, The Wicker Man (1971), English suspense that not lost its strength even after the weak remake in 2003, or Blacula (1973), vampire movie adapted to the golden age of Black Power cinema. The film is class B assumed, but its score is still worth as musical curiosity. A score more interesting than the film for which it was created.
Elephant Man (1980) and Last Man Standing (1991) are rare examples of daring non-standard scores in American cinema. In Last Man Standing the unplugged talent by Ry Cooder reference everything that lead to Walter Hill´s production (especially A Fistful of Dollars and Yojimbo) in a vigorous soundtrack, mysterious and evocative.
John Morris, usual partner of the comedies of Mel Brooks, had in Elephant Man one of his finest, appreciated and recognized works. Considering the absence of Mel Brooks scores available, Elephant Man can easily be considered the most important title of the composer.
Best known today because of the compositions to the Lord of the Rings and The Hobbit trilogies, the Canadian Howard Shore has honorable "skeletons in the closet" in his long-standing partnership with the sick and fascinating cinema of director David Cronenberg since the 70s. Naked Lunch (1992), for example, is a rich hybrid of free jazz and chamber orchestra. Saxophonist Ornette Coleman is the famous guest of that score and the work includes Coleman´s compositions arranged and adapted to the sound hybrid designed by Shore. The hybrid, sick, drunk result is an unparalleled example in writing for films.
Naturally, in European cinema the hunt for cult material is much more interesting and rewarding. Kristof Komeda is the example that immediately stands out. This is due to the famous partnership in some Roman Polanski films. The jazzy bizarre touch of Komeda in Knife in the Water (1962) and Cul De Sac (1966) was a considerable enhancer to the twisted climate of the films. Director and musician would still join works on the famous Vampire Killers (1967) and Rosemary's Baby (1968). Polanski would go further in the matter of musical climates with the music for Macbeth (1971). Commissioned to the alternative group Third Ear Band, is a soundtrack unparalleled in film production or rock/alternative. The English group, merged folk, progressive, electronic and experimental in a unique result. In Macbeth, the music sounds like a remarkable morbid parallel to the images.
Another reputable name among the alternatives, Polish composer Jerzy Korzinski had recognition in his partnerships with directors Andrzej Wajda and Andrzej Zulawski. Korzinski started interest in music for the expressive possibilities and intuitive creation in music more than the technical or cultural content. He played in rock bands in the 60s and experimented with psychedelic and later jazz. His work was most noticeable on the delirious and violent films by Andrzej Zulawski. His intense music was very present in Third Part of the Night (1971) first partnership between the composer and Zulawski. The partnership continued with Diabel (1972), On the Silver Globe (1978-1988), Possession (Possession, 1981), Szamanka (1996) and La Fidelite (2000).
Famous at its time was the Spanish production, Quien Puede Matar to a Niño? (Who Can Kill a Child? 1976, remade as Come Out and Play in 2012) had a great suspense score done by Argentine composer Waldo De Los Rios, a tour de force in composition and performance rarely heard in the cinema.
Alternative among alternatives, the animation Planete Sauvage (1973) had curious music by Michel Magne. Adding jazz, psychedelia and sensuality, it is also an unparalleled work for its dreamy atmosphere and suspension.
Curious Italian-American co-production, Stridulum (1979) tried a sum of references in fantasy, science fiction, suspense, mysticism, mental strength and probably even more. It joined narrative styling, undeniable good moments (the bird´s final attack, for example) and a cast of famous names (John Huston, Glenn Ford, Shelley Winters, Franco Nero and even director Sam Peckinpah playing a doctor!) and the result was: indescribable weirdness destined to cult/trash review. Within the crossfire of possibilities, figure Franco Micalizzi's music as one more questionable qualities of the film. Situated between the technopop and abstract the score also worked over multiple references of techno-rock and jazz-rock (guitars in effect, and synthesizer). The main theme has clearly disco music influence and a Also Spoke Zarathustra like construction. The Sadness Theme is a nice retro kitsch ballad. The whole result is so unusual that deserves a try. Is it weird? Is it wrong? Is it dated? Well… it is cult.
