The Woman in Black


Silva Screen Records (738572137823)
Movie | Release date: 03/27/2012 | Format: CD, Download
 

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# Track   Duration
1.Tea For Three Plus One1:40
2.The Woman In Black1:56
3.Crossing The Causeway2:24
4.Bills Past Due1:21
5.Voices In The Mist2:00
6.Journey North2:56
7.Cellar Eye2:48
8.First Death2:00
9.The Attic Room1:56
10.The Door Opens1:45
11.Fireside2:30
12.You Could Have Saved Him2:57
13.Crazy Writing2:15
14.In The Graveyard2:56
15.Elisabeth's Vision3:39
16.Into The Fire3:57
17.Jennet's Letters2:12
18.Race To The Marsh2:11
19.Rising From The Mud3:12
20.Summoning The Woman In Black4:26
21.Reunion1:41
22.Arthur's Theme2:46
 55:28
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The Woman in Black - 08/10 - Review of Chris R., submitted at
The Woman in Black is a traditional horror movie, opting for less dialogue and more atmosphere than most other movies in its genre, and as thus it deserves a score as fitting. Now Marco Beltrami has been getting a lot my attention this year, what with his exquisite choral work in Soul Surfer, and it seems that he continues this trend well into The Woman in Black.

There are two main themes in The Woman in Black, the first seems to be a light child like melody played on the glockenspiel which grows into a very dissonant crescendo(Tea for three plus one). This theme seems to be like the child's death knell because when ever it is heard well, you get the point. But this theme gets a glorious and terrifying choral rendition in (Into The Fire)that is kind of hard to take when listening full volume.

The second theme is kind of hard to pinpoint initially because its the theme for the woman in black but it is also the theme for Arthur. They are just played differently with the woman getting the slower and darker choral kind of feel to it while Arthur's theme really only makes itself known during the credits but is played more lightly with a harpsichord than the woman's theme. Almost signifying that the theme itself is more for a tortured soul than say individually and much like the woman herself kind of fades in and out of scenes but you always get the sense that it is always there.

The rest of the score is just littered with filler, but there are brief moments of inspirational brilliance. In (the door opens) Marco uses the sound of the rocking chair as a kind of metronome with the drums playing the downbeats and using the male choir to create a kind of demonic whispering, you got to hand it to him, it was brilliant.

To those who don't like stingers in their horror scores well this one doesn't have as many in it. Beltrami seems to prefer to crescendo through dissonance than actual crashing of the notes though there are still some stingers in his workings it is not as bad as Don't Be Afraid of The Dark.

In the end though it really is a matter of preference, because if you don't like it as a sub genre of film music then this score really isn't for you but with all the choral elements he put into this one I have to say I enjoyed it.


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