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ANTHONYSLIDE

1.JamesWhale,byJamesCurtis.19822.CinemaStylists,byJohnBelton.19833.HarryLangdon,byWilliamSchelly.19824.WilliamA.Wellman,byFrankThompson.19835.StanleyDonen,byJosephCasper.19836.BrianDePalma,byMichaelBliss.19837.J.StuartBlackton,byMarianBlacktonTrimble.19858.MartinScorseseandMichaelCimino,byMichaelBliss.19859.FranklinJ.Schaffner,byErwinKim.198510.D.W.GriffithatBiograph,byCooperC.Grahametal.198511.SomeDayWe’llLaugh:AnAutobiography,byEstherRalston.198512.TheMemoirsofAliceGuyBlaché,trans.byRobertaandSimoneBlaché.199613.LeniRiefenstahlandOlympia,byCooperC.Graham.198614.RobertFlorey,byBrianTaves.198715.HenryKing’sAmerica,byWalterCoppedge.198616.AldousHuxleyandFilm,byVirginiaM.Clark.198717.FiveAmericanCinematographers,byScottEyman.198718.CinematographersontheArtandCraftofCinematography,byAnnaKateSterling.198719.StarsoftheSilents,byEdwardWagenknecht.198720.TwentiethCentury-Fox,byAubreySolomon.198821.Highlights and Shadows: The Memoirs of a Hollywood Cameraman, by Charles G.

Clarke.198922.IWentThat-a-Way:TheMemoirsofaWesternFilmDirector,byHarryL.Fraser;edited

byWheelerWinstonDixonandAudreyBrownFraser.199023.OrderintheUniverse:TheFilmsofJohnCarpenter,byRobertC.Cumbow.199024.TheFilmsofFreddieFrancis,byWheelerWinstonDixon.199125.HollywoodBeThyName,byWilliamBakewell.199126.TheCharmofEvil:TheLifeandFilmsofTerenceFisher,byWheelerWinstonDixon.

199127.LionheartinHollywood:TheAutobiographyofHenryWilcoxon,withKatherineOrrison.

199128.WilliamDesmondTaylor:ADossier,byBruceLong.199129.TheFilmsofLeniRiefenstahl,2nded.,byDavidB.Hinton.1991

30.HollywoodHolyland:TheFilmingandScoringof“TheGreatestStoryEverTold,”byKenDarby.1992

31. The Films of Reginald LeBorg: Interviews, Essays, and Filmography, by WheelerWinstonDixon.1992

32.MemoirsofaProfessionalCad,byGeorgeSanders,withTonyThomas.199233.TheHolocaustinFrenchFilm,byAndréPierreColombat.199334.RobertGoldsteinand“TheSpiritof‘76,”editedandcompiledbyAnthonySlide.199335.ThoseWere theDays,MyFriend:My Life inHollywoodwithDavidO. Selznick and

Others,byPaulMacnamara.199336.TheCreativeProducer,byDavidLewis;editedbyJamesCurtis.199337.ReinventingReality:TheArtandLifeofRoubenMamoulian,byMarkSpergel.199338.MalcolmSt.Clair:HisFilms,1915-1948,byRuthAnneDwyer.199539. Beyond Hollywood’s Grasp: American Filmmakers Abroad, 1914-1945, by Harry

Waldman.199440.ASteadyDigressiontoaFixedPoint,byRoseHobart.199441.RadicalJuxtaposition:TheFilmsofYvonneRainer,byShelleyGreen.199442.CompanyofHeroes:MyLife asanActor in the JohnFordStockCompany, byHarry

Carey,Jr.199443.StrangersinHollywood:AHistoryofScandinavianActorsinAmericanFilmsfrom1910

toWorldWarII,byHansJ.Wollstein.199444.CharlieChaplin:IntimateClose-Ups,byGeorgiaHale,editedwithan introductionand

notesbyHeatherKiernan.199545.TheWordMadeFlesh:CatholicismandConflict in theFilms ofMartin Scorsese, by

MichaelBliss.199546.W.S.VanDyke’sJournal:WhiteShadowsintheSouthSeas(1927-1928)andotherVan

DykeonVanDyke,editedandannotatedbyRudyBehlmer.199647.MusicfromtheHouseofHammer:MusicintheHammerHorrorFilms,1950-1980,by

RandallD.Larson.199648.Directing:LearnfromtheMasters,byTayGarnett.199649.FeaturedPlayer:AnOralAutobiographyofMaeClarke,editedwithanintroductionby

JamesCurtis.199650.AGreatLady:ALifeoftheScreenwriterSonyaLevien,byLarryCeplair.1996

MusicfromtheHouseofHammer

MusicintheHammerHorrorFilms

1950–1980

RandallD.Larson

Filmmakers,No.47

SCARECROWPRESS,INC.

PublishedintheUnitedStatesofAmericabyScarecrowPress,Inc.4720BostonWayLanham,Maryland20706

4PleydellGardens,FolkestoneKentCT202DN,England

Copyright©1996byRandallD.Larson

Allrightsreserved.Nopartofthispublicationmaybereproduced,storedinaretrievalsystem,ortransmittedinanyformorbyanymeans,electronic,mechanical,photocopying,recording,orotherwise,withoutthepriorpermissionofthepublisher.

BritishCataloguing-in-PublicationInformationAvailable

LibraryofCongressCataloging-in-PublicationData

Larson,RandallD.,1954–MusicfromthehouseofHammer:musicintheHammerhorrorfilms,1950–1980/byRandallD.Larson.p. cm.—(Filmmakers,no47)FilmographyDiscographyIncludesbibliographicalreferencesandindex.1.Motionpicturemusic—GreatBritain—Historyandcriticism.2.HammerFilmProductions.3.Horrorfilms—GreatBritain—Historyandcriticism.I.Title.II.SeriesML2075.L34 1996 781.5’42’0941—dc20 94-43502 CIP

ISBN13:978-0-8108-2975-6

The paper used in this publicationmeets theminimum requirements ofAmericanNational Standard for InformationSciences—PermanenceofPaperforPrintedLibraryMaterials,ANSIZ39.48–1984.ManufacturedintheUnitedStatesofAmerica.

DEDICATION

ThisbookisdedicatedtothememoryofDavidA.Kraft,tirelessandenthusiasticresearcherof filmmusic, whose friendship and kindness, as well as his dedication to motion picturecomposersandtheirmusic,willbeabundantlymissed.

CONTENTS

ACKNOWLEDGMENTS

INTRODUCTIONByJamesBernard

OVERTURE

1EMERGENCEOFAMUSICALGENREHammer’sEarlyComposersMalcolmArnoldIvorSlaney

2MUSICALDIRECTORS,MUSICALDIRECTIONJohnHollingsworthMarcusDoddsPhilipMartell

3REUSEDMUSIC

4JAMESBERNARDBeginningsinScienceFictionDracula:MusicfortheDarkLordFrankensteinCreatedMusicOfHoundsandMysteriousChildrenTheGorgonVampires,Zombies,andDevils

5DIVERSEHANDSDonBanksHumphreySearleLeonardSalzedoFranzReizensteinBenjaminFrankel

CliftonParkerEdwinT.AstleyMontyNormanandDavidHenekerRichardRodneyBennettMalcolmWilliamsonStanleyBlackElisabethLutyensCarloMartelliWilfredJosephsMarioNascimbeneTristramCaryGerardSchurmann

6TWILIGHTHarryRobinsonandTheKarnsteinTrilogyDavidWhitakerChristopherGunningJohnMcCabeLaurieJohnson

7SWANSONGSDonEllisRolandShawMichaelVickersJohnCacavasPaulGlass

8NONHORRORNOTABLESDouglasGamleyAlunHoddinottGaryHughesRichardHartley

9HAMMER’STELEVISIONMUSIC

10CODA

11“ALASPOORHAMMER,IKNEWITWELL”

ByHarryRobertson

APPENDICESAComposer’sFilmographyMusicCreditsbyTitleRecycledMusicHammerFilmMusicDiscography

INDEX

ACKNOWLEDGMENTS

I am especially indebted to the following individuals whose time and efforts wereinvaluableincompilingthiscomprehensiveexaminationofHammerfilmmusic.Richard Klemensen generously loaned me great segments of his Hammer video cassette

library,therebyaffordingmetheopportunitytoview,hear,andanalyzethemusicofmanyfilmsnototherwiseavailabletome.Thisbookisalsoanexpandedrevisionofanarticlepublishedinhismagazine,LittleShoppeofHorrors, andwith thanks I acknowledge his assistance inprintingmyfirstlengthyexaminationofHammerhorrormusic.RichardwasalsoinstrumentalinmycontactingseveraloftheHammercomposersinterviewedherein,aswerethefollowing.DavidStoner,ofSilvaScreenRecords,andClareMitchellofPRSLondon,bothprovided

avenues to contact Hammer composers and by so doing contributed invaluably to thecomprehensivenessofthisbook.Iamindebtedtothemboth.Iamgrateful toJamesBernardandHarryRobertsonfortakingthetimeandtheinterest to

provideanintriguingintroductionandafterwordasbookends.Iamalsograteful to themanyHammer composers, from their earliest to their latest, for taking the time to respond tomyinterviewrequestsandsharetheirexperiencesworkingforthe“StudiothatDrippedBlood.”Theirassistanceallowedmetoexpandmyownsubjectiveanalysisandprovidealookbehindthescenesatthecomposer’sperspectiveofHammerfilmmusic.Thankstoyouall!

INTRODUCTION

InintroducingRandallLarson’sbook,letmebegin,ashehassuggested,withabriefaccountofmyownintroductiontotheHouseofHammer.FromboyhoodIhadbeenanardentreaderofghostandhorrorstories,while,asabuddingcomposer,Iwasgreatlydrawntodramaticandillustrativemusic.So,whenHammerfinallycalled,Iran!Havingleftschoolin1943andspendingfouryearsofwarserviceintheRoyalAirForce,I

studied composition with Herbert Howells at the Royal College of Music in London andworkedforayearaspersonalassistanttoBenjaminBritten,whowaswritinghisopera,“BillyBudd.”ThelibrettoofthiswasbynovelistE.M.ForsterandEricCrozier,bothofwhomImetfrequently.At the same time,onBritten’s recommendation, I continued to studycompositionwiththeremarkableImogenHolst,daughterofGustav.WhenIleftthisheadyandhigh-poweredatmosphere,itwastimetocomedowntoearth,and

eventually Igot thechance tostartmyowncareerbywriting incidentalmusic for the radio.This was music commissioned by the British Broadcasting Corporation for some of theirnumerous drama productions. In the early fifties, radiowas still the prevalent broadcastingmedium,certainlyinBritain.It was now that Hammer Productions began to glimmer on the horizon ofmy life. I had

composedmusicforaradioproductionofJohnWebster’splay,THEDUCHESSOFMALFI,whichisanearlyseventeenthcenturyhorrorstory,powerfulandhaunting.Theconductorofmyscorewas John Hollingsworth, who was already Hammer’s music director. Shortly afterward,Hammerurgentlyneededacomposerfortheirnewmovie,THEQUATERMASSXPERIMENT. JohnHollingsworthplayedtherecordingofmyMALFImusicforthefilm’sproducer,AnthonyHindsand,tomydelight(andintensealarm),Igotthejob.Myscorewascomposedforstringsandpercussionsonly.Atthattime,JohnHollingsworth

wasoneofthechiefconductorsoftheRoyalBalletattheRoyalOperaHouse,CoventGarden,soheusedplayersfromtheOperaHouseorchestra.Healsoinvitedtotherecording(simplyasaspectator)abrilliantyoungmusicstudentnamedRichardRodneyBennett,whomherightlythoughtwouldsoonbecomposingfilmscorestoo.Imentionall this toshowhow,fromtheearlydaysof theirworldwidesuccess,Hammer

Films,thoughworkingonsmallbudgets,alwaysaimedathighqualityintheirmusic,asindeedthey did in all their departments. Here I must exclude my own scores, for which I do notpresume to speak! But, in general, Hammer liked to have symphonic scores, written byclassicallytrainedcomposers,conductedbyclassicallytrainedconductors,andperformedandrecordedbyplayersandsoundengineersofthehighestcaliber.An important factor in the success of a film score is the exact choice of the scenes or

moments wheremusic can really speak effectively, so that it does not become amere dimbackground.ThiswassomethingtowhichbothJohnHollingsworthand,later,PhilipMartellalwaysgavegreatattention.Whenafilmwasinitsalmostfinalcut, therewouldbeamusic“breakdown” session. The producer, the director (if possible), the music team, the sound

effectsteam,theeditor,andtheassistanteditorwouldwatchthefilminminutedetail,stoppingaftereachreeltodiscussexactlywheremusicshouldbeplaced(ifatall).Thesesessionstookawholedayormoreandanumberoffriendlyarguments,andeventhenourdecisionsmightwellbefallible.Finally, theeditorandassistantwouldmeasureout, shotbyshot,eachsequence requiring

music,describinginactionthedetailand,ifdialogwereinvolved,givingfirstlines,lastlines,andpauses.Meanwhiletheywouldbegintofeedthecomposertheselists,while(inmycase)thecomposersatstaring,panic-stricken,attheever-mountingpileuntilsomehow,spurredonbythehideouslyimminentdateofrecording,hewentintoaction.As to the quality of themusic itself, I only hope thatmy own scores did not let the side

down, but the list of other composers who worked for Hammer is indeed impressive. Tomention a few, there were Clifton Parker, Benjamin Frankel, Elisabeth Lutyens, FranzReizenstein,HumphreySearle,MalcolmWilliamson(nowMasteroftheQueen’sMusic),DonBanks, RichardRodneyBennett, and laterHarryRobinson,DavidWhitaker, JohnMcCabe,ChristopherGunning,andPaulPatterson.But at thispoint Iwill handover to themuchprofounderknowledgeandexpertiseof the

authorof thisbook,RandallLarson.His analysisof the lastingpowerand fascinationof somanyHammerfilmsandtheirscoresisofacuteinterestandinsight.

JamesBernardMay31,1993

OVERTURE

When Hammer Film Studios rose to popularity in the late 1950s as Britain’s foremostproducer of science fiction and horror films, the genre took on a distinctive new look,characterizedbyrichlycoloredsetdesignsandadaringemphasisonsensualityandviolence.Likewise,Hammersoonachievedaverydistinctivesoundfortheirfilms,asrichlyGothicasthemoody visuals and as sensual as the flowing,white-robed ladieswho floatedwith evilintentthroughtheechoingcatacombsofancientcastles.MusicforHammerfilmsconjuredupornate, shadowed visions and strident, smooth action, brimming with crashing cymbals,assailingtrumpets,mellowFrenchhorninterludes,andfrantic,poundingdrumbeats.Filmscoringhastraditionallybeenapproachedintwobasicways,althoughofcoursethere

areamyriadofindividualcomplexitiesbeyondthisobviouslysimplisticdivision.Ontheoneside,thereiswhathasbecomeknownasthe“leitmotifmethod”characterizedbytheoperaticworkofRichardWagner,wherevariouscharacters,settings,orconceptualideasintegraltothestoryaregivendistinctmusical themes,eachofwhichwillbe reprisedwhen thatcharacter,setting,orideaispresentorreferredtoduringthestory.Frequentlythethemeswillinteractormergeintonewthemesasthecharactersandstorylinedevelop.Thisapproachhasoftenbeencriticized as overly theatrical or simplistic although composers from the earliest days ofcinema fantasy—fromMaxSteiner’s archetypalKING KONG through the STAR WARSmusic ofJohnWilliams—haveusedthismethodtoprovideanevolvingunderscorethatnotonlyrelatesdirectly to specific characters or situations but comments subtly on relationships anddevelopmentsnotalwaysobviouson-screen.Examplesof this style inHammer filmswouldinclude JamesBernard’s outstanding scores forHORROR OF DRACULA and THE GORGON, DonBanks’musicforEVILOFFRANKENSTEINandTHEREPTILE,HarryRobinson’sCarmillascores,andChristopherGunning’sHANDSOFTHERIPPER.Othercomposersprefertotakeamoremodernapproach,inwhichleitmotifsaredispensed

withinfavorofachievinganoverallmusicalambienceappropriatetothefilm’ssubjectmatter.Theymaintainanoverallfeelingofuneasiness,embellishingamoodandanatmospherewhileavoiding a strict pattern of correlated melodies that reprise automatically when certaincharactersappear.HumphreySearle’sevocativescoreforTHEABOMINABLESNOWMANOFTHEHIMALAYAS tends to followthis typeofapproach,asdoesMarioNascimbene’sONE MILLIONYEARSB.C.,LeonardSalzedo’sREVENGEOFFRANKENSTEIN,andMalcolmWilliamson’sBRIDESOFDRACULA.Whatever themethodor style (and, again, these twoexamples are intentionally simplistic

andexceedinglybasic;composersmayshiftbetween the twostyleswithina singlescoreorbetween different scores), both approaches have been effective in allowing the viewer toparticipate emotionally in what is occurring to characters on-screen and maintaining apsychologicalcommentaryoneventsunderliningrelationshipsandmoodsalmostsubliminallythrough music. All of this is the function of good film music, beyond the basic role ofsupportingwhat ishappeningon-screen,andHammer’scomposershavedonethisadmirably

andmostremarkably.

1

EMERGENCEOFAMUSICALGENRE

Hammer’sEarlyComposers

When Hammer Film Productions Ltd. was formed in 1947 (resurrecting its forerunner,HammerProductionsLtd, from the1930s) its releaseswereprimarilymainstreammysteriesanddramas,anditsfirstregularcomposerwasaFrankSpencer,whoscoredwelloveradozenearly suspensers for directors such as Francis Searle, Godfrey Grayson, and newcomerTerenceFisher.Spencer’smusicwashighlyclassical,aswasmostBritishfilmmusicof theday,andthefilmsweresparselyscoredwithlimitedensembles.Along with Frank Spencer, the early Hammer mysteries of the 1950s were scored by

MalcolmArnold,DoreenCorwithen,LeonardSalzedo,andIvorSlaney.CorwithenscoredtwoValGuestadventure-mysteries in1954-55,THEMENOF SHERWOOD FOREST andBREAK IN THECIRCLE,whileSalzedocomposedanumberofminorprogrammersforHammeruntilmakinganameforhimselfinthegenrebyprovidinganoutstandingscoreforREVENGEOFFRANKENSTEIN.MalcolmArnold,whoprovidedthemusicforthreeofTerenceFisher’searliestthrillers,wentontobecomeoneofEngland’smostrespectedfilmcomposers,withsuchscoresasBRIDGEONTHERIVERKWAI,HOBSON’SCHOICE,THEHEROESOFTELEMARK,andINNOFTHESIXTHHAPPINESS.

MalcolmArnoldTheyoungestoffivechildren,Arnold(bornin1921)hadgrownupinamusicalenvironment

withawell-knownpianistmotherandanamateurpianistfather.Arnoldtookuptheviolinattheageof4andthepianoayearlater.Aninterestinjazzledhimtolearnthetrumpetaswell.Hebegantocomposemusicseriouslywhenhewasonlyten.From1942to1948,Arnoldwasatrumpet player for the London Philharmonic Orchestra. Among their commissions wereperformances of music for films composed by Sir William Walton and French composerGeorgesAuric.In1948,ArnoldwonascholarshiptostudyinItaly,afterwhichhewasofferedanopportunitytocomposeforfilms.JohnHollingsworth,thenmusicdirectorforRankStudios,offered him the assignment of scoringBADGERSGREEN, a low-budget drama.Arnold’s scorewas conducted by Britain’s premiere music director,MuirMathieson, and was impressiveenough to launch him on a 20-year career scoring more than 70 feature films until his

retirement fromfilmmusic in1969.Arnoldhasalsowrittenextensively for theconcerthallandtheater;hewasknightedandlaterhonoredwiththetitle,CompanionoftheBritishEmpire.Thoughastrokesufferedin1992hascurtailedhiscompositionaloutput,Arnoldisstillactiveas a conductor and several of his more than three hundred published works have beenperformedrecentlyinconcertandoncompactdisc.ArnoldbecameacquaintedwithHammerin1952,whenhewascontactedbythemandasked

toscoreTerenceFisher’searlyfantasyeffort,STOLENFACE.HewentontocomposethemusicforWINGSOFDANGERandFOUR-SIDEDTRIANGLE,low-budgetbuteffectivesuspensethrillers.“Ienjoyed scoring the Hammer films,” Arnold recently recalled, “writing the sort of music Iwanted to hear, always being aware that themusic complements the film and should neverdrownitout.Iworkedcloselywiththemandtriedtounderlinemostlythehorrorbits.”1Arnoldutilized the smallestorchestraspossibleonall threeof these scores,writing them

quicklyunderpressureofshortdeadlines.“IenjoyedworkingatHammerverymuch,”Arnoldsaid. “The studiowasextremely supportive. Itwasverygood towork there,being theonlynewstudioinGreatBritain.”

IvorSlaneyHammer’s first outright attempt at science fiction came in 1953, with the rather bland

SPACEWAYS.Thislow-budgetandvastlyforgettablepicturewasdirectedbyTerenceFisherandproduced by Michael Carreras. The music was composed by Ivor Slaney, who scored anumberofHammer’slightmysteries.LikeMalcolmArnold,Slaneyhadgrownupinamusicalfamily, the sonofprofessionalmusicians;heobtaineda scholarshipat theRoyalCollegeofMusic in London. Originally a London session musician and arranger for EMI and DeccaRecords,Slaneyenteredthefilmindustryin1950asanassistantmusicaldirectortoHerbertWilcox.ThefilmwasTHELADYWITHTHELAMP,andSlaneyworkedasanorchestratortothefilm’scomposer,AnthonyCollins.In1953,SlaneyscoredHammer’smysteryfilmTHEFLANIGANBOY,havingbeeninvitedtodo

sothroughafriendshipwithproducerAnthonyHinds.Hewentontoscoreanumberofsimilarmysteryfilmsandwasalwaysgivenafreehandtocomposeashesawfit,withlimitedstudiointerference or “suggestion.” The same arrangement held true when Slaney worked withTerence Fisher, scoring the director’s early thrillers, THE GAMBLER AND THE LADY, BLOODORANGE,andFACETHEMUSIC.SPACEWAYSgaveSlaneytheopportunitytoscoreanunusualfilmanduseanunusualtechnique.“Insteadofthetraditionalfilmorchestra,Iusedabigbandwithsaxes,”Slaneyexplained.“Iwantedachangefromthe traditional filmorchestraof the time,plussomefreshtonecolor.SPACEWAYSneededdepth.”2The film needed more than that, as it turned out, but Slaney’s score was quite unique.

Slaney’smusicisloudandbusy,heavyonbrassandpercussion,sometimesalmosttoothicklyorchestratedforthisthinB-movie.Inthesedays,Hammerhadnoregularstaffmusicdirector.Composerswere selected by directors or producers and given a free hand in theirmusicalresponsibilities.“Generallyspeaking,Hammerwasagoodstudio toworkfor,”saidSlaney.“They were good to their musicians and composers. The working arrangement gave me

musical‘freedom’.”AllofSlaney’sHammerscoreswererecordedatRiversideFilmStudios,Hammersmith,London.Ontheaverage,theorchestrasconsistedofonly18players.Slaney leftHammer in 1955 after scoring Fisher’sMURDER BY PROXY. Coincidentally, he

returned to the science fictionandhorror field in the1970s,whenhescored the filmsPREY,TERROR,andDEATHSHIP.By that time,Slaneyhadbecomeinvolved inelectronicmusic,andinvestedthesefilmswithevocativesynthesizerscores,asinthecaseofDEATHSHIP,anearlymixtureofelectronicswithanorchestraof35players.“I like to write a ‘bare’ score for science fiction films,” Slaney said. “This allows the

effects(whicharemoreimportantnowadays)tocomethroughandnotfightthemusic.”Slaneyisstillanactivecomposerspecializinginseriousorchestralchoralmusic.“Iwillcontinuetowritefilmandtelevisionmusicasnecessary,”Slaneysaid.

Notes1.MalcolmArnold, interviewwithRandallLarson,May27,1993.TheauthoracknowledgestheassistanceofAnthonyJ.

Dayinreceivingthisinterview.2.IvorSlaney,frominterviewswithRandallLarsononJune14,1993,andJuly19,1993.

2

MUSICALDIRECTORS,MUSICALDIRECTION

Beginningin1954,Hammer’smusicaldirectionwasshapedbyfull-timemusicdepartmentsupervisorswhoselectedandassignedcomposersandworkedcloselywith themincreatingwhatwouldbecomeadistinctivesoundforHammer’shorrorfilms.

JohnHollingsworthHammer’sfirstmusicdirectorwasJohnHollingsworth,whosupervisedthecompositionof

thefilmscoresandconductedthestudioorchestrafrom1954until1963.Hollingsworth,bornin 1916, was educated at the Bradfield College in Berkshire and trained at the GuildhallSchool ofMusic.By 1937, hewas invited to conduct theLondonSymphonyOrchestra.Hejoined theRAF in1940and in1943became the firstRAFsergeant toconduct theNationalSymphony Orchestra. He conducted various orchestras, including the Royal Ballet and theRoyal Opera House, Covent Garden, and held long-term positions as music director forvarious organizations until becomingHammer’smusic director.AlthoughHollingsworth didnot compose film music himself, he oversaw all aspects of a film’s scoring, supervisingHammer’sregularandoccasionalcomposersduringthemid-1950sandearly1960s.In1958,Hollingsworth was taken ill with tuberculosis while working with Leonard Salzedo on thescore for REVENGE OF FRANKENSTEIN. While he was away, Muir Mathieson took over andconducted the recording sessions. Hollingsworth returned for the next film, although thetuberculosiswouldprogressuntilittookhislifefiveyearslaterinthemidstofrecordingTHEEVILOFFRANKENSTEIN.“Obviously Hammer had great faith and trust in John Hollingsworth,” recalled Leonard

Salzedo. “I worked very closely with him, going over my sketches with him on the pianobeforemakingthefinalorchestration.”1“Wewouldgothroughthefilmreelbyreel,planningthemusicaftereachreel,”saidJames

Bernard.“TerenceFisher,whoovertheyearswasHammer’sstardirector,nevercametothemusicbreakdownsortherecordingsessions.Hesaid‘I’mveryhappywithwhatyouboysdo.Idon’t know anything aboutmusic so I’ll leave it to you.’Other directors (though not all ofthem)likedverymuchtobeatthesessions.”2Hollingsworth,havingknownBernard’smusicfromtheirworkingtogetherinradioscores,

would—oncedecidingthathewassuitableforacertainfilmscore—leavethecomposeralone

towritethescore.“HeknewthatIcouldworkoutthetimingscorrectly,”saidBernard.“Andhe left me to my own devices though he was always ready to give advice when asked.Normallyhedidn’tevenwanttolookatthescoreuntiladayortwobeforetherecording.Hewasusuallybusywithotherconductingactivities.”3There was at least one instance in which Hollingsworth recommended no music be

included.ThefilmwasYESTERDAY’SENEMY,a1959waractionerdirectedbyValGuest.AfterviewingitwithMichaelCarreras,Hollingsworthreportedlyvoicedhisopinionthatitwasjustfineasisandneedednomusic,andcouldhehavehischeck,please!4“Hewasaverynice,verygoodcomposerandconductorandafinemusician,”remarkedhis

succeedingmusicdirector,PhillipMartell.“Hewasheadedfor,andwouldhaveachieved,hisgoal:hewantedtogototheoperaandbecomeanoperaconductor.Ithinkhewouldhavemadeit,buthedied.”5

MarcusDodds

UntilareplacementforHollingsworthcouldbefound,conductor/composerMarcusDoddshelmed Hammer’s music department and conducted such scores as James Bernard’s THESECRET OF BLOOD ISLAND and THE GORGON. “Marcus’s approachwas very close to John’s,”Bernardsaid.“Oncewehadplannedthemusicand,inthecaseofTHEGORGON,decidedonamixofwordlesssopranovoiceandnovachordforthecalloftheGorgon,heleftmetogetonwithit.”6

PhilipMartell

PhilipMartell,aconductorwhohadworkedforHammerpreviously,thensteppedintotakeoverasHammer’sregularmusicaldirector.PhilipMartellhadbeenborninLondon’sEastEndin1915andbegantolearntheviolinat theageof5.HeenrolledintheGuildhallSchoolofMusic in 1926 at the ageof eleven.Martell later studiedwithBenoitHollander, a pupil ofCamilleSaint-Saëns,whoseinfluenceissaidtohaveleftastrongmarkontheyoungstudent.He got a job leading the orchestra in aWest Endmusical, andwhen the conductor fell ill,Martell volunteered. He kept that position for years. By the end of the 1920s,Martell hadbecame involvedwith the film industry as an arranger, takingexcerpts fromclassicalmusicandfittingthemintoappropriatesequencesinsilentfilms.Whensoundcametothemovies,Martelldriftedawayfromfilmsandbeganperformingin

concerts, first as a violinist and finally conductingmusicals.Eventually, he formedhis ownorchestra andperformed for theBBC, conductingmusic that appealed tohis ownparticulartaste.Much of thismusic was fromBritish andAmerican films, which rekindledMartell’sinterest in themotion picture industry.DirectorValGuest enabledMartell to enter the filmmusic field, conducting the music to one of his comedies. Martell’s first association with

Hammerbeganin1954,asmusicdirectorofanotherofGuest’scomedyfilms,THELYONS INPARIS.This was evidently one of the few occasions that Martell also composed music for a

Hammer score. “It was important to pick or write the right music for the scenes,”Martellrecalledinarecentinterview.“Ifyougothewrongdirection,youkillthescene.Apparently,Ididn’tmakeamessofitbecauseIstayedwithValGuestforquiteawhileanddidnearlyallthefilmshedid.”7MartelltookoverthemusicaldirectionofTHEEVILOFFRANKENSTEINafterthedeathofJohn

HollingsworthandsoonwasretainedasHammer’sstaffmusicdirector.Hecontinues in thiscapacity to thepresent day, though ill health has curtailedmuchof his activities. In the late1970s,MartellalsobecamemusicaldirectorforAmicusandTyburnStudios,supervisingthemusicoftheirshort-livedhorroroutput.Inadditiontoassigningacomposertowritethemusicalscore,Martell(likeHollingsworth

before him) was also responsible for contracting the musicians for the orchestra. Martellwouldbecalledinearlyduringpost-productiontogetanideaofthekindsofmusicneededbythatparticularfilm.“Iwouldpickthecomposer,”saidMartell.“That’spartofwhatIwaspaidfor.Fromthepointof thescript,Icouldtellwhatkindofmusicwasneeded,orwhetherweneededtheentireorchestraorjazzmusicians.Ihadanorchestramanager.I’dtellhimwhatIwanted...andhewouldbookthemallindividually.”8Martell saw each film or portions of it as soon as about a third of the picture was

completed,sohecouldpreparetobooktheorchestra.“Thedatefortherecordingisalwayssettoosoon,”saidMartell.

They figure when they finish shooting that one week in the editing room should besufficientforgettingitintotheshapetheywant.Sowe’restuckwiththat...Youcan’tunbook[theorchestra].We’vegottomake[thedate],wecan’twait.Sothen,afterIgeteverythingready,IwouldgoandtelltheCarreraseshowmanysessionsweneededandhowmuchitwasgoingtocost.Whentheyrecoveredfromtheirheartattacks,I’dcallinwhoeverwasmostsuitedasthecomposer.9

“NormallywithHammertheyhadaprettygoodideawhotheyweregoingtoasktodoeachfilm,”saidJamesBernard.

I usually knew two or three weeks before. John Hollingsworth and Philip Martellwouldworkprettymuch the same.Theybothhadprettygood ideaswho theywouldwant todo thescores.Ofcourse,sometimesyou’dhaveadirectorwhohadhisownideas. It could be a problem.But in those early days, JohnHollingsworth, and laterPhilip Martell, were always put in full charge of the music. The directors alwaysseemedtogoalongwithwhoevertheysuggested.10

ThreeweekswastheaveragetimeacomposerhadtoscoreaHammerfilm,fromconceptionto final recording. Considering that a film sometimes needed more than an hour of fully

symphonicmusic,thisschedulecouldbeadrainonanycomposer.Havingamusicaldirectoravailabletocoordinateandassistwasnodoubtwhatmadethishecticschedulework.MartellworkedprimarilywithMichaelCarreras.HammerbossSirJamesCarreraskeptout

ofthemusicdepartment.(“Hetoldmehedidn’tknowwhatIdid,butaslongaseverybodyelsewashappy,thatwasfinewithhim,”saidMartell.)11AsExecutiveProducer,MichaelCarrerasworked closely with the producers, directors staff technicians, and craftsmen. Even so, heknewlittleaboutmusicandhisinvolvementinthatareawaspurelyobservational.“Hisonlyanxietywasthatwemightdosomethingthatwoulddispleasethedistributors,”saidMartell.“IalwaysdealtwithMichael.Webecameverygreatfriends.”12“Allmusicmeetingswouldtakeplaceintheproducer’sofficeinwhicheverstudiothefilm

wasbeingshot,”saidcomposerHarryRobertson.“Normally,Iwouldcomebackacoupleofdays laterwith a piano demoof themain theme.After that, Iwould sitwith the editor andwatch thesectionsPhilipand Ihadchosen tohavescored,onaMoviola.Thereafter,PhilipandIkeptintouchbyphone.”13Hammer’s budgets normally limited their orchestras to about 35 players from the leading

symphonyorchestras inLondon.“Onecouldn’tuseanentireparticularorchestra,as isoftenthecasewithhigh-budget films,” said JamesBernard.“Fortunately, thesemarvelousplayershavealwaysseemed toenjoyabreakfromtheconcerthalland,ofcourse, theyarebrilliantsightreaderswhich,forfilmwork,isessential.”14Amongthenotablemusicianswhoplayedon Hammer’s soundtracks were orchestra leaders Hugh Bean and Raymond Cohen, LeonGoossensonfirstoboe,andJackBrymeronfirstclarinet.OnHammer’searlierhorrorscores,John Hollingsworth frequently recruited players from the Covent Garden Opera Houseorchestra,whichhealsoconducted.During Hollingsworth’s tenure, Hammer’s film scoring tended to remain predominantly

symphonically oriented,with heavy romantic andGothic overtones.During the later 1960s,though,underMartell’sdirection,theHammersoundtendedtobecomemorepop-oriented,andthefilmscorestookonamorerhythmicbeat.Thischangingstylemayhavebeencoincidental,however, resulting from the style of new composers being commissioned and the overallshiftingintopopmusicthatoccurredinmainstreamfilmscoringinthemid-1960s,ratherthananintentionalshiftindirectiondictatedbyMartell.“IthinkthatoneclearreasonforPhilhavingnoticeablyshiftedtowardsthepopidiomwas

thefactthathisarrivalatHammerFilmsafterJohn’sdeathcoincidedwiththegrowingfashionat that time for jazz (ifnotpop)-orientedscores,” said JamesBernard.“Also, John’scareerhadalwaysbeen,sofarasIknow,entirelyinthefieldofclassicaland‘serious’music,whilePhilhadworkedinallbranchesofmusic,withtheaccentperhapsmoreonlightmusic,jazz,andmusicals.”15“Hollingsworth was much more of a classical composer than Philip,” recalled Wilfred

Josephs,whoscoredHammer’sFANATIC.“Hewasaconductorofballetandorchestralmusic—concerts—and Philipwas verymuch aworkmanlike conductor in the film and televisionfield. So John knew exactly what he was doing, but then so did Philip . . . Philip’s veryexpert.”16Martellstudiedeachscoremeticulouslywhiletheywerebeingwritten,eventothepointof

approvingeachpageaswritten.“Phillikedtokeepaneyeoncomposersthroughouttheweeksofcomposition,”saidBernard.“Hewantedtobesurethatthebasicthemeswere‘right’forthefilm.Infact,he liked togivefull ‘theme-approval’beforeonewentahead.Occasionallywehadanargumentaboutthis,butonthewholeweagreed—andnodoubthesometimesstoppedmefromgoingoffonawrongtrack.”17“Whenyougetupontherostrum,thethingyouhaven’tgotistimeandyou’vegotafilmto

watch,andanorchestratowatchtoo,”Martellsaid.

You’vegot toknowwhat thescore’sgoing tosound likewithouthavinga lookat it.Youobviouslydoglanceat it—you’vegotnoteswrittenonit—butallyoudoiscastyoureyesoverit.IhavetomakesurethatwhenIconductit,it’ssoaccuratelydonethatitdoesn’tsoundmechanical.ThisiswhyIpracticallysleepwithafilmscore.Youjustcan’tgoupanddoit.18

“The gradual, but discernable change in orientation during Philip Martell’s time wasundoubtedlysomewhatinfluencedbytheevolvingfashionsinfilmmusicoftheperiod,”saidGerardSchurmann,composerofHammer’sTHELOSTCONTINENT.

This probably all emanated from Hollywood, and these trends were perhaps morereadilyassimilatedbyhim,comingashedid fromanonclassicalmusicbackground,thanwouldhavebeenthecasewithJohnHollingsworth.Othercomposersmayhaveadifferentpointofview,butIdonotthinkthateitherofthemhadanyparticularinfluenceon the way I scored my music for Hammer, beyond the fact that they were bothcompetentandexperiencedcraftsmenandmusicians.19

“Philip was much more obsessed with controlling the pictures himself,” said WilfredJosephs.“Wheneverweworkedtogether[atHammerandelsewhere]he’dsay‘I’dliketodoitthisway,’andbecauseIwasengagedbyhim,wediditthatway.’”“PhilipMartellwasexcellenttoworkwithandhardlyinterferedatallfromthestylepoint

ofview,”notedTristramCary,composerofQUATERMASSANDTHEPIT.

HewasnoToscanini,butathoroughlyexpertfilmconductor.Heknewhowtorehearseefficientlyandquicklyandgot themost fromamusic section.Philip certainlydidn’tstandoveroneandsaythingslike“howabouttromboneshere,”butwhenthescorewasdeliveredhewentthroughitallcarefullyandcritically,particularlywherehethoughtIwastooloudorthickandindangerofkillinglines.He’dsaythingslike“Ithinkwe’lltake this fortedowntomezzopiano if that’sokaywithyou, and if it’s still toomuchmaybeI’lldropthehornshere.”AndI’dsay“fine,goahead.”Philipreallystudiedthemusicandcametothesessionsproperlyprepared.20

ChristopherGunning,whoscoredHammer’sHANDSOFTHERIPPER,added“Philwanted tomaintainsomesortofcontrol,somesortofhousestyle,ifyoulike,overthemusic.”21

LikeHollingsworth,Martell’sstrongpointwashisconducting.Despitevariancesinstyleorapproach, both music directors were outstanding orchestra conductors and, with fewexceptions, conducted the orchestra during all of Hammer’s scoring sessions. “He’s anexcellent conductor and ismarvelous at knowing and deciding exactlywhere on a film themusicshouldbeplaced,”saidJamesBernard.

Apartfromhisprofoundmusicianship,heisalsoanexpertathitting(andholding)anexact tempo; this is essential in many film sequences where the points ofsynchronization are mathematically planned by the composer, and are absolutelydependentuponthemusicbeingplayedatthemarkedtempo.Whentimeispressingandtensionismountinginthestudio,youcanunderstandtheironcontrolhedemanded.22

“Philwasincrediblyefficientwhenitcametoconductingtheorchestraandgettingthemusicrecorded,”addedGunning.

Philalsodeservesagreatdealofcreditforintroducingalotofcomposersintofilms.Sometimesthesewerepeoplewhohadneverscoredafilmbefore—JohnMcCabeandPaul Patterson are twowho immediately come tomind—and of course they broughtwith thema freshness thatwasvery,verywelcome.Phildeservesa lotofcredit forbringing in composerswhowere sometimesquite eminent in the concertmusic fieldandwhoreallyknewtheirstuff.Idon’t thinkthere’sbeenanybodyelseactiveat thattimeintheBritishmusicindustrywhodidanythingcomparable.23

Notes1.LeonardSalzedo,interviewedbyRandallD.Larson,May16,1993.2.JamesBernard,interviewedbyJohnMansell,Sountrack!TheCollector’sQuarterly,11,No.23(September1992),p.

23.3.JamesBernard,interviewedbyRandallD.Larson,June6,1993.4.RichardKlemensentoRandallD.Larson,October10,1993.5.PhilipMartell,interviewedbyTonPaans,LittleShoppeofHorrors10/11(July1990).6.JamesBernard,opcit.3.7.PhilipMartell,interviewedbyTonPaans,opcit.5.8.Ibid.9.Ibid.10.JamesBernard,interviewedbyBruceG.Hallenbeck,LittleShoppeofHorrors10/11(1990).11.PhilipMartell,opcit.5.12.Ibid.13.HarryRobertson,interviewedbyRichardKlemensen,LittleShoppeofHorrors10/11(1990).14.JamesBernard,interviewedbyJohnMansell,opcit.2.15.Ibid,3.16.WilfredJosephs,interviewedbyRandallD.Larson,March25,1993.17.JamesBernard,opcit.3.18.PhilipMartell,quotedin“HeScribblesandIWavetheWood,”byColinandSueCowie,TheHorrorElite[fanzine],c.

1968.19.GerardSchurmann,interviewedbyRandallD.Larson,March20,1993.20.TristramCary,interviewedbyRandallD.Larson,June11,1993.21.ChristopherGunning,interviewedbyRandallD.Larson,May20,1993.

22.JamesBernard,interviewedbyJohnMansell,opcit.2.23.ChristopherGunning,opcit.21.

3

REUSEDMUSIC

OccasionallyHammerwouldreusemusicfromonefilmforanother.WhilebynomeansasprevalentasthepracticeofAmerica’sUniversalPictures,whichduringthe1940sand1950softenscoredentirefilms(HOUSEOFDRACULA,REVENGEOFTHECREATURE,andothers)withlittlemorethantrackedcuesfromtheirmusiclibrary,Hammeronlysporadicallyreusedtheirmusictracks.FewerthanadozenHammerfilmscontaincreditedreusecues,accordingtotheASCAPcuesheets,whichrepresentallthemusicusedineachfilm.

STOLEN FACE, a 1952 fantasy effort directed by Terence Fisher and scored by MalcolmArnold, contained unidentifiedmusic cues by JohnRussell Parnell.Arnold found hismusicreused twoyears later in36HOURS, a dramadirectedbyMontgomeryTully.CuesbyEdwinAstleyandWilliamAlwynappear inTHEABOMINABLE SNOWMANOF THEHIMALAYAS (1957).TheAstleymaterialevidentlycamefromDANGERLIST,hisfirstHammerscoreearlierin1957;theAlwyncuescamefromanothersourceobtainedbyHammer.A segment from Leonard Salzedo’s REVENGE OF FRANKENSTEIN score was reused in THE

CURSEOFTHEWEREWOLF(1960),andthechoralmaintitlemusicfromFranzReizenstein’sTHEMUMMY was recycled during a flashback scene in Hammer’s first sequel, CURSE OF THEMUMMY’S TOMB, otherwise scored by Carlo Martelli. Unidentified cues from AmericancomposerRaulKraushaarappear inSLAVEGIRLS,alsoscoredbyMartelli.Martelli laterhadoneofhisowncuesfromWITCHCRAFT,a1964filmreleasedbyLippertandlateracquiredbyHammer, recycled as the end title music for QUATERMASS AND THE PIT, replacing TristramCary’smusicforthosecredits.Choosingtoreusemusiccanbetheadvancedecisionoftheproducerorthemusicdirector

and is done for budgetary reasons or as a result of deadline pressures, such aswhen last-minute editing necessitates additionalmusic cues after the primary composer has gone ontootherprojectsandisnolongeravailable.“IwasawareofthefactthatHammerborrowedasectionofmymusicforTHECURSEOFTHE

WEREWOLF,”saidLeonardSalzedo.“Thisalsohappenedtomeonanotheroccasionwhen20thCenturyFoxtooksomeofmymusicfromSEAWIFEanduseditinISLANDOFTHESUN.IdonotknowhowwidespreadthispracticeisbutIamsurethatithashappenedonmanyoccasions.”1“Thereuseofmusiccueshascertainlyhappenedinoneortwocases,”addedTristramCary.

“[Hammer] replaced theend titlemusicofQUATERMASSwith somethingelse.Theyprobablyfoundmypiecenotwarmandcuddlyenoughorsomething.”2Theuseand reuseofmusical cues is licensedby thePerformingRightsSociety (PRS) in

EnglandandbyASCAP(AmericanSocietyofComposers,Authors,andPublishers)orBMI(Broadcast Music, Inc.), which insures that each reuse of music is paid for, though notnecessarilycreditedonscreen.Occasionalmistakesslippedthrough.Caryrelatedwatchingalate-nightthrilleronTVand

recognizingsomeofhiselectronicmusic,whichhadnotbeenauthorizedorpaid for. “Ihaddonestuff foranother thriller in thesameseries,”saidCary.“Iphoned theproducer,andhetoldmetheunlikelytalethatthecuttingroomhadmislabeledacan!Withsomereluctance,theypaidmetwentyguineas.”3Despite these occasional andoften unexplicable borrowings,Hammer’s soundtracks have

beenforthemostpartwholelyoriginal.

Notes1.LeonardSalzedototheauthor,October11,1993.2.TristramCarytotheauthor,October11,1993.3.Ibid.

4

JAMESBERNARD

WhileHollingsworthandMartellwereprimarilyresponsibleforsupervisingthescoringofHammerfilms,theydidnotdirectlycomposethemusicforanyofthefilms.Thistaskfellupona variety of composers, some of whom worked frequently for Hammer, while otherscontributedonlyanoccasionalscoreortwo.Severalcomposers(notallofthemBritish)havecontributedgreatlytoHammer’sdistinctivemusicalambience,butthecomposerwhosemusicmostoftencharacterizedthesoundofHammerfilms,andwhoscoredmoreofthemthananyoneelse,wasJamesBernard,whobegancomposingforHammerattheinaugurationoftheirhorrorcyclein1954.Born in 1925 and educated atBerkshire’sWellingtonCollege,Bernardwas interested in

both acting and music from an early age. Encouraged by composer Benjamin Britten’sfavorableresponsetoapiecehehadwrittenforaschoolmusiccompetition,Bernardbegantostudymusic in earnest. In1943, he joined theRAF,wherehebecameacquaintedwith JohnHollingsworth. Later, after thorough musical training at the Royal College of Music,Kensington, he studied composition with Herbert Howells and piano with Kendall Taylor.Afterhisgraduation,a friendshipwithwriterPaulDehn introducedBernard to theworldofliterature, theater, and film (in fact, the twoof themwonanOscar together in1951 forbestoriginalfilmstorywithSEVENDAYSTONOON,whichtheyconcoctedtogetherandservedasthebasis for Dehn’s screenplay). Dehn was writing plays and features for BBC radio andintroducedBernardtoValGielgud,BBC’sheadofradiodrama,whotookachanceandhiredtheyoungcomposertoscoreaplaycalledTheDeathofHomer,baseduponTheIliad.Whileat the BBC, his friendship was renewed with Hollingsworth, who conducted many ofBernard’s scores. EventuallyHollingsworth asked him to compose themusic forHammer’sTHEQUATERMASSXPERIMENT(1955).Thisfilm(releasedintheU.S.thefollowingyearasTHECREEPINGUNKNOWN)launchedBernard’scareerasafilmcomposer.Althoughhecomposedforavarietyofstudios,itwasthroughtheHammerhorrorpicturesthatBernardreallyfoundhisniche.

BeginningsinScienceFiction

QUATERMASSwasoriginallytobescoredbycomposerJohnHotchkiss,buthehadbeentaken

ill and had to withdraw. Producer Anthony Hinds needed a replacement in a hurry.HollingsworthsuggestedJamesBernardandplayedsomeofhisBBCtapesfortheproducer,who approved hiring him to score the film. It’s interesting to conjecture how differentHammer’smusicaldirectionmighthavegonehadHotchkiss(whowentontoscoreacoupleofdramasforHammerthefollowingyear)notbeenillwhenhewas.ThemusicforTHEQUATERMASSXPERIMENTwasan impressivedebut for thecomposer,not

only in scoring for motion pictures, but for scoring horror films in particular. Writtenexclusively for strings andpercussion, themusic is built around a slow,plodding, two-notemotif for low viola, culminating in higher violin and rustling cymbal. This motif is laterbalancedwithafastandvibranthighstringpassagethatisputtogoodeffectincharacterizingthehorrorbroughtbackfromspace,asinthescenewhentherecoveringastronautseesaplantinthehospitalandisremindedofthehorrorsheencounteredinspace.Afrenziedstringmotifaccentuateshisfears.Aneffectivecueforominous,swirlingstringsoverdrumbeatsisheardatthepolicestationfollowingtheastronaut’srescue,andintheclimacticsceneatWestminsterAbbey, Bernard provides a fine composition for sustained strings over percussion raps (atechnique he has employed elsewhere,most notably in the climax ofHORROR OF DRACULA).Altogether,musicwasusedsparingly inTHEQUATERMASSXPERIMENT,andwhen it isused, itretainsapredominantlydiscordantquality.Thestrong,powerfulsoundofthepurestringsdidmuchtoincreasethefilm’stension.“Weonlyhadstringsandpercussion,”saidBernardofhisQUATERMASSscore.“Thestrings

alone,withthemikeonthem,soundoutsostrongandpowerful,whereasoftenthey’resortofpartiallymaskedbybrass.Theylosealotoftheireffect.”1Bernardusedasimilararrangementofstringsandpercussionforthesequel,QUATERMASSII

(1956, released in the U.S. the following year as ENEMY FROM SPACE), as well as X THEUNKNOWN(1957).Allthreeoftheseearlyblack-and-whitesciencefiction-horrorfilmsmaybesaidtocompriseastylistictrilogy.AlthoughthesecondQuatermassfilmwasdirectedbyValGuestinsteadofTerenceFisher,whohelmedtheothertwo,theynonethelessachieveasimilarfilmicsensibility,andBernardscoreseachofthemalongsimilarlines.TheopeningsequenceforQUATERMASSIIintroducesitsprimarytheme,arapidlybowedstringmotifinaseriesoffiverepetitive3-note,downwardspirallingfiguresthatcorrelatetothespeedingcarweseeracingalong thecountry road.Thisopens intoahorrific, ascendingvariationof the samemotif forstringsandrumblingpercussionasthemaintitlesbegin.Bernardusesavariationofthesamethemetounderscoresuspensescenesassociatedwith

themalevolentexperimentsconductedatWintertonFlats,hislow,rapidviolastrokeslendingasubtle eeriness as the mystery builds. A particularly effective motif sustains a verydiscomforting,tensemoodasQuatermassandhiscolleagueinvestigatetheWintertonfacility.Atonal string figures like two violas playing against one another with conflicting strokes;higherviolinsplaythesamemotifasthesceneprogresses.WhenQuatermass gains access to the plant and discovers the huge alien life-forms, low,

monstrous, churning chords mirror his shock and suggest their ominous size. The climacticscene,asQuatermassandhisgroupsabotage thefacility, ispropelledrelentlesslybystringsoverrapidbassnotes.Whenthedomesaredestroyedandthehuge,amorphouscreaturesarerevealed in all their loathsomeness, low, rolling, swarmingviolin andpiano-string rustlings

capturethemixedexcitementandterrorofthescene.WhenQuatermass’srocketdestroystheorbittingalienship,thegroupisbuffettedbyahugewindstormasthecreaturesdie.Themusicdiesdowntoasingle,dyingviolinnote—thelastechoesofthealienintelligence.Unusually,Bernardintroducesanewthemefortheendtitles,whichareaccompaniedbyhorrificchordsforlowrumblingviola,highviolin,andcymbal,anatonalandmodernisticmotifthatendsthefilmwithaspookyfeelingofdiscomfort,asifaskingtheviewer:isitreallyover?

XTHEUNKNOWN(1956),whilenotassociatedwiththeQuatermassfilms,retainsasimiliarstylethroughitsblack-and-whitelookandBernard’sstrings-onlyorchestration.UnusualforaHammerfilm,itdoesnotcontainmusicduringitsmaintitle;musiconlyenterswhentheyoungservicemannoticesamarker stickmoving inagooeypuddleofooze.Furtiveviolin strokesunderscorehisbewildermentandapprehension;theyaresustainedundertheearthquakesoundeffects that follow.Deep,groaning, surging stringchordscomplement thehugecrevasse thatopensinthebog.Eerie,highstrings,buildingineddiesandflurries,accompanythetwoboys,WillieandIan,astheysneaktowardtheoldtoweronthemarshes.Cavernous-soundingpiano-stringgrowlsreverbasWillieseestheslimingcreatureemergingfromthebog;thentheformerstringflurriesreturninrapidswirlsastheboysrunoffinterror.Vaguesuggestionsofthissamethemeareheardinthehighstringtonesinthenextscene,meltingintolow,sadnotesasWilliediesinthehospital,themusicfollowinghissobbingparentsoutintothehallway.These twomotifs—thedeep,groaning chords for the titular creature and thehigh-register

string flurries for suspense scenes—are the basis for Bernard’s score which, like the twoQuatermassfilms,issparselyused,yethighlyeffective.LeavingtheareaofsciencefictionandembarkingonthefirstofhisGothichorrorscores,

Bernard provided a rich and fully orchestral score for 1957’sTHE CURSE OF FRANKENSTEIN.“FormyfirstthreeHammerscoresIusedonlystringsandpercussion,”saidBernard.

FortheBBC,Ihadusedeithersmallishchambergroupsorstringsonly,soIguessJohn[Hollingsworth] thought “we won’t trust him with a full orchestra yet.” I was verygratefulforthis.Itwasagitatingenoughlearninghowtoworkouttimingssynchronizedexactly with the action on the screen, and to get the score finished by that loomingdeadline. It was not until THE CURSE OF FRANKENSTEIN that I graduated to the fullorchestrawithbrassandwoodwind.2

Openingwithaslow,plodding,3-notedescending-then-ascendingtheme,Bernardcapturesadarklyevil-soundingmotif in low register. It’snot amelody,but aprogressionof relentlessdark chords suggesting terrible evil, their first 3 downwardnotes dominating the theme andsuggestive of the syllablesFRANK-ensteinnnn. This motif is used elsewhere as a horrificthemeforthemonstertakenbytrilling,shriekingviolinnotesamiddissonantbrass,strings,andpercussionas theawakeningmonsterattackshiscreator;avariationforstringsandpianoasthemonsterattackstheblindmanintheforest,themusicgrowinghigherandhigherwitheachadvancing footstep of the monster—relentless, unstoppable. A second, more melodic stringmotif is associated with the friendship between Victor (Peter Cushing) and Paul (RobertUrquhart). Their motif takes on an interesting evolution during the picture, as does theirfriendship. Initially complementary and warm, suggesting the kinship of shared ideals and

plans, the motif interplays with the 3 notes of the Frankenstein theme, rapidly struck fromslashingviolinnotes,asthetwoofthemcutdownthehangedcorpseandtakeitawayintheirwagon.Thetwothemesworktogetherhere,justasthetwoscientistsdo.Eventually,astheirfriendship is overcome and destroyed by Victor’s obsessive endeavors to bring life to hiscreatedbeing, their themeis likewiseovercomeanddissolvedbythedominantFrankensteintheme.ThistypeoffullyorchestratedhorrificmusicwillbecomeBernard’strademark:aslowand

dominant,oftendescendingprogressionofnotesoverarapidflurryoforchestraldissonance,growingandbuildinginvolumeandregister,advancingarelentlessterrorincoordinationwiththe horrors on-screen, climaxing in a dynamic frenzy of wild orchestration. THE CURSE OFFRANKENSTEINgaveBernardhis firstopportunity touse thestyle thatwouldcharacterizehismusic, if not that of Hammer films in general. The picture climaxes with a cataclysmicwindstormofwildswirlingstrings,alternatingwiththelow,ploddingmonsterchordsandthehigh3-note trillsof theFrankenstein theme,as themonster carriesElizabeth to the roofandVictorracesupthestairstorescueher.Themotifrevolveslikecyclone,swirlingaroundandupanddownuntil the sequence seguesoutof flashback toVictor’smonologue inhisprisoncell.Asheis ledto theguillotinetomeethisfate, theFrankensteinthemesoundsforafinaltime, slow brass notes capturing an almostmajestic quality as themotif rises and falls andrisesagainliketheinterminableguillotinebladeseenundertherollingcredits.

Dracula:MusicfortheDarkLordAs effective asBernard’smusicwas forCURSE OF FRANKENSTEIN, itwasn’t until his next

HammerscorethatJamesBernard’smusicreallystoodout.HORROROFDRACULA(1958)wasascoreinvestedwithlividvibrancythatbroughtBernardtotheforefrontofgenrecomposers.Bernard’s music is hugely powerful, dominated by a repeated, three-note brass and

percussionmotif (one sustainednote followedby two repeatednotesanoctave lower).Thescoredynamicallycaptured thepoweranddangerouspresenceof thevampireDracula.Likethefilm,JamesBernard’sscorehascometoberegardedasaclassicofhorrorfilmmusicanddemonstrated the composer’s particular affinity for scoring this type of film.As authorBillLittmanwroteinalengthyanalysisofthescore,“ItisnotuntilDRACULAthatBernardproduceda finely measured work possessing motifs which evoke logically, and are used in aptconjunctionwiththesubjectmatterofthemotionpicture.”3As he didwithCURSE OF FRANKENSTEIN, Bernard derived hismain theme forHORROR OF

DRACULAfromthethreesyllablesofthewordDracula.“Thenamegaveittomejustlikethat,”Bernardsaid.

I’ve often used thatway of taking the name of a film to suggest a sort of pattern orrhythm.ButthatwasaverysimplethinginDRACULA,thatdroppingofanoctave...itseemstohavebeenveryeffective. . . .ItwasjustasortofluckychancethatIhitonthat,becauseit’sterriblysimple.AndIsupposethatisitsstrength,really.4

TheDRAC-u-lamotifwasactuallyonlypartoftheoveralltheme.“That’sonlythetoplinenotes,”saidPhilipMartell.“It’swhatyoudowithit,howyoubuildit,whatharmonicstructureyou give it that makes it sound like Dracula. Think about the music over the credits—it’scomparable to theoverture toanopera.You’resetting themoodandatmosphereforwhat isabouttounfold.”5Bernard balances the DRAC-u-la theme, which represents vampiric evil, with an

emotionallyweakermotifrepresentingVanHelsingandthe“good”peopleonwhichDraculapreys.Thissecondmotif,afive-notethemeforstrings,isgivenmanymorevariationsthanthevampire’s theme, which remains relatively unchanged (as does the malevolent vampire)throughoutmostof the film.TheGoodmotif is continually assaultedby theviciousDraculatheme,dominatedincounterpointandtrampleduponbythepervasivevampiremusic.Thoughit remains resolute and steadfast, The Good theme is constantly overcome by the more-powerfulDraculathemeuntiltheclimaxwhen,withslashingstrokesofsunlight,VanHelsingvanquishes the trapped vampire and the Good theme surges with proud self-assurance asDracula’smusichumblyslowsandfades into lowregisteras thedissolvingvampirewhispsawayintothebreeze.The interplay between these two themes in HORROR OF DRACULA is used carefully and

purposefullythroughoutthescore.BernardusedasimilarinterplayinCURSEOFFRANKENSTEIN,withtheVictor/PaulthemeandtheFrankensteintheme,yetherethethematicinteractionisfarmoredeveloped;Bernardhascreateda textbooktour-de-forceof leitmotif interplay.AsBillLittmandescribesindetailinhisanalysisoftheHORROROFDRACULAscore,theDraculamotifalwaysresolvesitself,musicallyrepresentingthestrengthofthevampiriccharacter.Themotif“has to be literally broken up to lose this resolution.” (This, of course, happens only atDracula’sdestructionattheend).Incontrast,thegoodthemeisonlyresolvedtwiceduringthefilm.Elsewhere it lacks totaldefinition,heardonly inpartialperformance, andnot allowedfull expression, except in two instances after the staking of Lucy—when the newbornvampiress is released fromher undead state and finally at the dissolution ofDracula in thefilm’sclimax.OnlythendoestheGoodmotifachieveafullmusicalresolution.Bernard’s score for this film remains a phenomenally powerful and unforgettable work,

expertlyunderscoringthebattleofgoodversusevil thatcomprises thestory.AsfantasyfilmhistorianDonaldC.Willishaswritten,HORROROFDRACULA

is perhaps, properly speaking, less Hammer’smost exciting horrormovie than it isJames Bernard’s most exciting score. The latter seems, roughly, half the film. It’sclearlythatwildlysurgingmusicthatmakesChristopherLee’spresenceasDraculaasimposing as it is:because Bernard’s score is so overwhelming, all Lee need do isappear,oropenhismouth,andit’sastunningmoment.6

JamesBernardutilizedthesamemusicalpremisewhenhescoredsubsequentDraculafilmsforHammer, beginningwith the first direct sequel,DRACULA, PRINCEOF DARKNESS, in 1965.Here the DRAC-u-la motif is given a variety of arrangements (more in tempo than inorchestration).Asecondarymotif,alsoderived fromHORROROFDRACULA, consistsof rapidburstsof stringandhornnotesunderquick snare-drum raps,whichoftenalternateswith the

Draculathemeduringsuspenseandattacksequences.Thelattermotifisusedmainlyasgeneralhorrormusic, while the 3-note Dracula is always associatedwithDracula’s castle and hismalevolentpresence.WhenDraculaisfinallytrappedonthecrackedice,histhemeechoeshisdoominfairly restrainedrepetitionsof the3notesoverandover, finallydyingout ina fewlast,lowchordsasDraculaslipsbelowtheice.ThedynamiccrescendosandclimaxesthatenlivenedthepreviousFrankensteinandDracula

filmsareputtoverygoodusehere,aswhentheresurrectedDraculaconfrontsthewifeofthemanwho’sdyingbloodbroughthimlife.WhenDraculavampiricallyseducesthewoman,theDraculathemestartsoutquietlyasheslowlyapproachesher,allstringsoverominoustympanirolls,growinginpowerandurgencyandfinallyovercomebyaclimaxofblaringtrumpetsasDracula bites the woman’s neck. James Bernard continually demonstrates his penchant forthese immensely dramatic and powerfulmusicalmoments, the orchestra surging slowly andinexorablyintohugeanddynamiccrescendos,softfluidsurgesofrhythm,minglinglow,rollingwavesofbrassandstringswithhigher,urgentviolinfigures,allbuildingtowardaclimacticdissonance.Bernard’s score for the next series entry, DRACULA HAS RISEN FROM THE GRAVE (1968),

featuredavariationonthe3-noteDraculathemefromtheprevioustwofilms.Itdoesn’tusethefamiliarDRAC-u-lanotesbuttakesitsownthemefrom3notesthatfollowthem.ThiswasthemotifbestrememberedduringVanHelsing’schaseandbattlewithDraculainhiscastle,anditsurgentrisingandfallingnotesbecomethepredominantthemeofthisfilm.“Thethingonehastodecideishowmuchtorepeat[thetheme],”saidBernard.“Inoneor

twoDraculafilmswherewehaven’tuseditIalwaysmissit.It’sdifficulttotrynottorepeatitandyetkeepthatmoodthatyou’vecreatedinthepreviousones.”7“IthinkasfaraspossibleifyoucankeeptheDraculathemeyoukeepitbecauseIthinkit’s

valuable,”agreedPhilipMartell.“Youhavetheabilitytoproducethemood,theatmospherethatwouldmakeitbelongtothegenreofDraculafilms.”8ThisthemeisespeciallynotableintheclimacticsequencewhereDraculaescapesoverthe

rooftopsandfinallyconfrontsMaria(VeronicaCarlson).Themusicbuildstoafrenziedpitchwithextremelyrapidrepetitionsofthe3-notefigureforstrings,horn,andpercussion.ThemainthemeisalsoheardinaromanticarrangementasDraculaseducesMaria,themelodyrisingtoaclimactic2-notecrescendoassheoffershimherneck.Theurgentharshnessofthismotifisbalancedbytwosofterthemes,abrieflovethemefor

MariaandPaul(BarryAndrews),anascending,liltingmelodyusedinaromanticscene,andareligious violin motif for the monsignor (Rupert Davies) who investigates and eventuallydestroysDracula.This is firstheard inanadaggiolikearrangementas themonsignorand thepriest(whoisunderDracula’sinfluence)hiketothevampire’scastle.Thethemegrowseerieandmoredissonantasthepriesthasdifficultycontinuing.Highstringsechoastrainofthemaintheme,andthenthemusicbecomesasuspensemotif,mergingthemonsignor’sthemewiththemain theme as the monsignor reaches the castle and prepares a ritual of exorcism. Themonsignor’smotifremains,barelyaudibleundersoundeffects,asheconcludestheritualandheadsbackdownthemountaintomeetthepriest.Itisthemonsignor’sthemethatisheardattheend,whenDraculaslipsfromtherooftopsandfallsintothemetalcrossbelow.Thereligioustheme is heard from church bells asDracula dies and Paul (the atheist herowho is now a

believer) crosses himself. Themonsignor’s theme remains for the end credits, but it is theDraculathemethathasthefinalstrokeasthecreditsend.The monsignor’s theme seems to be loosely based on theDies Irae [Day of Wrath], a

GregorianchantsinceadaptedfortheCatholicmassforthedead,whichhasbeenafrequentmotif in horror films fromWilliamAlwyn’s BURN WITCH BURN to Danny Elfman’s BATMANRETURNSandamyriadofothers.Bernard’ssuggestionofthemotifhereunderliesthereligioustonalitiesof the filmand thecontrastedpowersofChristianity (themonsignor)andsatanism(Dracula),atonalityevidenteveninthefilm’stitleandwhichrunsthroughoutitslength.“Inaway, both the Monsignor and Dracula become martyrs and will be resurrected, albeit inalternateways,”wroteNicolasBarbano.“TheuseoftheDiesIraeseemstosignifythatshareddestiny.”9Bernard’s final twoDraculascoresareverysimilar,bothderived fromthesamesources.

TASTETHEBLOODOFDRACULAanditsdirectsequel,SCARSOFDRACULA(bothreleasedin1970)rely heavily on the DRAC-u-la theme for thematic unity and horrific sound. The themeaccompanieseachvisitationbythevampireandisarrangedintomoodyfiguresforsuspensefulsequences.BernardbalanceshisdarkDraculathemeinbothfilmswithprettylovethemesthathumanizetheheroesandheroineswhostruggleagainstthedominatingevilofthevampire.InTASTETHEBLOOD,Bernard’s love theme isanabsolutelygorgeous, liltingwoodwindmelodycapturingasomewhatmedievalplainsongfeeling.It’sBernard’sprettiestmelodyandbecomesapoignantlovethemeinthemidstofanotherwisefairlyworkmanlikehorrorscore.Thelovetheme takes on the dark texture of the Dracula themewhen Paul discovers the body of hisfriendLucy,butthisistheonlyactualinterplayofthematicmaterial.Themotifsareotherwisedistinctandunrelated.TheromanticthemeinSCARSOFDRACULA is less lilting,aplainmelodyforpairedstrings

first associatedwith thevillagers and later used as a love theme forSarah andSimon.ThemotiftakesonaparticularlytragictonewhenthevillagersreturnfromtheirearlyonslaughtonDracula’scastletofindtheirwomenfolkslaughteredinthechurch.Attheendofthisscene,themusic culminateswith the 3 descending notes of theDracula theme, hismusic usurping thevillagers’music in themidstof their tragedy.The love theme receives itsprettiestvariationduringtheendtitles.Themelodyisalloweditsrichestlifeonlyuponthedeathofitsnemesis,thevampire.WhileBernard’sDraculascoresarebasicallyderivedfromsimilarmusicalthemes,Bernard

nevertheless approached each picture of the series individually. “Each film,” Bernardexplained, “whether part of a series or not, has its own musical problems, and I tryhard...nottorepeatmyself(except,ofcourse,whenthemesneedtoberepeated.)”10Bernardprefers to score filmswitha specific thematicaproach, ashedid in theDracula

movies. “I build each score around two or three main themes, and perhaps one or twosubsidiarythemes,”hesaid.

I do not give a theme to every character in the film—it would become much toocomplicated.Filmmusicis,inmyopinion,mosteffectivewhenitisbasicallysimple,evenifitsometmesdemandselaborateorchestration.Asinglemelodiclineplayedbyasolo instrument . . . can be immensely telling in a cinema, whereas a lot of clever

counterpoint, particularly if mixed with natural sounds or speech, will be totallyineffective. In horror films, I amalwayspleasedwhen there is theopportunity for alovetheme,oratanyratesomethingromantic,asacontrasttothemainHorrorTheme.Unrelievedtensionandhorrorinthemusiccanbecomeabore!11

FrankensteinCreatedMusic

AfterCURSE OF FRANKENSTEIN, Bernard sporadically scored three additional Frankensteinpictures.Whilehedidnotcomposethefirsttwosequels(REVENGEOF-andEVILOF-),Bernardprovided excellent musical accompaniment for FRANKENSTEIN CREATED WOMAN, -MUST BEDESTROYED and -MONSTER FROM HELL. (He did not score the ill-fated HORROR OFFRANKENSTEIN,whichineffectwasnotpartofHammer’srunningseriesbutadismaloffshoot.)WiththeFrankensteinmovies,therewasnorecurringthemesuchasBernardutilizedinthe

Dracula films, though each picturewasmusically characterized by a similarly predominantsenseofominousresignationanddangerandmostcontaineda3-notemotifsuggestiveof thesyllablesofFrankenstein’sname,asthebaron’stheme.In FRANKENSTEIN CREATED WOMAN (1967), the motif is monotonous: three somber notes

reflectingthecruelintegrityofBaronFrankenstein(PeterCushing)andtheinevitableviolencehis experiments perpetrate. Balancing this is a very pretty 6-note melody that reflects theinnocenceofChristineandherlover,Hans,andlendsasoftpoignancytothetragiceventsthatsurround them.This theme is originally heard in themain titles.Lilting violins sing an airymelody rich in European lyricism, but playing against it is the surging 3-note Frankensteinostinatoheardoverrollingtympani,whichlendstheopeningmusicasubliminalairofdoom.Thelovers’themeisalsoarrangedintoanactionmotif.Rapidswirlingstringfiguresplay

thenotesoverandoverasChristine (SusanDenberg)witnessesHans’executionafterbeingfalselyaccusedofmurder.Themusiccontinues in tragicmelodyasChristine takesherownlife.ThesamemotifisusedforChristineafterFrankensteinbringsherbacktolifewithHans’ssoultransplantedintoherbody—thetwoloversrejoinedinabizarretransplantofsouls.Buttheir themeismorecloselyrelated toFrankenstein’s themenow, justasChristine’sreturn tolife is the doing of the baron’s diabolical science. Whenever Hans’s spirit takes overChristine’sactions,forcinghertomurderthoseresponsibleforkillingherfatherandframingHans, Frankenstein’s theme supplants the pretty lovers’ theme, its three notes quietlyinexorable,reflectingHans’sinfluenceoverChristineasmuchassuggestiveoftheomnipresentFrankenstein’s influence over all.Only the lover’s theme forms amelody.TheFrankensteinthemeremainspurelyanostinato,arepeatedfigurethatisneverresolvedordeveloped;itisfixedandresolute,likethesingle-mindedbaronhimself.The climaxmerges both themes in rapid fashion as the baron discovers Christine in the

forestaftershehaskilledJohann,lastofHans’sthreetormenters.Frankenstein’sthemewhirlsrepetitively from violins in high register over a swirling cyclone of strings. The musicaccentuateshischaseandstopsinitstrackswhenhetriestopreventChristinefromjumping,forasecondtime,toherdeathintheriverbelow.Hefails,andthescoreendswitharesolute

lovers’theme,capturingboththeunfortunatetragedythatbefellthetwoandamelancholyreliefthatatleasttheynowhavethepeaceoftruedeath.ThescoreendswithafewphrasesoftheFrankensteintheme,nolongerboldandpurposeful,butdespondentoverhispersonalfailure.

FRANKENSTEINMUSTBEDESTROYED(1969),wassimilarlyscoredwithtwoopposingthemes.Bernard wrote a new 3-note Frankenstein ostinato, this one a rapid ascending motif,appropriateforthismoredynamic,domineeringbaron(Cushing);althoughitisalsoheardinasofterversionwhenDr.Brandt’sbrainhasbeen transplanted intoanotherbodyand themanawakens to gaze at his new face in amirror.Threemonotone chords echo theFrankensteintheme,thebaron’smusicassociatedasmuchwiththeresultsofhisworkaswithhisimmediatepresence. In contrast to this is a 5-note melody, primarily for strings, which is initiallyassociated with Anna (Veronica Carlson), the boarding house matron who, along with herloverKarl(SimonWard),areforcedintocooperationwithFrankensteinandhisexperiments.Beforelong,though,thethemebecomeslinkedwithDr.Brandt(GeorgePravda),whobecomesyetanothervictimofthebaron’sevilsurgery.Introducedinthemaintitles,thismelodyisheardagainwhenAnnawakes late at night and discoversKarl and the body ofDr.Brandt in thecellar.It’sheardagainwhentheawakenedBrandt,hisbraintransplantedintothebodyofProf.Richter (Freddie Jones), surprisesAnna and is stabbed.Richter confrontsFrankenstein, andthe two of them fight amid a flurry of strings, xylophone, and snare-drum before Richterstaggersout.Frankenstein,discoveringthatAnnahasinjuredRichter,killsAnnawiththesamescalpel, his 3-note theme echoing evilly. Anna’s theme returns, for tender strings, as Karldiscovers her body. A similar lyrical arrangement is used when Richter/Brandt returns toBrandt’s old home and gazes at his sleepingwife.His expression andBernard’s sorrowfulthemebespeakthetorturedemotionswithin.Oneofthefilm’sbestscenesoccurswhenapipeburstsandageyserofwaterthreatensto

exposeBrandt’sburiedbodytothepassersby.Bernard’sshriekingviolinsreflectAnna’snearhysteriaasshe,panic-stricken,unearthsthebodyandmovesitoutofsight.Themusicfillsthesequencewithvibrantshockandpanic,whileat thesametimereinforcingAnna’s tragedyathaving to do this, being sounderFrankenstein’s coercive control that shemust endure suchghoulishlaborinordertoprotectKarlandherself.TheFrankenstein themeisusedfor theclimacticfightbetweenBrandtandthebaronamid

theburninghouse,butthescoreends,notwiththevillain’stheme,asBernardhasdoneinmostof his scores, butwith theAnna/Brandt theme, asFrankenstein’s creation carries him tohisdeath within the flaming structure, the sad victims of his criminal science gaining the finalvoice.Thistheme,incidentally,isderivedfromFrankenstein’stheme,openingwithareversalofits3notesandextendingitwithtwoadditionalnotesandrepetition.Thusthetwothemes—justastheunfortunatecharactersofAnnaandBrandt—areinextricablylinkedtothedominantforceofBaronFrankenstein.ThescoreforFRANKENSTEINANDTHEMONSTERFROMHELL(1973)iscenteredaroundashort

5-notephrase,initiallyheardforlowhorn,associatedwithDr.Frankenstein(Cushing)andhis“own private work,” illicitly conducted in the midst of his charitable duties as a residentasylumdoctor. The theme has 3 primary notes, oftenwith two final notes capped by brass,whichbuildsaninexorableatmosphereofdreadandaccentuatesearlyvaguereferencestothedoctor’s “work”while later underlying Frankenstein’s obsessive experiments. Bernard also

providesa sadviolinmelody illustrating themonster’s sorrowas itcomes tounderstand itsfate.Thisthemeisdrawnfromthebriefviolintuneplayedbytheprofessorwhosebrainwilleventuallybecomethemonster’s—thecorrelationbetweenthetwomusicalcueslinksthetwocharacterssympathetically.By and large, the score for FRANKENSTEIN AND THE MONSTER FROM HELL has no real

consistent thematic core, deriving mostly from suspense cues, though many of these atonalfiguresseemtoderivesomewhatfromthe3-noteFrankensteinmotif.Inonescene,wherethemonsterattacksSimonandissubduedbyFrankensteinwithacloroform-soakedjacket,thesadmonster theme emerges out of the action music, recalling the professor’s misery and againlinkingitwiththemonster’spathos.Inthefinalscene,asthemonstergoesamokandtearsopenthegraves,seeingthecorpseswhosestolenpartsgavehimlife,Bernardprovidesaprolongedrhythmicmotiffortympaniandhorns.Afterthemonsterrunsrampantthroughtheasylum,themusic dies off and segues into the sad professor’s/monster’s theme as the creature falls,reachesforSarainremembranceofhisrealselfandherkindnesstohim.Thenthecrowdtearshimapart.

OfHoundsandMysteriousChildren

Third inHammer’s early series of horror remakeswas THE HOUND OF THE BASKERVILLES(1959), a hard-hitting 1959 horror-ized version of the SherlockHolmesmystery. Bernard’sfinescoregavethefilmmuchofitsdynamicpowerandhelpedcarryitfromadetectivestoryintoagrippingterror thriller.Thescore isbuiltarounda5-noteprogressionofstalking lowbrass, snaredrum, and strings, suggestiveof theviciousdog’s loping, inescapablegait.Themotifisextremelyeffectiveatcreatingasenseofclaustrophobicfearthroughitsfastrhythm.Manyhorrorscoresseemtouseratherlethargic,gargantuanhorrorchordstocreateasenseofominousorbroodinghorror,slowlybuildingtoafrenzieddissonance.WithhisBASKERVILLESmusic,however,Bernarddoesn’twasteabeat:hestartsoutfuriouslyandmaintainsthatpacethroughout. The music literally pursues the listener with unswayable fury, all based on arepeatedseriesoffivenotes,risinghigherandhigher,brokenbyadissonanceandthenstartingoveragaininafrenzyofunavoidableterror.Therearevirtuallynootherthemesusedinthefilm,exceptforabriefmotifforhighstrings

heard during the romantic meetings between Sir Henry (Christopher Lee) and the deceitfulCecille(MarlaLandi).Butthemusicisnotabitromantic—appropriatelyenough,asSirHenrywillsoondiscoverCecille’sintentionsareanythingbutromantic.The4-notephraseconsistsofrepeateddescendingstringnotes,nonmelodic,withnosenseofhappinessorsensuality inthe theme.We learn why when the main theme emerges from it for piping woodwind andpercussionasCecillepullsoutofSirHenry’sembraceandrevileshimcruelly,havingbroughthimtothemoorsintentionallytosufferthecurseoftheBaskervilles.It’sthemaintheme,whichisusedinalltheactionscenes,itsfuriousenergyandrelentless

gait,drivingthefilminexorablyon,its5or6staccatonotespounding,thenpausingforabeat,then repeating,maintain a tremendous claustrophobic senseof horror.The score is a sparse

one,usedonlyduringthefierceactionscenes,andwiththeexceptionoftheoneminormotifusedinthreeromanticscenes,all themusicconsistsofor isderivedfromthedynamicmaintheme.Fisher’s STRANGLERS OF BOMBAY (1960) contained a fast-paced score for brass and

percussion,thehornsassociatedwiththeBritishmilitary/merchantpresenceinIndia,whiletheprimitivedrumsreflected the thugeecultofstranglers.Themain theme isaheraldic trumpetmotifassociatedwiththesoldiers,firstasthey(asagroup)arevictimizedbythethugs,laterasCaptain Lewis (Peter Cushing) confronts and is captured by the cultists. Finally, it soundstriumphantlyovertheendtitlesafterthestranglershavebeenwipedout.Primitive drumming is heard duringmany of the ritual scenes of the Kali cult, when the

thugee “sinners” are tortured by their leader, and near the endwhen the thugs infiltrate thesleepingcaravanandkillitsmembers.WhenthestubbornCaptainSmithwakesanddiscoversthe strangled dead, eerie shimmering high violins, with occasional brass blares, create aspooky mood, growing in register as the remaining soldiers look about cautiously. Thesuspensefulchordsareusurpedbythenativedrumsasthethugsattackenmasseanddecimatethesoldiers.Doomfulchordsofbrassandstringsareheardasthesoldiers’bodiesaresecretedaway to a hidden burial spot, themusic intoning, dirgelike, from deep brass, tympani, andcymbals.A thirdmotif is an action theme for quick, fast brass hits over a rolling sea of repeated

lowerbrassfiguresanddrums,thebrasstakingonthefranticqualityoftheprimitivedrummingheardelsewhere.Associatedwiththethugeekillings,themotifisfast-pacedbutundeveloped,kind of a repetitious bomp-ba-bom-ba-da-da-bomp-bom over brass or, as in a later ritualscene,oversqueakingviolins.Thescore’sfinaldistinctthemeisamoody4-notewoodwindmelodyoverpoundingdrums,

firstheardasLewissearchesforhismissinghouseboy.Thesomewhatsadmotifisassociatedwith the results of the thug’s activities, as if speaking sorrowfully for the victims of themurderous cult. It is later heard when Lewis thwarts a nighttime assassination attempt (thethemereverberatesfromhighorganoverlowtonesasherealizestheneardanger);whentheassassinssecretlyjointhedoomedcaravanledbyCaptainSmith(hereitiscontrastedwithastately,heroictrumpetmotifasCaptainLewisgallopsinpursuitof theendangeredcaravan);and finally, amid quick brass, string, and tympani as Lewis is captured by the thugs afterintrudingontheirritual.Herethemotifisovercomebythemainthemeasthethugsprepareafuneral pyre, intending to burn Lewis alive. Swirls of violins accentuate the suspense untilLewisbreaksfreeandattacksthethugsaccompaniedbyfierceactionbrassandtympanimusic.STRANGLERSOFBOMBAYisaserviceablescorebutnotamongBernard’sbest.Far better was Bernard’s score for the mysterious and melancholy THE DAMNED (1963,

shown in the U.S. as THESE ARE THE DAMNED). Bernard worked very closely with directorJoseph Losey on the picture. “He was much involved with the music for THE DAMNED,”Bernardsaid.“Ilikedhimimmensely,thoughhecouldbedifficult.”12Thisfineandvariedscoreopenswithmysteriouswoodwindnotesovertympanirolls,low

brassenteringwiththemaintitle,growinginforceandregisterandopeningthefilmwithanimmediatemood of tense apprehension andmystery. This segues into a jazzy rock riff thatbecomes the song“BlackLeatherRock,”a catchy tune that survives itsdullvocal rendition

andbecomesawhistledthemesongforKing(OliverReed)andhisgangofyounghoodlums.ThistunerecursduringtheopeningsceneswhenthegangmugsSimon(MacdonaldCarey)andlaterastheyfollowhimwhenhebecomesattractedtoKing’ssister,Joan(ShirleyAnneField).Thejazzytoneofthismusicalsorecursoccasionally,lendinganiceupbeatqualitytothemusicand an appropriate texture for the youthful orientation of the film. Bernard, who usuallyorchestrateshisownscores,calledinanoutsideorchestratortoarrangetherockmusicforthescore.Bernardmakeshisjazzmusicworkdramaticallybynotrelyingtotallyonjazzrhythmsbut

onlyusingthemasatextureandtempoforaparticularelementofthefilm—thecontemporarysetting and the youth gang. The jazz/rock becomes a theme for King’s gang, while thesymphonicmotifsworktounderscoreandembellishseparateelementsandactionsequences.SomeHammerjazzscores,suchasStanleyBlack’sMANIAC,DonBanks’HYSTERIA,andRolandShaw’sSTRAIGHTONTILLMORNINGsimplyprovideanuninvolvingcarpetofrhythmicsoundthatdoesnot interactwithanyofthestoryelements.Bernard,however,usedjazzandsymphonicthemestointeractwithandrelatetothecharactersandeventsinthefilm.Thesecondhalfofthefilmdispenseswithmostofthejazz/pop,asthefilmdealslesswith

theyouthgangandmorewithSimonandJoan’sdiscoveryoftheradioactivechildrenandtheirattempts to free them from Bernard’s facility. Solo violin notes perform furtively, withunresolved phrases emphasizing the oddness and peculiarity of these children, who are icecold to the touch. Slowlyweaving string and brass figures (built around a repeated 4-noteostinato) accompany their attempts to lead the children out of the facility, with strong,HammeresquebrasschordswhenSimonattacksasoldier.When the group emerges from the cave into the sunlight, a surge ofwoodwind and brass

punctuatestheiramazementatbeingoutsideforthefirst time.Thewoodwindsemphasizetheexhilaratingsenseoffreedomanddiscovery,whilethehornsreinforcethedangertheoutsideairhasfortheradioactivechildren.Harshtrumpetsaccompanythesoldierssenttorecapturethechildren.Thefilmclosesonaverysad,melancholynoteasallthecharacterswehavecometoknow

meetoranticipatetheirdemise.A2-notewoodwindsoundseerilyasSimonandJoandriftintheboat,themusicslightlyromanticbutprimarilyhopeless,intoningagloomy,despondentairas the twomakesomeweakattemptsat intimacybeforedriftingon, followedcloselyby thegovernment helicopter. A sad, lugubrious string figure sounds as Bernard regretfully shootsFrea tosilenceherknowledgeofhisactivities.Thescoreandfilmclosewithadour2-notemusicaldownstroke that sounds resolutely andhopelesslyunder the children’s finalunheardcries,“Helpus!Helpus!”ThisisoneofBernard’smostvaried,interesting,andunderstatedscores,fromtheneatpop-

jazzrhythmsandwoodwindsofthefirsthalftothesubtletonalities,brassyactionphrases,andmelancholyfiguresofthesecondhalf.Thescore,likehisearlierQUATERMASSscores,providesasubduedundercurrentofmoodandmenaceforthisuniquefilm.AnthonyBushell’s1961thrilleraboutamurderoussecretsocietyinHongKong,THETERROR

OFTHETONGS,providedBernardachancetocomposeOriental-styledhorrormusic.Hecameup with an effective score, making the most out of shimmering gongs, clacking woodenxylophone (or woodblock?), Oriental-styled flutes, and gamelan-like percussion. The main

theme is a3-note stringmelody,ponderousand repetitious, associatedwith theRedDragonTongs. The motif underscores the society’s evil activities as well as punctuating CaptainJackson’sinvestigationofthegroup.ItisheardwhenChungKing(ChristopherLee)givestheceremonialgauntletandhatchettothemurdererofMing;whenthemanstalksandpreparestoassassinate him; as Jackson’s housekeeper Anna finds the hidden paperMing smuggled onJackson’s boat;when the dock supervisor pulls a gun on Jackson inMia’s shop; andwhenJacksonsuccumbstodruggedliquoratLeeChung’sbar.WhenthephonyTongdoctorcomestotendan injuredJackson, the themewrithesmenacingly, growingmore forcible as thedoctorpreparestoinjectJacksonwithadeadlyoverdoseofopium.A secondarymotif is somewhat of a love theme, first associatedwith Jackson’s daughter

Helena,aprettystringmelodyovermusic-box-likexylophonenotes.Later,asJacksonfallsfortheformerTongslaveLi, themusicbecomestheir lovetheme,heardfromfluteoverarapidOrientalmusic-box-likerhythm,veryChineseinstyleandrhythm.Thirdly,thereisarecurringactionmotif.HereBernarddispenseswiththeOrientalismsand

lets go with both barrels of his characteristic Dracula-styled strings-and-snare drum actionmusic. First heard during Jackson’s struggle with the dock supervisor, it recurs duringJackson’s fightwith the phony doctor,when he struggleswith theTong assassinwho killedHelena, and when Li recognizes Harcourt as a Tong agent. This last cue segues into theclimacticfinalbattle,whichbringsallthreethemestogether.ThemainthemesoundsbodefullyasJacksongoestothedock,knowinganassassinawaitshim.AbriefphraseofthelovethemeoccursaswecutbacktoLirealizingwhereJackson’sgoneandheadingofftomeethim.Themainthemerisesupsuspensefully,givenarhythmicdrumpulse(almostaheartbeat)asJacksonnears thekiller’shidingplace; themusicbuilds the suspense toa throbbingpitch.When thekillerattacks,themusicexplodesfuriously,brokenbyamomentaryphraseofthelovethemeasLi arrives and dashes in front of the killer, his axe inbedding in her shoulder instead ofJackson’s.Theactiontheme,thistimegivenastrongerdynamicwithtympani(insteadofsnaredrum) and strings, embellishes the ensuing battle between the Tongs and the anti-Tongs.Splendid spirals of vibrant, bristling violins sound as Jackson leaves the fightingmob andfollowsHarcourt toChungKing’schambers,where thefinalconfrontation takesplaceunderominous gong shimmers and low-end piano. TERROR OF THE TONGS remains a fine score,supportingboththeOrientallocaleandthedynamicHammeraction.

TheGorgon

TerenceFisher’sTHEGORGON (1964) containedoneofBernard’sbest scores.Thiswas afirst-ratehorrorfilmthatalsobecameanaffectingtragedyasittoldofanunfortunatewomanafflicted with the possessive influence of a murderous gorgon. Bernard’s excellent scorecapturesthesecontrastingelementsandservesthefilmverywell.It’salsohismostcomplexscore,containingno less thanfourdistinct themes that frequently interact tocomplementandsymbolize the undertone ofwhat’s occurring on-screen. One of Bernard’s best examples ofthematicinterplay,themusicfromTHEGORGONwarrantsparticularlydetailedexamination.

Thescore’sinstrumentationissimpleandconventional.Therearenoelectronicsorstrangemusical effects; this is characteristic of Bernard. As usual, the brass section dominates thescore,supplementedbystrings(oftenvibrato)andpercussion.Woodwindsandstringsperformthemoresympatheticmusic,whilethehorrorchordsresoundfrombrassandtympani,andtheeeriesuspensemusicisoftenheardfromvoice,Hammondorgan,andstrings.ThescorebeginsoverthepretitleColumbiaPicturelogo.Themusicisasurging,pulsating

dissonanceforbrass,strings,andtympani,meltingintoasubduedmotifforfemalevoiceandnovachord, driven on by occasional tympani pulses. This is the Gorgon theme, nicelyevocativeandmysteriouslyforboding. It isassociatedwith theGorgonandrecurswhenevertheGorgonappearsoritspresenceisimpliedorsuspected.Afinemoodofimpendinghorrorslowly builds through eerie string and rolling tympani figures as Namaroff (Peter Cushing)seesSasha’sbodyinthehospitalandrealizesshehasturnedtostone.Asimilarsuspensemotifis heard as the scene cuts to showBruno, Sasha’s boyfriend, dangling from a tree limb, anapparentvictimofsuicide.

THEGORGON’suseofthenovachord(atypeofelectronickeyboard)isoneofthefewtimesBernard has used electronic instruments. “Hammer always preferred orchestral scores,” hesaid,“whicharemoreemotionaland,inmyopinion,muchmoresuitableforgothichorror.”13Bernard played the novachord in unison with the soprano voice to produce the call of theGorgon.AsecondmotifisasadmelodyfirstheardattheinquestimplicatingBrunoinhisgirlfriend’s

murderandhisownsuicide.Overtonesof thesameplaintivewoodwind themeareheardasMr.Heitz,Bruno’sfather,studiesthecaseandbecomesconvincedthathissonwasinnocent,that the village is covering up the truth, and that one of the legendary Gorgon sisters isresponsible.Thismightbecalledthelegendtheme,asitisusuallyassociatedwiththelegendbehindtheGorgon,asopposedtoherimmediatepresence.EchoesoftheGorgonthemeareheardlaterasMr.Heitzresearchesfurtherintothelegend.

Thecerebralmoaningofthesirenlikevoicebuildsaneeriemoodofsuspenseandimpendingdoom as he heads for the castle. The moon comes out from behind the clouds and, for amoment, the Gorgon theme is heard in a full arrangement of brass, strings, and tympani.Spooky, oscillating high strings over the sounds of rushingwind accompany his explorationinsidetheancientcastle,thenthereisanupsurgeofbrassandtympaniovertheorganandvocalGorgon theme as he sees the off-screen Gorgon. A continual descent of brass figuresaccompanyhispained return tohis rented room,nowhalf-man,half-stone.This latteractionmusicbecomesathirdmotif,perhapstermedthefatetheme,sinceitisassociatedwiththefateofthosewhoviewtheGorgon.ItfirstrecurswhenHeitz,alreadysufferingtheconsequencesofhavingviewedtheGorgon,writesalettertohisotherson,Paul,detailingwhathehaslearnedand what has happened to him. The theme continues its fateful descent, its strained bassoechoingHeitz’sdifficulteffortstomoveandwritewhathemustbeforeit’stoolate.WhenPaul (RichardPasco) arrives in town thenextday and confrontsDr.Namaroff, the

doctordeniestheallegations.AsheushersPaulout,aslowvioladescent,similartothefatetheme, recalls Paul’s father’s fateful departure from the castle. Themusic segues to a highwoodwindintonationofthelegendthemeasPaulreturnstohisfather’srooms.AninterestingvariationofthefatethemeisheardwhenPaul,stillmuddlingovertheGorgon

legend,walksoutsideandseesthereflectionoftheGorgonbesidehiminapool.Organtonespulse like a slowheartbeat, then aviola ascent (a variationof the fate theme) accompaniesPaulashe,avoidinglookingattheGorgon,racesupthestairsintothehouse.Thisisanotablecounterpoint to theearlier scene.His father lookedat theGorgonanddescended intodeath;Paul survives his close encounter and ascends toward an eventual victory.EvenwhenPaulseestheGorgon’sfaceinthemirrorinthehouseandrunsbackdownstairs,themusicreiteratesitsascent—hopeful,notbleak.Later the fate theme does descendwith Paul as he, after a sad parting fromCarla in the

castle,goesdownthesamehillthathisfatherdid.Thistimethemusicisthesame,forbythistime Paul’s fate is less hopeful, and in fact his journey down the hill will lead him to anencounterwithRatoff,oneofNamaroff’shenchmen.Thefourthmotifisthelovetheme,anunabashedlyliltingmelodyforstringsfirstheardwhen

PauldiscoversCarlatrespassinginhisrooms.Theromanticmelodylendsastrongemotionaldepth to their first meeting, his suspicions melting in obvious attraction, and suggests theemotionalbondthathasdevelopedbetweenthem.An interesting interplayof themesoccurswhenPaul rereadshis father’s letterafterCarla

leaves. The scene cuts toNamaroff’s house asCarla recites the same letter,which she hasmemorized. Initially the legend theme underscores her dialog, but suddenly the love themeintrudes and overcomes the former theme for a fewmoments. The legend theme returns asCarla recites,“sohideouswas theGorgon, thatwhoever lookeduponherwaspetrified,”atwhichpointsuspensefulstringsquietlyechotheGorgontheme.Thepresenceofthelovethemeheresuggeststhesoon-to-blossomlovebetweenPaulandCarla,whileitssegueintotheotherthemes forewarn that they will always be subordinate to the legend and the reality of theGorgon.AfterPaul’scloseencounterwiththeGorgon,heistaken,delirious,toNamaroff’shospital.

When he protests his enforced stay there, the doctor holds up a mirror so he can see hishaggard appearance (of which ProfessorMeister will later remark, “you look as if you’vebeeninyourgraveanddugyourwayout”).Themusiccomesinwithsepulchrallylowbrasschords,asifemphasizinghisevidentclosebrushwithdeath,whileraspywoodwindspipeaphrase from the legend theme, reinforcing the legendary Gorgon as the source of his neardemise.Whilestilldeliriousandinthehospital,Paulhasanightmare,andscenesofhisthrashingin

the bed are accompanied by a rolling, surging dissonance of wild strings and thunderingtympani.Paulwakesupscreaming,andwhenCarlarushesintocomforthim,thelovethemeswellssympathetically.Later,whenheleavesthehospitalandunearthshisfather’sgraveinanattempttolearnthe

truth about his demise, low organ undermonotonous, staccato violin plucks accompany hisaction.BernardusesaHammondorgan,buildingtoadramaticclimaxinthefashionofBach’sToccata & Fugue in DMinor, as Paul reaches the buried coffin lid. The organ notes arebroken by a slight melody on violins as Carla joins him, and then the organ descendsploddingly,lowerandlower,likeadeadmanshufflingdownthestepsofadungeon,asPaulopensthecoffinandseesthepetrifiedformofhisfather.The love theme is heard in a very pretty arrangement when Paul insists on taking Carla

away, but themusic sours asCarla says that she can’t leave.The camera cuts to the risingmoon, and Bernard brings in a strain of the Gorgon theme on violin, a subtle commentary.AlthoughPaul(andperhapstheaudiencealso)doesn’tknowityet,Carla is theGorgon,andthe music cryptically underlies and explains her vague statement. The music segues to thelegendtheme,heardherefromstrings,asPaulmuses inhisroomaboutwhatCarlasaid, themusicagainsubliminallyconnectingCarlawiththelegendoftheGorgon.Later, PaulmeetsCarla by the old castle and oncemore entreats her to let him take her

away.Pairedwoodwindsplayoffeachotheroversustainedorgantones,invokingthelegendthemeastheymeet.Themusicseguestothelovethemeastheyspeakoflove;aharpopensupthethemeastheyembraceandthemelodyresolvesprettily.PluckedstringbassandasouringofthetuneconcludethesceneasPaulsayshecan’tleaveyetbecauseheandProfessorMeistermustfindMegaera.Hearingthis,Carlapullsawayandrunsoff,cryingthatshecanneverseehim again, the love theme descending into turmoil and confusion andmirroring the lovers’frustratedemotions.A suspense motif for atonal plucked bass and tympani is heard when ProfessorMeister

secretlygoesthroughDr.Namaroff’sfilesinanattempttolearnaboutCarla,suspectingsheistheGorgon.Vagueechoesofthelegendthemereinforcethepurposeofhisburglary,thenalow,hollow woodwind whispers as we see Namaroff approaching. The legend theme and thisatonal suspensemotifplayoff eachother for thedurationof the scene, creatinganeffectiveambienceofapprehension.There is a brief flurry of rapidly whipped strings and snare drum (Bernard’s “Dracula

Chase” style) as Carla struggles with Ratoff outside the house. When Paul and ProfessorMeister arrive, the love theme accompanies their rescue as they bring her inside. But thevariationisstrained.ProfessorMeisterhastoldPaulhissuspicionsthatCarlaisMegaera(orherspiritualhome)andthey’vejustarguedaboutit,PauladamantlydefendingCarla.Thisisreflectedinthetensequalityheardinthethemehere,intherepeatingofcertainphrases,andtheunresolvednatureof themelody.OnlywhenPaulandCarlaspeakof their lovedoes themelodysoftenandispurelyheard.Afifthmotifisheardlateinthefilm,asPaulandProfessorMeister(ChristopherLee)argue

about the best course of action to subdue the Gorgon. This new motif, which might beconsidereda rescue theme, isaweavingandgrowingviola theme thatgrowsoutof the fatetheme and suggestsPaul’s urgent need to helpCarla.AsPaul secretly leaves the house andheadsforthecastle,thismotifdevelopsintoaflurryofenergythatrecallstheearlier“DraculaChaseMusic.”Meister follows Paul to the castle, accompanied by the samemusic,which segues to the

eerily intonedGorgon themewhen the camera cuts away to an atmospheric shot of the fullmoonbeforereturningtotherescuethemewhenthesceneshiftstoPaul’sarrivalatthecastle.CallingoutforCarla,heinsteadconfrontsDr.Namaroff,whohasalsogonethereinsearchofher.Thetwoofthemengageinasword-vs-candelabrafight,theGorgonthemeintrudingonthefranticbattledissonanceaswesee theGorgonclinging to theshadowsbehind them.Paul isknockedunconsciousandNamaroff,seeingtheGorgon’sreflection,headsupthestairswithhissabre at the ready, theGorgon themewisping through the soundtrack from a solowoman’svoice.Namaroff’sattemptsareinvain,forheaccidentallylooksatherandtumblesdownthe

stairs,turningtostone,thefatethemebrieflyaccompanyinghisdemise.Pulsingorgantonesareheard as Paul wakes, sees Namaroff’s granite corpse and notices the Gorgon’s mirroredreflection coming for him. TheGorgon’s voice theme joins the organ in a pulsing suspenserhythmasPaul turnsandlooksather, thenMeisterrushesinwithaswordandhacksoffherhead. Paul, his body hardening as he slumps to the floor, sees the snakes shrivel from theGorgon’s head and her ugliness dissolve intoCarla’s beautiful face. The strings rise eerilyduring the transformation and become a sad rendition of the love theme, dying out to asustained single high note as Meister says, “She’s free now.” The music swells up again,dramatically,asPauldies.Theendtitleisatypicalarrayoflowsurgingbrassandpercussion,culminatingintheGorgonthemeforsloworganoverthe“Columbia”logo,thefilmendinginasad, almost tragic musical depression, the omnipresent Gorgon chords intoning theirdoomsayingvoiceoverall.

THEGORGONremainsahorrorscorewithatremendousamountofdepth.JamesBernarddoesnot simplyprovideeerie sonicwallpaper, nordoeshe just concoct avarietyof suspensefulmusic and shock chords to be inserted an random, but he invests theGORGON score with asensitivity toward character relationswhich is remarkable in its subtlety.Phrases of themesplay through otherwise nonthematic suspense passages, recalling feelings or associationswhich those themes represent, and through all of this Bernard creates a score which isintrinsicallyconnectedtothefilm,itscharactersanditsideas.Themusicworksinoftensubtleor subliminal ways to comment on or understate developments in the plot or between thecharacters.ThisapproachhasbeenJamesBernard’sforte,andTHEGORGONremainsoneofhisbesteffortsingenrefilmscoring.

Vampires,Zombies,andDevils

Bernardreturnedtovampireterritorywith1964’sKISSOFTHEVAMPIREandascoredrawnfromthesamepropulsivestyleas thecomposer’sDraculamusic.Thereare twomotifs.Thefirst isasurgingbrassmotifassociatedwiththevampirefamilyandits influenceonvisitorsGerald andMarianneHarcourt (EdwardDeSouza, JenniferDaniel). The secondmotif is apianoconcertomelody(dubbedthe“ToothConcerto”byBernard)thatlendsaclassicaltexturetocertainscenes,aswhenKarl,pretendingtobeGeraldatamasqueradeball,luresMarianneto the vampire’s room. This sequence opens up into some splendid DRACULA-type horror-actionmusic,cooling toamutedsurgeofcymbal rustlingasMariapullsacurtainbackandseesthevampireatrest,thensplurgingintodramaticchordsofbrassandstrings.ThepianoconcertohadbeenwrittenassourcemusicplayedbyKarlduringtheballscene,

butittakesonacommentaryqualitythatgoesbeyondmeresourcemusic.“Heplaysonabigpiano,and themusic sendsher intoakindof trance,” saidBernard.“Ihad towriteapianopiecetogetacrossthisidea.So,Isaid,whydon’tweusethepianomoreinthescoreandhavethatmusicasakindofmini-concerto?”14Inadditiontothepianopiece,Bernardcomposedawaltzfortheballscenethatpreceedsit.

“There’satimelapsethere,”saidBernard.“JohnHollingsworth,themusicdirector,suggested

thatwedoasequenceofwaltzeswithonemeltingintotheothertogointothetimelapse.SoI’dhavealittlesnatchofonegoingintoanotheruntilwecameintothemaintune...thatwasmyfirstcompositionforthefilm.”15Bernardprovidessomenice,crisp,clearsoloviolinfiguresforthescenesafterMarianneis

taken by the vampires and Gerald is stonewalled in his search for her. The violin noteseffectivelymirror his consternation and increasing panic.WhenProfessorZimmer (CliffordEvans) helps theHarcourts escape from the vampire cult, pulsing brass over rapid tympanipoundssurgerhythmicallyinveryquicktempo,almosttotheextentofbecomingwildorgiasticdancemusic.Thisreallybuildstheexcitement.Bernardchosenottoscoretheclimax,inwhichZimmersummonshordesofsorcerousbats

thatdestroyallthevampires.Onlytheflappingoftheirrubberywingsandthescreamsofthehelplessvampiresareheard,untiltheentireclanisdeadandMarianneisreleasedfromtheirinfluence, atwhich time themainhorn theme sounds resolutely, ending the filmwith strong,descendingbeatsofbrassandtympani.DuetotimepressureonKISSOFTHEVAMPIRE,Bernardonceagaincalledforanorchestrator

toassisthimingettingthescoredoneintime.ComposerDouglasGamley(whohadscoredacoupleoffilmsforHammersomeyearsbefore)wasbroughtintoorchestrateseveralwaltzesBernardwrotefortheballsequenceinDr.Ravna’scastle.Gamleyalsoplayedthesolopianomusic.ForH.RiderHaggard’sexoticfantasySHE(1965),BernardmingledAfricanandArabmusic

with his more European-styled suspense, horror, and romance music. The main theme is aluxuriantstringmelodythatcapturesasenseoftimelessbeautyandalmostmysticalelegance.The motif, comprised of 3 notes repeated back and forth, ascending, then descending, isdreamlike, very slowmoving, anddelicately fragile, emphasizing themysteriousbeauty andfragilityofthetitlecharacter.Bernardrelishedtheopportunitytowritearomanticmelody.“Iamdelightedifthere’sthe

chance of a romantic theme to make a break from the tense dramatic stuff,” he said.“SHE...wasadifferentsortofscoreandgavemeachancetoberomantic.Ilovethatfantasyelement,whichisnotnecessarilyhorror.”16ThemajestyandfuryofSheisemphasizedbyanalternate6-notetheme,avariationonthe

formermotif that becomes a heraldic brass theme beginningwith a single punctuating note,followed by four quick descending notes and ending on a final, higher, note. The scoreintermixesbothofthesethemestorelatetothemultifacetedAyesha(UrsulaAndress).There is also a stately, British-sounding adventure theme that accompaniesMajor Holly

(PeterCushing),Leo,andJobontheircameltrekthroughthedesertinsearchofthelostcityofKumar.It’sveryrhythmic,marchlikeandupbeat,playingagainstthedesolationofthedesert,ringing hopeful, tuneful, and optimistic.An especially good variation of thismotif is heardwhentheKumarangirljoinstheirgroup,confirmingtheexistenceandwhereaboutsofKumar.MajorHolly is filledwithhope, and the themeswells fromsoloFrenchhorn,mirroringhisheartfeltexcitementandanticipationwithastrongemotion.Some bloody good action music is featured in the score, such as the great, crashing

dissonanceofdrumswhenHolly’sgroupisconfrontedbythenativesinthecaveandduringthefrantic swordfight between Leo and Bellali (Christopher Lee), wild strings, brass, and

snaredrum punctuate their fight and the intercut battle between Holly and Job and theKumarans.Muchofthisactionmusicisbasedonquickrepeatedphrasesofthe6-noteheraldicthemefromviolins.Intheend,whentheeternalflamereversesAyesha’simmortalityandsheflakesintodust,her

theme sours, dissipating with her into nothingness. Leo is left behind without her, and wewithouthermusic.Alsoin1965,BernardscoredHammer’swarmovieTHESECRETOFBLOODISLAND,providing

adynamicscorethatelevatedthefilmfarabovethelevelofHammer’sdreary1958CAMPONBLOOD ISLAND. In fact,Bernard scoredmuchof themovie the samewayhedid theDraculafilms, with characteristic surgings of low brass and rapidly stroked string chords overpercussion,hisdynamicmusicheresuggestingnot thesupernaturalhorrorof thevampirebuttheevilcrueltyofthewartimeJapanesemilitary,andlendinganincredibleexcitementtotheactionscenes.Thepicturebeginswiththunderous,warlikechordsopeningintoasinglephraseofthemain

theme (an 8-note trumpet motif). A rhythmic underlay of drums takes over to represent thejungleseenonscreen,whichquicklyseguesbacktothemaintheme,nowheardfromsurgingbrass.Thetitlesequenceendswithadramaticdownstrokeofbrassandtympani.MoodybrasschordsoverlowtympanirollssoundastheBritishprisonersareforcedtodig

theirowngraves, themusicstrong, resolute,speakingforboth thenobilityof theunfortunateprisonersofwarandthecrueltyoftheJapanesesoldiers.Thischordalmotifbecomesabriefostinatofor theBritishprisoners,heardagainwhenweseeaBritishsoldier’sbodylying inoneof thesegraves.However, themajorityof thescoredispenseswith themesand takesonBernard’sdistinctivestyleofactionmusicheavyonpercussionandbrass,dramatic,andheady.

PLAGUE OF THE ZOMBIES (1966) contained a serviceable score built around severalminorsuspensemotifsinatypicalHammerinstrumentation,supplementedbynativepoundingdrumsthat suggest the voodoo origins of the zombies. There are, in fact, four distinct themes ormotifs,althoughtheyarenotasevocativesoundingorasprovocativelyinterrelatedasthoseofotherscores.Thefirst theme, for themain titles,emerges fromtheprimitive jungledrums thatopen the

film.Hornsoverpercussionsoundabrashdissonanceasthemaintitlesflowby.Amysteriousxylophone reverberation accompanies the investigations into the mysterious occurrences inCornwall. Mysterious woodwind tones roam up and down, supplanting the xylophone inbuilding themystery earlyon asDr.Forbes (AndreMorell) andhis daughterSylvia (DianaClare)visitCornwallandnoticesomethingoddabouttheirneighborAlice.Thethemeremainsassociatedwiththemysteryanditsinvestigationthroughoutthefilm,minglingxylophonewithlow,ramblingwoodwind.Squire Hamilton, the film’s villain (John Carson), is given a low warbling woodwind

theme.Thezombiesaregivenaharsh,dissonantdescentoflowcrashingchords,firstheardasSylvia,escapingfromherfrightfulencounterwithHamilton’slascivioushouseguests,confrontsthezombiewho throws thecorpseofAlicedown the sideof themine.Themusic falls androllswiththebody,surgingonasSylviaflees.Bernard’sdominantinstrumentsinthisscorearestrings, horn, and snare drum. Later, when Sylvia attends a wake for Alice and views hercoffinedcorpse, the zombie themecontrastswith the investigation theme,mirroringSylvia’s

interestandrisingapprehension.Thezombiethemealsocontrastswithsquire’sthemeinaraspy,gutturalarrangementwhen

thezombiesareshownworkingintheminebeneaththesquire’shome,theirexistencelinkedmusically,asinreality,withhisdomination.Themajorityofthescore’saction/suspensemusicderivesfromthethreeprimarythemes(investigators,SquireHamilton,andzombie),withthedrumsfromthemaintitlethemefrequentlyrecurringnotasanorchestraltextureunderlyingtheothermotifs.In1968cameanotherofBernard’sbestnonseriesscores,DennisWheatley’soccultchiller,

THEDEVILRIDESOUT(calledTHEDEVIL’SBRIDE in theU.S.).Bernardhadonly threeandone-halfweekstoscorethefilm,thoughhecameinabouttwoweeksearliertoscoresomesourcemusicusedinaritualscene.Thatgavehimanadvancestartonhismaintheme.“Iusedquiteabatteryofpercussionforit,”saidBernard.“IwasamazedthatIwasallowedit,because[thestudioexecutives]weren’talwaystookeenabouthavingtoomanyintheorchestra.Ihadfourpercussionplayersandtwovibraphones...extradrums,tom-tomsandbongos,congadrums.DeepAfricandrumsintheorgyscene.”17Bernard’sscoreisdarkanddismal,devoidofthemesexceptforasinglerecurringmotifthat

reinforcesthehero’sstrugglesagainstdevilworship.Notuntilveryneartheenddoesathemeemergefortheheroes,amotifforhigh-register,heavenlystringswhichalsoconcludesthefilmamidasomewhatclichédabundanceofcathedralbells.But therearesomeverynotablesuspensefiguresused in thisscore, themain titlestarting

things off briskly in traditionalHammer fashion.Openingwith deep, dark, crashing chords,Bernardprovidesa5-noteploddingthemethatascendsintohighregister—heavy,ponderous,gently screaming footsteps of horn and percussion climbing an immense ladder whose topremainsalwaysoutofsight.Thenotesreducetolow,slowominousnessasthetitlesend.Bernardrepriseshischaracteristicmannerofpairingsnaredrumbeatswithhornorpiano

chords, here heard under shimmering violins and reverberated xylophone as Du Richelieu(ChristopherLee)andVanRynnsearch frantically for their friend,Simon.Aneatmixture ofslowlyundulatinghornchordsandslow,whiningstringascensionsisheardastheyreachtheobservatoryandademonicfigureappearsinthepentagramcircle.Bernard’s penchant for cohesive dissonance is well displayed during the satanists’

ceremony, heralded by a slowly thundering, ominously doom-sounding low, low tuba ortrombone chords over pounded drums and rapidly dancing xylophone notes and shimmeringcymbal.Theceremonyitselfisscoredforfrenzieddrumandflutes—notsinceMaxSteiner’sKINGKONG“JungleCeremony”hastherebeenthismuchdynamic,orgiasticpaganritualmusic.The music is good, building in force, register, and aggression, chords battling againstthemselves,percussion,brass,andstrings.Bernardwrote thisritualmusicprior tofilming,sincechoreographerDavidTogurihadto

workitintothedancesceneinthefilm.Bernardreturnedafterfilmingwascompletetoscorethefinishedpicture,usingthatorgymusicaspartofhismaintheme.“Therereallywasn’tanychancetodeveloparomanticthemeinthatfilm...asachangefromallthesatanicstuff,”saidBernard.

ThenearestweevergotwasatthebeginningwhenRexVanRynandDr.Richelieuare

breaking intoSimonAron’shouse.There’sa little theme there that Iusedduring thatand it also turns into a sad oboe theme with an extra note added, which fitted thesadnessofTanith...whohalfwantedtojointhesectbuthalfdidn’twantto.18

Bernard’slastfeaturescoreforHammerwas,inaway,areturntothevampiricrootsfromwhichhisreputationsprouted.TheHammer-ShawBros.co-production,THELEGENDOFTHE7GOLDENVAMPIRES(1973;releasedintheU.S.in1979asTHE7BROTHERSMEETDRACULA),hadabrassy, Oriental theme in addition to the more traditional horror motifs. Characteristically,ShawBros., theChineseproductioncompanythatcollaboratedwithHammeronthisunusualkung-fu horror film, originally wanted to release the film with a collection of stock musichousedintheirmusicallibraries,astheyhaddoneinpreviouskung-fumovies.ButHammer’sproduction executive, Michael Carreras, insisted on an original score by Bernard, whichturnedout tobeoneof thecomposer’sbest,creatingmanyverygoodmomentsof terrorandsuspense,farmorethanwerefeltbythefilm’slamedirection.Likehismagnumopus,HORROROFDRACULA,BernardinfusestheSEVENGOLDENVAMPIRESscorewithseveralmotifs;themainthemeisthesame3-noteDRAC-u-laostinatofromtheChristopherLeeDraculamovies.Thefilmopenswithachurchtheme,amotifforbrassthatrepresentsthechurchandthose

whowillbattlethevampires.Ironically,this“good”themeisinitiallyassociatedwiththeevilpriestKahandtheblasphemouscathedralwhichisthehomeofDracula.Thetheme,originallyinspirational in quality, turns ominous as Kah’s mouth reveals a satanic smirk. It becomespositivelymonstrous as he enters anddescends the stairway, comingupon a coffinwith theinitial“D”carvedintoit.TheDRAC-u-lathemerevealstheidentifyofitsinhabitant.Surging,horrificchordscounterpointedbyascendingwoodwindtrillsblareasKahwatches

thecoffinlidslideopen,theDraculathemeovercomingallasthevampireemergesandstandsupright.Bernard’shorrorchordsaremonstrous,surgingforward indoomsayingmanneruntilburstingforthintothegloatinglyevilDraculatheme.Thesetwothemesformthebulkofthescore,interactinginamannersomewhatakintothe

VanHelsing/Dracula themes in HORROR OF DRACULA, particularly in the early scene whereDracula acquiresKah’s body. The transformation fuseswith an oddmixture of theDraculathemeseguinginandoutofanadventurous,Oriental-styledversionofthechurchtheme.In addition to these recurring themes,Bernard also invests this scorewith a provocative

arrayofsuspensefulandhorrificmusicalsounds.AcacophonyofburblingbrassoccursintheflashbackdepictingthehistoryoftheSevenGoldenVampiresandtheirfeastingtable—suitablemusicforagrislyscene.Theawakeneddeadcrawlupfromthegroundandattackthefarmerover ultra-low tuba chords under quick violin figures, building a strong sense of terror andpathosforthisshort-livedhero.Quick, repeated 3-note brass figures build the vampire’s chase to a fierce pitch,

interspersing with the church theme from inspirational violin and church bell. The kung-fuattackonVanHelsing’spartyisscoredforstringsoverrapidlyrhythmicdrums,givingitaveryorientaltexture.Themusicbuildsinpitchandferocity,muchasBernard’sDraculathemedidearlier,buildingandfallingoff,buildingandfallingoff,jarringtheviewerwithrushinghorror,totaperoffdeceptivelyuntilrisingforthagaininanevenstrongercrashingofchords.A thrice-repeated, six-note sing-songy phrase for high-register violin is heard as the

vampiresattackVanHelsing’steaminthecave.Themusicseguesintokung-fufightmusicforrapidpipingwoodwind, lowcavernous tuba, and surging string chords. It’smonotonousbutveryeffectiveunderplay,brokenfordissolving,descendingfiguresforthevampireswho,eachin turn,arekilledanddissolve intodust.Thesamefightmotif recurs in thenext fightscene,punctuated by insertions of the church and Dracula themes—all building and falling off,buildingandfallingoff.Dracula’sdeathisaccompaniedbyrapidwoodwindflutteringoverirregulartympaninotes,

untiltheDraculathemesoundsforonelastseriesofchords.Whereastheothersevenvampiresdiedtotheaccompanimentofdyingmusic,thisisDraculahimself,andhisdeathevokesamorepowerful,dramaticmelody;grueling,butresolute.Thechurchthemeheraldstheendtitles,butitistheDraculathemewhich,asithasforallthefilms,culminatesthesoundtrack,heardhereinarelentlessrhythm.Dracula’sbodyiskilled,buthisvampiricspiritstalkson.AsthemusicforHammer’sfilmsseemedtobecomemoreandmorepop-orientedwithfilms

suchasDRACULAA.D.1972,Bernardfoundhimselfscoringfeweroftheirfilms.HewasaskedtoscoreTyburn’sTHEGHOULin1975,buthadtoturnitdownduetoexhaustionfromhavingjustcompleted a rush 3-week scoring job on 7 GOLDEN VAMPIRES. He simply couldn’t acceptanother assignment with the same grueling schedule. He did score several episodes ofHammer’s foray into television in 1980, THE HAMMER HOUSE OF HORROR (these will bediscussedinalaterchapter),butasidefromthathehasbeenconspicuouslyabsentfromgenrescoringeversince.Likemost Hammer composers, Bernardwas limited to an orchestra of about 35 players

(“thoughtheAnvilStudiorecordingsweresogoodthat I think theyoftensounded likemuchmore,”19 he said).Bernardworkedwith all ofHammer’s best directors, but enjoyed vastlydifferent working relationships. Terence Fisher had nothing to do with the music. On THEDAMNED,directorJosephLoseyworkedverycloselywiththecomposer.

TonyHindslikedtoknowabitofwhatwasgoingon.TonyNelson-Keysalsolikedtohavesome ideaofwhatyouhad inmind.TonyHinds, I think,wasverymusical.Heknewwhathewanted.Heknewquiteabitaboutmusicandhelikedclassicalmusc.Idon’tthinkTonyNelson-Keysknewagreatdealaboutit,buthedidliketoknowwhatonewasdoing.20

JamesBernard’sheavily thematic approach to scoring filmshas servicedHammer’s stylewell, illuminating not only actions and atmospheres but underlining characterizations anddevelopments.“Ibuildeachscorearoundtwoorthreemainthemes,andperhapsoneortwosubsidiarythemes,”Bernardoncesaid.

I do not give a theme to every character in the film it would become much toocomplicated.Filmmusicis,inmyopinion,mosteffectivewhenitisbasicallysimple,evenifitsometimesdemandselaborateorchestration.Asinglemelodiclineplayedbya solo instrument . . . canbe immensely telling inacinema,whereasa lotof clevercounterpoint, particularly if mixed with natural sounds or speech, will be totally

ineffective. In horror films, I amalwayspleasedwhen there is theopportunity for alovetheme,oratanyratesomethingromantic,asacontrasttothemainHorrorTheme.Unrelievedtensionandhorrorinthemusiccanbecomeabore!21

Bernardhasn’t done any actual film scoring since theHAMMERHOUSEOF HORROR, but hisHammer legacy lives on. Bernard has appeared at several Hammer film conventions andparticipated in preparing portions of his Dracula scores for recording on compact disc.BernardalsoscoredastageproductionofCOUNTDRACULAin1990inJamaica(wherehehadlivedformanyyears)basedonhisHammermusic.Thekissofthevampirehas,indeed,beengoodtoJamesBernard.

Notes1.JamesBernard,interviewedbyBruceG.HallenbeckandJohnMcCarty,LittleShoppeofHorrorsNo.6(July1981),p.

38.2.JamesBernard,interviewedbyJohnMansell,Soundtrack!Vol.11,No.23(1992),p.23.3.BillLittman,“DRACULA—HisMusic,”PhotonNo.27(1977),p.42.4.JamesBernard,opcit.No.1,p.40.5.PhilipMartell,quotedin“HeScribblesandIWavetheWood,”byColinandSueCowie,TheHorrorElite[fanzine],c.

1978.6.DonaldC.Willis,HorrorandScienceFictionFilmsII(Metuchen,NJ:ScarecrowPress,1982).7.JamesBernard,quotedin“HeScribblesandIWavetheWood,”opcit.No.4.8.PhilipMartell,ibid.9.NicolasBarbano,“Hammer’sDayofWrath,”LittleShoppeofHorrorsNo.12(1993)p.30.10.JamesBernard,interviewedbyEdMummaandNeilLeadbeater,FantasmagoriaNo.2(1972),p.8.11.Ibid.12.JamesBernard,opcit.#2,p.23.13.Ibid.14.JamesBernard,interciewedbyBruceG.Hallenbeck,LittleShoppeofHorrorsNo.10/11(1990).15.Ibid.16.JamesBernard,interviewedbyJohnMansell,opcit.2.17.JamesBernard,interviewedbyBruceG.Hallenbeck,LittleShoppeofHorrorsNo.12,1994,p.52.18.Ibid.19.JamesBernard,interviewedbyRandallLarson,May13,1993.20.JamesBernard,interviewedbyBruceG.Hallenbeck,opcit.17,p.52.21.JamesBernard,interviewedbyEdMummaandNeilLeadbeater,opcit.10.

5

DIVERSEHANDS

VariousothercomposershavescoredfilmsforHammer,althoughwithlessfrequency.Themusichas ranged fromhighly thematicor ambient todisjointed andatonalhammeringswithlittlemusicalcontinuity.

DonBanksIfJamesBernardisthekingofHammerhorrormusic,thenDonBanksissurelyhiscrowned

prince.WhilescoringonlyahandfulofhorrorfilmsforHammerduringthe1960s(atotalof8,asopposedtoBernard’s21horrorscores),DonBankslentthemsomeoftheirmostmelodicand evocative compositions, approaching their dark subjects in lighter,more lyrical fashionthatthefluidlydarksoundofJamesBernard.BornDonaldOscarBanksinSouthMelbourne,Australia,in1923,DonBankscommenced

studiesinpianoandmusicaltheoryattheageof5.Hismusicaladvanceswereinterruptedbyinduction into themilitary service duringWorldWar II, where he served in the AustralianArmyMedical Corps from 1941 to 1946. During this time, he managed to receive privatestudies in piano, harmony, and counterpoint. After his discharge, Banks enrolled in theUniversityofMelbourne’sConservatoriumofMusic,wherehestudiedfortwoyearsunderthetutelage ofWaldemar Seidel (piano),A. E.H.Nickson, andDorianLeGallienne. In 1950,BankstraveledtoLondonforfurtherstudiesincompositionwiththerenownedMatyasSeiber,thenLuigiDallapiccolainFlorenceandMiltonBabbitinSalzburg.ReturningtoLondon,Banksbegantoworkinfilmandtelevisionmusic,whileproducingthe

seriouscompositionsthatwouldlaterestablishhimasasignificantfigureintheLondonmusicscene. Banks’s musical output covered a large variety of forms, including jazz, chamber,concerto,orchestral,andelectronicmusic.Banks began working in motion pictures in 1957 with a documentary entitled ALPINE

ROUNDABOUT.According toHammermusicdirectorPhilipMartell,Banksasked for scoringwork in order to supplement the insufficient income received for his classical and esotericcompositions. He went on to score 19 feature films, 22 documentaries, and more than 60episodes of various television serials. Banks alsomaintained a long-term relationshipwithHalasandBatchelorCartoonfilms,scoringmorethan70shorts,advertisements,andanimatedtelevisionseries.

Hisworkonfeature filmsbegan in1958withMURDERAT SITE 3, a low-budget thriller forEternal Films Ltd, for whom he scored three additional pictures through 1961. BankscomposedmusicforfourAssociatedBritishPicturesfilms,includingTHETREASUREOFSANTATERESA (1959),aswellasHOUSEATTHEENDOFTHEWORLD, starringBorisKarloff, forAltaVistaProductionsin1966.Banks’slastfilmscorewasTORTUREGARDEN,composedin1970incollaborationwithJamesBernard.In 1972, Banks returned permanently to Australia to accept an appointment as Head of

Composition and Electronic Music Studies at the Canberra School of Music, where heremaineduntil1973.Hewasengagedinvariouseducationalpositionsthrough1978,whenhewas appointedHead, School of Composition Studies, at theNSWState Conservatorium ofMusic. Banks was offered a few Australian films to score, but due to his teaching andadministrativeworkload,aswellashisfailinghealth,hewaspreventedfromtakingupthoseopportunities,thoughheindicatedhewouldhavelovedtoscorethefilms.DonBanksdiedin1980afteraneight-yearbattlewithcancer.Whilenotedasacomposerofconcertworks(morethan50classicalcompositions),Banks

wroteaprodigiousamountofcommercialmusicforfilmsandtelevision.“Donwasatwelve-tone/serialcomposerwho revelled in theopportunity towriteabrasiveandhighlydissonantscores in an idiom akin to that of the late Schoenberg,” said composerDouglasGamley ofBanks.Indeed,Banks’sstylewasparticularlysuitedtohorrorscores,capturingboththeflavorand texture of Hammer’s macabre storytelling. Nearly 50 percent of Banks’s feature filmcompositions were for Hammer Films, beginning in 1961 with CAPTAIN CLEGG, Hammer’sadaptationoftheDr.Synadventure,knownintheU.S.bythemisleadingtitleNIGHTCREATURE,in1962.ForCAPTAINCLEGG,Bankscomposedthreethemes.Themainthemeisastrong,fluidstring

melodyconsistingoffivethrice-repeatednotes,initiallyviolinsandharp.Asecondthemeisassociatedwith the disguised evildoers, theMarsh Phantoms: a dissonantmotif for flailingstrings, howling horns, and woodwind, reverberating pitched tympani, and some kind ofreprocessed, electronicwailing sound.A third theme is a pretty love theme for strings andaccordion.Banks includes a fair share of atonal, dissonant action music as well, mainly horn and

percussions,butwithoutanyrealform,themusiclaystherebutneversettlesintothekindofcohesionwhichhewouldexcellatinlaterscores.Banksfollowedthisdebutwithoneofhisbestscores,firmlylinkinghimnotonlywithone

ofHammer’smainseriesbutexhibitinghispeculiaraffinityforunderscoringhorrorfilms.THEEVILOFFRANKENSTEIN(1964)benefitsgreatlyfromBanks’smusic;it’sbyfarthemostmelodicof the Frankenstein scores. Banks’smain theme is dynamic, gently forceful. Rather than thecrashing, meteoric cacophony of Bernard, Banks chooses to score his primary theme for aflourishing6-notethemeforstrings(4-rapidnotesfollowedbytwodramaticallydownward-spiralling notes) punctuated by tympani and cymbals; horrific and Gothic, yet tonal andmelodious.Itcapturesbothadramaticsenseofexcitementandamixedfeelingofhorrorandpathos.Thethemetendstogetlostinsomeofthewild,frenziedactionofthefilm’smultipleclimaxesbutlendsastrong,predominantlymelodicmusicaldynamictothestory.ThescoreisnotasdependentuponthemesassomeofBanks’sotherscores,though,making

use of a single main theme associated with Dr. Frankenstein. Elsewhere, the score iscomprised of nonmelodic suspense motifs that maintain an evocative, unstable, unresolvedtonalambience.Whenthemonsterfirstwakes,themusiccrashesinwithadissonanceofbrass,strings,andtympani,finallyturningcalmwhenthemonsterissubdued,andthensadasthedeafbeggar girl regards the monster sympathetically. Rather than simply provide objectiveunderscoring sound, asmight have been done, Banks here evokes several feelingswith thesame musical cue, beginning with moody suspense, moving through shock and horror tocalmnessandanticlimax,endinginasubtlenoteofsympathy.Amonotonous2-noteseesawingmotifforstringsoverreverberatingharpisheardwhenDr.

FrankensteincallsinZoltan,thecarnivalhypnotist,tohypnotizeandacceleratethemonster’sbrain.ThehypnotismmotifwillrecurlaterwhenZoltan,graduallydrawingthemonsterunderhis hypnotic control, instructs him to kill. A low footsteps-likemotif for brass follows hisshamblingexit,whichgrowsmoreurgentasZoltanstartstomolestthedeafgirl,accompaniedbyurgent,frenziedstringsthatmellowintoquietasheturnsfromher.Themusicthenseguesinto powerful, dynamic string and percussion cries as the monster goes on to attack theBurgermeister,asZoltanhadinstructed.Banksaccomplishesanicebitofmusicalinterplayinthevarioustimbresandtemposofthesealternatingmotifs.Banks’sscoreforthepsychologicalmysteryHYSTERIA(1964)isdistinctivelyoutoffashion

withhishorrorscores,beingastraight jazzscorebuiltaroundtwothemes,oneasaxophonemelody overmarimba and drums, the other a pretty love theme.The score is purewindowgloss, interactingnotatallwith thecharactersor situationsbutproviding thekindof steadythrum of sound familiar from 1960s TV spy-show music. Banks wrote similar jazz in hiscollaborationwithJamesBernardonthescoretoAmicus’sTORTUREGARDEN(1966).Alsoin1964,BanksscoredJohnGilling’sadventurefilmBRIGANDOFDHANDAHARwithasplendidlyregal military march, a heroic theme for horns over furiously piping woodwind and snaredrum,givingthefilmbothasenseofexcitementandadventure.HisscoreforRASPUTIN,THEMADMONK(1966)wasmoreinkeepingwiththeHammerhorror

sound,developingaRussian-soundingmelodythatsurgesoutoverthetypicallyHammeresqueswirlingstringrepetitions.Comprisedoffivenotes(twoprimarychordsechoedbythethreethatfollow),thismainthemecapturesastrongRussianfeel,suggestingagelessnessandepic,whichisassociatedwiththeRasputincharacter,hisethnicorigins,andhissomberpower.Asecond theme has to do with Rasputin’s hypnotic power. Strings, harp glissandos, and arepeated 4-note woodwind figure is heard often during the mad monk’s Svengalilikesomnabulent domination over his subjects, such as the muted version when Rasputin(Christopher Lee) hypnotizes Sonja (Barbara Shelley), the Czar’s lady-in-waiting, andcommandshertokilltheyoungCzar-to-be;thesamemusicrecurswhensheaccomplishestheact.But theprimaryRasputin themeremainscentral to thescoreand is reworked intoseveral

interestingvariants.ThereisafairlythunderousarrangementforwildlyexcitedstringfiguresandpoundingtympaniwhenRasputinfirstseducesSonja.Aheavyrenditionofwild,hystericalstringsoverploddingrelentlesshornsintonesthe3-noteRasputinthemeasRasputinhurlsacidin Peter’s face. It’s a serviceable score, by no means Banks’s best, but it provided anappropriateunderscoreforthisrathermediocreproduction.

His next score, however, can easily be counted amongBanks’s best: the richly thematic,primarilynonmelodicscorefor1966’sTHEREPTILE.OpeningintypicalHammerhorrorfashionwithlethargicallyprogressivehornsovercrashingpercussion,thescoreopensintoafaintsoloflute melody that accompanied Charles Spalding’s trek across the moors. The melody ismirroredbyominoushornnotes.ThesamethemerecurswithwildlydissonantandsqueakingpercussionsoundswhenSpalding(DavidBaron)journeystoanoldcastleandisattackedbytheReptile-woman.ThisthemewillcometorepresenttheevilforcesthatbewitchthesmallCornwallvillage,

as in the scenewithMadPeter’s soliloquy about “They”who came to thevillage and tookawayall thegoodness.Aside from this themeand twomelodiccuesheardwhenSpalding’ssurvivingbrotherHarry(RayBarrett)arrivestosettlehisestate, themajorityof thescoreisverydissonant,utilizingthefullresourcesoftheorchestra.Themaintitlescompriseanicelyarranged assemblage of bell tree, harp glissandos, harsh horn tones, xylophone, and flailingviolins, all following the vague rhythm of the thunder that punctuates the soundtrack.Banksincorporates a vague suggestion of the jazz he used inHYSTERIA in the scene where HarrysneaksintoFranklin’shomeinsearchofAnna(JacquelinePearce).Astringbasstwangsovereeriestringsasasuspensemotifhere.Those plaintive flute figures of the evil forces theme are the score’s thematic mainstay,

however,occasionallyinteractingwiththeambientdissonancesandsuspensemotifs,asinthebrief intermingling of the theme with Anna’s sitar playing for the Spaldings, but primarilyBanks chooses to invest the scorewith nonmelodic yet tonal orchestrations and ambiences.This approachworksverywell in the lengthy climactic scene asValerieSpalding (JenniferDaniel) secretly followsDr.Franklin (NoelWilliam) into the catacombs, a sequencewhichbenefits from using sound effects andmusic only, with little dialog until the end, when themusicturnssadandtragicasFranklindescribeshisdaughter’stransformingcurse.Banks’s last Hammer horror scorewas for their third foray into Egyptology, 1967’s THE

MUMMY’S SHROUD. Banks’s score followed the style of Franz Reizenstein in the originalMUMMY,arrangedfororchestraandchoir.ThemainthemeisnicelyevocativeofancientEgypt,powerfulanddramatic,capturinganalmostfatefultoneandconjuringupafeelingofancientcatacombsandobelisks.Asofterwoodwind theme isused for theexpeditionmemberswhofind,andsubsequentlysufferthecurseof,Kar-To-Bey’stomb,andaplodding3-noteheraldicmarchmotifforthemummyitself,whichopensthefilm.The score interweaves these two themes to provide a rich underscore of thick musical

textures.Whenthemummyisbroughttolife,wefirstheartheEgyptiantheme,accompanyingthe reading of the SecretWords. Then themain theme takes over the accompaniment as themummy reawakens. After his frenzied attack and killing of Sir Basil (Andre Morell), theexpeditionthemewhispersinasthescenefadesout,asubtlecommentonthepassingofoneofitsmembers. TheEgyptian theme represents Egyptian history andmyth,while themummy’sthemerefersdirectlytothemummyitself,bespeakingitsterriblepower.Inacontrasttothis,thefilmendswiththeEgyptianthemealone,itswildlyswirlingstrings

anddisgorgingbassrhythmbeingtornintoacacophonyofchaoticdust(alongwiththemummyitself),finallytoresumesoftlyastheEgyptiantheme,forthemummyisnowdevoidofallitspower,onlyamemory,oncemoreapartoflegendandmyth,andthemusicaptlyunderscores

thisidea.BanksalsoreworkedabouthalfofMichaelVicker’srock/jazzscoreforDRACULAA.D. 1972

(1972), according to Philip Martell, when it became evident that Vicker’s music wasinappropriate for the picture.Banks’s uncredited rearrangements couldn’t save a bad score,andit’sjustaswellhisnamewasabsentfromthecreditsofthismuch-malignedfilm.BanksprovidedoneadditionalhorrorscorebeyondHammer—thatforAmicus’santhology

filmTORTUREGARDEN,inwhichhesharedthetaskwithJamesBernard.PhillipMartellwasthemusicdirector for that filmandneeded thescore inonly twoweeks, soelected todivide itbetweencomposers.Since the filmwas an anthologyofunrelatedRobertBloch stories tiedtogetherbyalooseframingstory,theirdiverseapproachesworkedquitewell.ScoringtheHammerfilmswasextremelyhardworkforBanks.“Oftenhewouldbeinthe

study at our house in Purley at 8 A.M. and wouldn’t emerge until midnight,” recalled thecomposer’sson,SimonBanks.

Hewasunderalotofpressuretoproducetheworkquickly,asthemusicwasalwaysaddedlasttothefilm.Donwouldfinishtheworkexhausted.Hewasaperfectionistandnever skimped on any detail to finish a piece on time. The work was hard but heappreciatedtheexperiencehewasgetting.1

Whilehisfilmmusiccommitmentstooktheirtollonthe“serious”musichereallypreferredto compose, Banks nonetheless enjoyed themusical opportunities that film scoring offered.InterviewedsomeyearsagoinAustralia,Bankssaid

IconfessthatIwasdoingtoomuch.Idon’treallyregretthisbecauseI’dbecomposing40-minutefilmscores.SomeofthemwouldbeexperimentsinsoundandIwouldhearthemplayedbackbythebestmusiciansinLondon....Iwasbeginning[other]worksandneverreallycompletingthem...myenergieswerebeingusedandbeingsappedbywritingmusicperhapsten,twelveormorehoursadaycontinually.2

However, film music gave Banks tremendous opportunities to experiment in music,particularlywith the12-tone techniques thatespecially interestedhim.“Hecouldn’tuse thistechnique in some of hismusical compositions for itwas considered too ‘avant garde’ andwould be panned by the critics,” said SimonBanks. “So hewould use 12-tone inHammerhorror scores to experiment with his music.”3 Despite the hard work, Banks enjoyedcomposingmusic forHammerFilms. “Hewas thankful forPhillip giving him the chance toworkonthesefilms,andinthosedayshedesperatelyneededthemoney,”wroteSimonBanks.

Hegrabbed theopportunityasayoungandupandcomingcomposer, to improvehisstyle and technique. Where else could you write or amend a score and have itimmediatelyplayedbackby thebestplayers inEnglandwhomadeup theorchestra.Thiswasatremendouslearningexperienceandathrillforhim.4

An unfortunately and unfairly neglected film composer despite his numerous influentialpositionsandhiswide-rangingcompositionaloutput,DonBanks remainsanotable figure inBritishmotionpicturemusic, and consistently providedHammerhorrorswith someof theirbestmusicalmoments, creatingmusic that isnotonlyuseful inachieving thedesiredmoodsandchillsofthehorrorfilm,butaccentingspecificthemesandrelationswithinthestory.

HumphreySearle

The highly underrated 1957 fantasy, THE ABOMINABLE SNOWMAN OF THE HIMALAYAS, wasscored,withoutscreencredit,byHumphreySearle(laterknownforhismusicto1963’sTHEHAUNTING). Searle, anEnglish composer trained inLondon andVienna, is best known as acomposer of concert works, having written several symphonies, operas, and ballet. Hecomposed a verymoody, evocative score for the slow-moving yet compellingABOMINABLESNOWMAN.Theopeningmomentsofthemusicevokeboththeremotelocationandthemysteriouslegend

of the Yeti, with deep, rich gong, drums, and rumbling percussion under an oriental-tingedstringmelody.Thedeep,hollowpercussiontonesalsosuggesttheallegedprimitivismoftheYeti race.Searleembellishes themountain-climbingsceneswitha fluidlyascendingmusicalambience.AsubduedstringmotifisheardasthegrouppreparestoleavetheTibetanvillage;themusic grows, builds, and peaks to a crescendomatching a visual segue to themountaintops, reflecting their majesty and their mystery. Quieter and vaguely foreboding woodwindaccompaniestheclimbersontheirtrek.Themusicretainsasurgingrhythmandahigh-registerOrientalwoodwindtonalitywhilefurtivestringsandbrassphrasesaccompanytheclimbers’actions.Majestic orchestral climaxes of grandeur follow the climbers’ triumphs.When thegroup sets up their first camp, a distant cry is heard, sending all racingout of their tents; aflurryofbrassandwindsmatchtheirurgency.Later,whentheTibetanguideKussakrunsoffafter seeingaYeti,orchestraldissonanceunderscoreshispanic, the threatof themysteriousbeasts,andthepredicamentofthepartyleftwithoutaguide.ExtremelylowpianochordsmixwithwindsandbrassastheytracktheelusiveYeti,nowinjured.WhentheYetifinallyappearattheend,Searleprovidesthemwithdeep,sepulchrallylow

percussiontonesandmoaningbrassandtimpani,seguingtothehighwoodwindmelodyastheirwise,kindlyfacesmoveoutoftheshadowsintoview,andthefilmconcludeswiththesamemusicforthemaintitles,reflectingthetriumphalmajestyoftheHimalayasandthehiddenraceofcreaturesknownastheYeti.“HumphreySearlewasaverygoodcomposer,”saiddirectorValGuestina1982interview.

“Hedidaverygoodscorefor[ABOMINABLESNOWMAN].Itwasveryhaunting.Ineverworkedwithhimagainandwouldn’tknowwhateverhappenedtohim.”5

LeonardSalzedo

LeonardSalzedoscoredTHEREVENGEOFFRANKENSTEIN,Hammer’ssuperior1958sequeltoCURSEOFFRANKENSTEIN.Salzedo,borninLondonin1921,hadstudiedattheRoyalCollegeofMusic and has been employed since 1944 as a professional composer of concert and filmmusic.Salzedo’s firstballet,THEFUGITIVE,commissionedbyMarieRambert, receivedsome400 performances in the late 1940s and was followed by numerous ballet scores andarrangements.Salzedohascomposedmorethan140concertworksandisstillquiteproductiveat the age of 71.His 18 film scoresmake up a small but significant portion of hismusicaloutput.Earlyinhiscareer,Salzedohadbeeninterestedincomposingformotionpictures.In1954,

heaskedhisfriendMalcolmArnoldforhelpingettinganassignment,soArnoldputSalzedointouch with John Hollingsworth, who commissioned him to score Terence Fisher’s mysterythrillerTHESTRANGERCAMEHOME.Forthisfilm,Salzedoemphasizeddramaticmusic,softeningfor romantic interludeswhen the story required them.“Ihada special sequence for a scenewhereWilliamSylvesterhadamnesia,”Salzedosaid.“Iusedhighstrings,lowclarinetandavibraphone.Foranightsceneatthelake,Iusedstringsandpercussiononly.Ihavesinceusedanadaptationofthissceneinachamberwork(‘PartitaforPercussionandStringQuartet’).”6SalzedosawlittleofdirectorTerenceFisherwhilescoring thefilm,workingmainlywith

JohnHollingsworth.“TheonlytimeImetTerenceFisherwaswhenwesawthefilmthroughforthefirsttime,”saidSalzedo.

MichaelCarreras,theproducer,cametotherecordingsessions,butthisseemedmerelytomakesurethateverythingwassatisfactoryfromthemusicpointofview.ThiswasthecaseinallsixfeaturefilmswhichIwroteforHammer—itwastheproducerandnotthedirectorwithwhomIcameintocontact.

Salzedoscoredfourmorelow-budgetfeaturesforHammerbeforetheFRANKENSTEINscore.All of thesewere recorded at Anvil Studios, the size of which restricted the orchestras toabout30players.“ThesizeoftheorchestrawasdictatedpartlybyhowmuchHammerwantedtospendonthemusicandhowmanymusicianstheycouldgetintotherecordingstudio,”saidSalzedo,whooftenused agroupof about14 strings, 2 flutes, oboe, 2 clarinets, bassoon, 2horns,2trumpets,2trombones,tympani,percussion,andharp.Salzedo’smusicforFisher’ssportsdrama,MASKOFDUST,wasastraightforwardromantic

scorewithoccasionaldramaticsections.“Inthefilmatonepoint,oneofLiszt’sconsolationsis played on the piano,” said Salzedo. “I used that also in some of the other sections.”Heprovidedquietstringsforachurchscene,amarchtuneforaracetracksequence,andajazzysectionforasceneinthehotellobby.Generallyspeaking,thescoredealtlesswiththemesthansupportiveatmospheres.THEGLASSCAGE,a1955crimedramadirectedbyMontgomeryTully,wasgiven a circuslike atmosphere tounderline its setting, aswell as a shortwaltz section.Elmo Williams’s WOMEN WITHOUT MEN (1956, called BLONDE BAIT in the U.S.) was adramaticallystyledscore:Salzedogaveitaneffectivemaintitlesequencebyusingathrobbingtympanibeattocreateanatmosphereofforeboding.ForMichaelCarreras’swardrama,THESTEELBAYONET,Salzedo’sscoreaccentuatedthehot,drydesertconditionsofthefilm’ssetting.

THEREVENGEOFFRANKENSTEIN(1958)remainsSalzedo’smostsuccessfulfilmscore.After

spottingthefilmwithHollingsworthearlyinpostproduction,themusicdirectorbecameveryillwithtuberculosis.MuirMathiesontookoverforhimandconductedtherecordingsessions.Salzedo’smusicgrowsoutofthechurchbellsthatareheardintheopeningscene,buildingintoan ambient, atonal surge of hornswhich eventually grows into a dissonant conflagration ofpipingwoodwindandgroaninghorns,alloverthemonotonouslytollingbell.Asthetitlesend,themusic continues low and somber asDr. Frankenstein (Peter Cushing) is led toward theguillotine. Strings evoke a faint air of pathos beneath the doomcryingwinds, and themusicendsasFrankensteinclimbsthescaffold.AneffectivemomentoccursearlyonwhenDr.Frankensteinwashesup inhisofficeafter

performingsurgery.Amutedwoodwindmelodyplaysunderhushedstringrustlingashefailstonoticeashadowedvisitor.Theambientmusicgrowsalmostlikeanorchestralwarmup,haltingabruptly when the shadow makes its presence known. The intruder is Hans (FrancisMatthews),thedoctor’sformerassociate,andasFrankensteinshowshimaroundthelab,themusicresumesitswanderingstringnotesoverwoodwindandharp.“Mostof themusicIwroteforREVENGEOF FRANKENSTEINwasatonalusingasequenceof

eight notes in different ways,” says Salzedo. “I wanted to get away from certain musicalclichéswhich had become associatedwithmusic scores for horror films:muted brass andtremolostrings!”Salzedo’sprimarilynontonalscoreachievesfewmelodies,andthosethatdoemergearenot

sustained very long. The score consists mostly of orchestral ambience, with two motifsrecurringthroughout.Firstisaseriesoflong,lowstringandhorntonesovertympaniandsoft,rushing cymbal whispers that recall the rhythmic gonging of the bell at the beginning. ThisthemeisfirstheardwhenFrankensteinrevealsthebodyofhisnewcreationtoHans.Thisisthemonster’s theme, linkedwith thebodybothhere,whenit is lifelessanduninhabited,andlaterwhenthecrippledKarl’sbrainfillsitwithlife.The second theme isKarl’s theme, associatedwith the realKarl (MichaelGwynn), both

beforehistransplantationintothemonster’sbodyandafter,whenhisownpersonalityobscuresthatofthemonster’sactions.Thissoft,unresolvedviolinmelody,vaguelysadandrhythmic,isfirst heard asMargaret (EuniceGrayson) arrives atFrankenstein’s clinic andmeetsKarl. ItreflectsthepathosofKarl’scrippledconditionandhissuddenattractiontoMargaret,aswellashersympathyforhim.DuringthesurgeryscenewhenKarl’sbrainistransplanted,wefirsthear the monster’s theme, developed into a longer series of horn chords which segue intoKarl’sthemeasthecripplegazesupathiswaitingnewbody.ThemusicsplendidlyspeaksforKarl’sinnerfeelingsashewakesandlooksathimselfinthemirrorandseeshisnoncrippledbody.Heescapesoutthewindowtofreedomwithanexhileratingphrasefromviolins.Karl’sthemewillcontinuetocreepin,reaffirmingthemanwithinthemonster’sbody,until

Karlrealizestohishorrorthathisformercripplingstateisbeginningtoaffecthisnewbody.Atthispoint,boththemesmerge,thevaguemelodyofKarl’sthemeheardoverthemonster’slowthrobbing rhythm. Salzedo provides an excellent horrific cacophony for full orchestra,dominated by snarling horns and fierce percussion, asKarl breaks into the house party andcriesout, “Dr.Frankenstein, helpme!”At the end,whenKarl is dead andFrankensteinhasbeenslaughteredbyhispatients,thereisonlytheMonster’stheme,soundingeerilyandgrimlyovertheendtitles.

In1980,afterahiatusfromfilmscoringofnearly20years,Salzedoreturned toscore the“Silent Scream” episode of THE HAMMER HOUSE OF HORRORS. “The TV series was lesssatisfactoryasinsufficienttimewasallowedforrecording,”saidSalzedo.

IenjoyedworkingatHammerverymuchandthestudiowascertainlyverysupportiveat all times. They gavemany young composers likemyself the opportunity to writeinterestingscores.Theytrustedeachcomposertoproducesomethingsuitable.MostofthefilmsIwroteforthemwereseriousandfairlydramaticanditwasthisthatItriedtoemphasize.

FranzReizenstein

FranzReizenstein scoredonlyone film forHammer,THEMUMMY (1959) but provided anexcellent composition. Reizenstein was born in Nuremberg in 1911 and died in London in1968.Hebecamequitesuccessfulasacomposerofconcertworksandwaswell-respectedasaconcertpianist.Reizenstein’sonlyothereffortinthegenrewasCIRCUSOFHORRORS(1960).ForTHEMUMMY,heembodiedthefilminabasicandquitetragiclovethemeforlargechoir

over brass and tympani,which recalls the 2,000-year-old lost loveof theEgyptian,Kharis.ThethemepassionatelyunderscoresnotonlytheflashbacksequencesplacedinancientEgypt,butalsothefeelingsoftheawakenedKharistowardthecontemporarywomanwhoresembleshisbelovedprincess.ReizensteinusesthisthemeprimarilyforKharis,themummy;itisalsoheardasMehemetBeypraystoKarnakforthesuccessofhismission,butwelaterrealizethathismissionisreawakeningKharis,soevenherethethemeisassociatedwiththeas-yet-unseenmummy. When the mummy is first awakening, strong, ascending brass chords accent itslurchingstepsasitrisesfromthebog.Themusicsoftens,mergingintochoirandstringsasBeyordersKharis tokillhis tombdefilers.Thenabold stringmelodyderived from themummytheme sounds asKharis stridesunsteadilyoff; accompaniedby tympani andxylophone taps.Harsh,rasping,ascendingbrassstrokespunctuatethemummy’sstalkingdeparture.Themusicsuperblyunderscoresthehorrorofthelivingmummy’spresence,particularlyin

thescenewhereheattacksBanning’shome:deep,groaning,cadaverouschordsareheardashestridestowardthehouse.Stringsoverxylophoneascendtoafeverpitch,climaxingtoablaringbrasscrescendoasKharisburststhroughthecloseddoorsintotheroomwhereBanning(PeterCushing) waits. Continued ponderous, low, downward-surging brass chords counterpointagainstrapidlyworkingviolinfigures,emphasizingtheterrorandfrenzyoftheirfight,brokenbythemummy’sthemewhenIsabel(YvonneFurneaux)enters theroomanddistractsKharis,whobelieveshertobehisPrincessAnanka.IntheclimacticscenebetweenKharisandBey,Banning and Isabel, themusic bespeaks themummy’smixed emotions—caught between hisneedtoobeyMehemetBeyandhisloveanddevotiontoAnanka.Aslightoboevariationofthemummy’s theme over low brass intonations and bell-like organ chimes reinforces hisconfusion.WhenhecarriesIsabel/Anankaofftowardtheswamp,echoesofthemummythemesoundasIsabelconvinceshimtoreleaseher.Pulse-poundingtympaniboomsasKharis,shot

by the police, staggers into the bog, suggesting his final heartbeats as they pound awayrelentlessly;thenheslipsbelowthesurface,stillclutchingthescrollthatgavehimlife,asthemusic ends in an irresolute swirl of string tones.Themummy theme is reprised for the endtitles,culminatinginadramaticorchestralclimaxandresolution.Reizenstein’s nonmelodic suspense music is unremarkable and undistinctive—typical

figures and instruments piping in for good measure—but his main theme is most effective,wrappingitselfthroughoutthescoreandmaintainingacontinualreferencetothemyth,legend,andenduringpowerofancientEgypt.

BenjaminFrankel

Born inLondon in 1906,BenjaminFrankel studied at theGuildhallSchool ofMusic.Hebecameactiveformanyyearsinpopularmusicasapianist,violinist,arranger,andconductorfor classical music before becoming involved with film scoring in 1945 with the notablemelodrama,THESEVENTHVEIL.ThispsychologicalthrillerstarredAnnTodd,HerbertLom,andJamesMason, and is considered one of the keyBritish films of the decade. It was quite aprojectonwhichtocutone’steeth.AnnTodd’scharacterwasapianist,soFrankelwasabletousehisabilitiesforthisinstrumenttofulladvantage.AmongFrankel’sothermemorableworksare APPOINTMENT WITH VENUS (1951, known in the US as ISLAND RESCUE), wherein hecomposedapastoral themefor thefilm’scentral figure:acow.Notedforhisversatilityandadeptinavarietyofmusicalstylesandforms,Frankelprovidedfilmscoresforatmosphericmysteries such as FOOTSTEPS IN THE FOG (1955), comedies such as theBobHope-KatharineHepburn pairing, THE IRON PETTICOAT, dramas such as THE IMPORTANCE OF BEING EARNEST(1952)andNIGHTOFTHEIGUANA(1964),aswellactionpicturessuchasBATTLEOFTHEBULGE(1965).Hediedin1973inLondon.FrankelscoredHammer’scomedyfilm,IONLYARSKED,in1959,butitwashisfinescorefor

Fisher’sCURSEOFTHEWEREWOLF(1960)thatgavehimhisreputationinthegenre.Approachingthis film in a very dissonant manner, Frankel emphasized strings and percussion with fewmelodiesandfewrepeatedmotifsotherthantheuseofsimilarorchestration.Healsoinvestedagreatdealoffeelingtothecharactersandsituationsinwhichtheyfindthemselves,lendingaprofounddegreeofpoignancytothisoftentragictaleofLeon,thewerewolf.Themainhorrorthemeischaracterizedbyarelentlesslyadvancingseriesofmusicalchords,suggestiveofthemonster’sstalkingfootsteps,treadingeveronwardamidastewofdissonantstrings,horns,andpercussion.Midway through the film, Leon, inflicted with the werewolf’s curse, has been jailed for

murderandbegshisfathertokillhimwithasilverbullet.Themusicrespondstohistorturedmind,buildingtoaviolentcrescendoofstringsandxylophoneasheattemptstoresistthespelloflycanthropy.Frankel’smusicspeaksforthefrenziedemotionswithinLeonashetriesvainlytocombatthesurginglycanthropespiritwithinhim.Near the end of the film, as the villagers pursue Leon (now a werewolf), into the town

square, dramatic percussion and strings express the villagers’ enmity toward the creature.

When Leon’s stepfather ascends the church tower where the werewolf has taken refuge,Frankelinjectsmotifsfromtheearlierscenes,remindingtheviewerofthetragiccircumstancessurroundingLeon’sbirthandhistragiccurse.AfterLeonhasbeenshotandkilled, themusicbespeaksreliefnowthatthewerewolf’scursehasbeenlifted,hissurgingmusicmergingwiththerhythmicallyclangingcacophonyofthechurchbells.Frankel’sonlysubsequentgenreworkwasinscoringHammer’sco-productionwithWilliam

Castle,adrearyremakeofTHEOLDDARKHOUSE(1966),scoredwithverycartoonlikemusic,emphasizing the humor rather than the horror of the film. The main title, with its CharlesAddams animation, is comprised of rhythmic, calliope-like strings and woodwind overpercussion, with a lot of Mickey Mouse hits matching the animated actions. This stylecontinuestomatchtheactioninthehauntedhouse—astheascendingglissandifromhighpairedviolinswhenthegargoylefallsonTom’scarandthenicebrasssurgewhenTom(TomPoston)fallsthroughatrapdoorwhenhearrivesattheFemmmansion.This main calliope-like theme is used throughout the score, including a quiet interlude

arrangementforwoodwindandpianowhenTommeetstheweepingCynthia,butforthemostpart its arrangements are fast-paced andhyperactive, giving the film its only real drive andexcitement.

CliftonParker

CliftonParker,whoseexcellent score for1956’sNIGHTOFTHEDEMON (US:CURSE OF THEDEMON) is among thebest-everBritishhorror scores,was recruited forHammer in1961 toscoreSethHolt’sstylishandcompelling1961psychologicalthriller,TASTEOFFEAR (SCREAMOFFEAR in theU.S.). Parkerwas born inLondon in 1905 and spentmuchof the 1920s and1930sasaplayer,orchestrator,andcomposerforawidevarietyofmusic.DuringWorldWarII, Parker turned his attention to film music and accepted an offer to score IT STARTED ATMIDNIGHT(1942).Parkerwentontoscoremorethanfiftyfilms,includingthenotablewarfilmWESTERN APPROACHES (1945), the original version of THE BLUE LAGOON (1949), the 1959remakeofHitchcock’sTHE39STEPS,andtheadventurousSINKTHEBISMARK!(1960)andDAMNTHEDEFIANT!(1962).HealsobecameoneoftheWaltDisneyStudiosfewnonstaff,contractedcomposers, scoring the studio’s live-action featuresTREASURE ISLAND (1950), THE STORY OFROBINHOOD(1952),andTHESWORDANDTHEROSE(1953).Offilmscoring,Parkerhassaid

Acomposerfacestwomainproblemsinfilms....Firstly,therearemomentswhenheisallowedtohavehissay,notasinasymphony,butratherasinoperaorballet,wheretheeyeandtheearmustbeequallyintrigued.Secondly,therearethesectionswhenthesoundtrackmustbedividedintoits threemainingredients—dialog,soundeffectsandmusic.Here the composermust arrange that themusic calls for no strong line of itsown,butratherthequalitiesthatmakeitflowsmoothlyintothegeneralpatternofthesoundtrack.Asweareworkingintheageofsoundfilm,althoughoureyesareonthe

screen,ourearsareonthesoundtrack.Whenthecomposerhasitallhisownway,hecancommandhalfourattention.Whenhehasn’t,thenhe’sluckyifhehasone-tenth.7

Hammer’sTASTE OF FEAR overcame its pedestrian plot (stepmother and lover try to drivedaughterinsaneinordertogainherinheritance)throughoutstandingblack-and-whitelighting,camera angles, and perspectives—and Parker’s music contributed greatly to the film’sshadowymenace.Thescore isnotbasedon repeated themes,but ratheronadeftvarietyoforchestral figures thatbuild aneffective, spooky, suspensefulmood.QuickpianonotesoverstringsandtympaniemphasizePenny’sshockwhenshefirstseeshermissingfather’scorpsesitting in the summer house. High, squeaky strings wander over low viola chords whenwheelchair-bound Penny (Susan Strasberg) later sees the light on in the summer house andfurtively investigates. Low tympani over rustling violins build a tremendously apprehensivesuspenseasBob,thechauffeur,andPennybreakintothefreezerinsearchofdad’scorpse,thespooky string figures embellishing a superb mood of impending dread as the hinge isunscrewed,droppedback,andthelidfurtivelyopened.AprettylovethemeforviolinisheardasBobandPennyembraceonthebeach,poignantly

swellingandaddingalyricalsweetnesstotheirkiss,thoughsoonthescorereturnstomysteryandapprehensionwhenBobturnsouttobethevillain.Eerievibrattostrings,xylophone,andbuilding horn phrases underscore Bob’s underwater search for the missing cadaver, theorchestraachievingalethargiccrescendoasthecameraholdsonthefrozenwide-eyedcorpse,itswhitehairsplayedoutinthestillwater.ThelovethemereturnsasPennywaitsforBobtogetthecartotakethemtotown,itsmelodysad,reflectinghersorrowoverherfather’sdeathandhermisgivingsoverherstep-mother’sdeception.Anexceptionalclimaxisreachedinthenextscene,whereBobandPennyaredrivinginto

town.Mrs.Applebee(AnnTodd)wavesthemdown,andBobstopsthecartogetoutandtalktoher.Buttheparkingbrakeisn’tset,andthecarbeginstorolldownthehillycliffsideroad.Pennytriestoreachforthesteeringwheel—slow,weavingviolaemphasizingherpanic—andthenscreechesinshockassheseesherfather’scorpselyingin thefrontseatof thecar.ThemusicbuildsthesenseofdangerandthenblastsinshockandrealizationthatBobispartoftheplotagainsther.Themusicincreasesintempoastherollingcarspeedsup,theneruptsintoablareofhornsandhigherstringsasthecarhurtlesalongtheroadwayandplungesoffthecliffinto the sea. Parker’s music beautifully heightens the suspense and shock of this climacticsequence.At the surprising conclusion, energetic string figures and trumpets soundasBob, learning

thatPennyhassurvived,racesupthehilltowhereshesitsinherwheelchairandpushesheroffthe cliff—not realizing that it’s Mrs. Applebee who is sitting in the chair having beenconfrontedbyPennywithasurpriserevelation—andwhoplungestoherwell-deserveddeathon the rocks below.The rhythmicmelody that opened the film returns here as Penny staresdownatMrs.Applebee’scorpseandthefilmfadesout.LikeCURSEOFTHEDEMON, thescoreforTASTEOFFEARisnotaleitmotifscore.Ratheritissomethingofadarktonepoem.WhereDEMONwasakindofmusicalpaeontotheforcesofevil,TASTEOFFEARisanodetothetwisteddimensionsofthehumanpsyche.Bothscoresunderlinetheunsavorythemesoftheirfilms.

EdwinT.Astley

OneofHammer’smostromanticscoresoftheearly1960swasfortheirbenevolentremakeofPHANTOMOFTHEOPERA(1962).ThescorewasprovidedbyEdwinAstley,whoalsoscoredseveraloftheirnonhorrormysterydramasduringthelate1950sandearly1960s.Astleygothisstartinmusicbylearningtheviolinattheageof9.Hejoinedanarmyband

when he was 17 years old, and eventually gained a position as an arranger at a musicpublishinghouse.Thisalsoaffordedhimtheopportunitytodoarrangementsfornamebands,whichgothimafilmscoringassignmentin1953.Thepicture,GILBERTHARDING:SPEAKINGOFTERROR (the first of severalAstleywould score for Harry and EddieDanzinger), launchedAstleyona20-yearcareer,scoringmorethan70filmsandnearly20televisionseriesuntilhisretirementfromthemediuminthemid-1970s.Severalof these scoreswerecredited to“Edward”or“Ted”Astleyand included fantasy

filmssuchasDEVIL GIRL FROMMARS (1954), JACK THE RIPPER (1958—actually two episodesfrom theTVseriesTHEVEIL, and scoredwith librarymusic recycled fromAstley’sprevousfilms), THE GIANT BEHEMOTH (1959), THE MOUSE THAT ROARED (1959), and his last score,1974’sDIGBY, THE BIGGEST DOG IN THE WORLD. For television, Astley wrote the theme andincidental music to THE SAINT (1962-69) and Patrick McGoohan’s DANGER MAN (1964-66;known as SECRET AGENT in the US). Astley also collaborated with composer Albert ElmsseveraltimesonTVandfilmscoresinthe1960s.HisfirstHammerscorecamein1957withamystery-dramacalledDANGERLIST,afilmvery

much in linewith the previous film scores byAstley,which is no doubtwhat attracted thestudiotohim.Thiswasfollowedayearlaterbya30-minuteshort,CLEANSWEEP,andthe1961MichaelCarreras adventure-drama,VISATOCANTON (PASSPORT TO CHINA).“VISA TO CANTONwasjustanotherrun-of-the-milljobasfarasIwasconcerned,”recalledAstley.“Iusedabout20musiciansandrecordeditinasingle3-hoursession,becausethebudgetwasverytight.”8Theeffectivenessof the score led toAstley’s secondHammerscore, themore lavishand

larger-budgetedPHANTOMOFTHEOPERA.Besidescreating the film’s incidental score,AstleysuggestedusingthestoryofJoanofArcforthefilm’soperascenes.“IwasaskedtowriteanoperaforPHANTOM,whichwasaprettytallorder,”hesaid.“Ichose‘JoanofArc’becauseitwas awell-known story so that at any timeyou cut to the stageyouwouldknowwhatwasgoingon.”Apart from this set-piece, thebulkofAstley’s scorehad todowith the film’s threemain

protagonists. “I used the Wagnerian technique of giving the leading characters a theme ormotif,”Astley said. “Iusedachorusof20andanorchestraof about35.”Astley’s score isbuiltaroundthreeprimarythemes:themaintheme,consistingoftwoboldnotesfollowedbyaseries of rapid, downward strokes, is first heard during the main title; a quiet, menacingsustainedorganmotifassociatedwiththePhantom(HerbertLom)andhisconfrontationswithMaria in the theater and thecatacombs; and finally a soft love theme forChristine (HeatherSears)andHarry(EdwardDeSouza).ThislovethemeisactuallythesamemusicwrittenbyProf.Petrie(thePhantom),stolenbyD’Arcy(MichaelGough),andheardduringthefollowingflashbackscenethatrevealsthePhantom’sorigin.

These three themes interweave throughout the score to underscore specific situations andalsocommentontherelationbetweenChristine,Harry,andthePhantom.Theuseoftheorganis alsoassociatedwith thecharacters and their themes, aswhen thequietPhantom theme isheardfromtheorgan,counterpointingthemoredissonantorganmusicplayedonscreenbythePhantom.LaterthelovethemeisplayedontheorganbythePhantom,theorganlinkingthesemotifsinstrumentallywiththePhantom.Theclimacticscenesarescoredprimarilywiththeoperamusicheardfromtheplayerson-

screen. It’sverymodern,dramatic, anddissonant; the sungmelodiesarevery slowover thebrash, dissonant choir.When the Phantom’s hunchbacked assistant kills the stage hand andbreaksthechandelierloose,theorchestrastopsplayingastheaudiencereactsinterrortotheprecariouslydanglingchandelier.Astley’sscorecomesin,supplantingtheformerorchestra,asthePhantomripsoffhismaskandleaps into theair,pushingChristineawayfromthefallingchandelierbutbeingcrushedbyithimself.Cacophonichighstringchords,brassnotes,frenziedviolinsescortthefallingchandelier,andacrashingbrasschordechoesresolutelyasthedeadPhantomisshownbeneath it.Thelovetheme/Petrie’smusicswellsuptoa theatricalclimaxfortheendtitles.Petrie’scompositionhasindeedsurvivedhim.

MontyNormanandDavidHenekerAn effective score for Hammer’s first reworking of the Jekyll andHyde story, THE TWO

FACES OF DR. JEKYLL (1960, shown in the U.S. as HOUSE OF FRIGHT) was providedcoincidentallyenoughbyaduo:MontyNormanandDavidHeneker.NormanhadbeenasingerwithleadingBritishdancebandsofthelate1950sandearly1960s,graduallybecomingasoloperformeronrecordsandtelevision.Hebeganwritingpopsongsforhimselfandotherartistsand,afterwritinganumberofhitmusicals,begancomposingforfilms.Norman’smostnotableworkinfilmsisscoringthefirstJamesBondmovie,DR.NO(1962),muchofwhich(includingthe famous “James Bond Theme”) was rewritten by John Barry, whowent on to score themajorityoftheBondfilms.NormanandcomposerDavidHenekerbegancollaboratingin1958,writingmusicalssuch

asIRMALADOUCE,EXPRESSOBONGO,andMAKEMEANOFFERforstage.Whenthefirsttwoshowswerebroughttothescreen,bothcomposerscamealongwiththebargain,workingonthefilmversions.Theircollaborationendedsometimearound1963.OneofNorman’s theater acquaintanceswasWolfMankowitz,withwhomhewaswriting

severaltheatricalmusicals.MankowitzinvitedNormantoscoreTerenceFisher’sJEKYLLfilmfor Hammer. Because Norman had been working closely with David Heneker on variousmusicalprojectsandfilms,thetwoofthemcollaboratedontheJekyllmusic.Thescoreisbasedonasingletheme,afast-pacedwaltzmelodyforstrings,firstheardinthe

main title.Themotif is linkedwithDr. Jekyll and the serumhe takes to becomeMr.Hyde.During the first transformation sequence, furtive suspense music grows into a flurry oforchestral activity throbbing in growing dissonance as Jekyll swallows the formula,developing into thewaltzmelody for full orchestra, and then softening down to just violinsoverharpasJekyllstaggerstothecouchandsitsdown,awaitingtheresult.

The result crashes in with surging low brass over shrieking woodwind trills and violinchords—goodhorrormusichere.WeseeonlyJekyll’sbackashestridesoutintothenighttimestreets. We don’t see the change yet, although the booming orchestra suggests what hasoccurred,soundingpowerfulandpurposeful,roaringintoa loudandshriekingdissonanceofbrassandharpglissandiaswefinallyseethefaceofMr.Hyde.Later, as the transformations come unbidden and Jekyll struggles with his evil Hyde

personality, a thundering brass arrangement of thewaltz accompanies his inner torment andlendsastrong,powerfuldynamictothemomentsoftransformation.Thereareacoupleofminormotifsappearinghereandthere.OneisalovemotifforKitty

(Jekyll’swife)andherlover,PaulAllen(ChristopherLee).Thismotifisnotreallyamelodybut a rising repetition of 2 chords, increasing in volume, tempo, and force, peaking into acrescendoastheykiss.Themotifisusedtwice:here,inAllen’sfirstscene,andneartheendforalovesceneafterAllen’sargumentwithHyde.Anotherunusualmotifisexotic,Arabian-style dancemusic heard duringHyde’s visit to the “Sphinx” night club,which recurswhenHydeseducesthedancerbackstage.The main waltz melody provides and suggests the driving force behind Jekyll and his

obsessive experiments, and the contrast between the gentle string waltz and its harsh, lowbrass counterpart is highly effective as Jekyll andHyde struggle forpossessionof the samebody.“Themainchallengewasnottogetboggeddowninmelodrama,”saidNorman.“Ithinkwemanagedtoplayagainsttheactionquitesuccessfully.”9Thedualitybetweenthecharactersiseffectivelysupportedbythemusic,whichaccentuates

theromanticaswellasthehorrificaspectsoftheplot.Yearslater,inDR. JEKYLLANDSISTERHYDE (1971), DavidWhitaker would also base his score for the Jekyll/Hyde duality on awaltz, although inhiscase itwas farmore sensuous thanNorman-Heneker’s rather subduedmelody.“It seemed to me that a story as dramatic as JEKYLL would benefit from a score which

thematically characterized the various personalities,” said Norman, “and at the same timeenhancedthedramawithcontrastingmusic,suchasthelyricalwaltzes.Themainideawastohavefull-bodiedlushstringscontrastingwiththemoredramaticbrass.”NormanandHenekerworked fairly closely with music director John Hollingsworth, who orchestrated andconductedmostofthescore.Normanconductedthebigwaltzsequences,however.

THE TWO FACES OF DR. JEKYLL,while an overly talkative film, sustained its energy largelythrough the Norman-Heneker score. Its contrasting thematics and some genuinely powerfulhorrorchordsduringmanyactionsequencesmakeNorman/Heneker’sJekyllandHydemusicasolid, powerful horror score, and a pity it was either composer’s only effort for Hammerhorror.“Everyone at Hammer knew what they were doing and engaged the best talents in each

field,”Normansaid.10

RichardRodneyBennett

RichardRodneyBennett,bestknownforhisclassicallystyledmusicfordramaticfilmssuchasLADY CAROLINE LAMB andMURDER ON THE ORIENT EXPRESS, scored a handful ofHammerfilmsduringhisearlydaysinthefield.BennettwasborninBroadstairs,England,in1936,andbegan to score films at the age of 20. His first Hammer score was for Terence Fisher’sunremarkable THE MAN WHO COULD CHEAT DEATH (1959), which featured a main theme forshimmeringelectronicorgan,reverberatingoverrepeatedtympaniandmysteriouspianonotes,aswellasavarietyofxylophone,brass,andpercussionusedassuspensemotifsthroughoutthescore.Thereisoneromantictheme,asoftstringmelodyforDr.Bonner(AntonDiffring)andJanine

(HazelCourt), but otherwise the score is atonal and dissonant. The use of either electronicorganor reverberated xylophone captures the eerie science-fictionnature of the immortalityelixir that prolongs Bonner’s life. Mysterious solo violin figures emphasize the internalstrugglethatforceshimtocommitmurderinordertorestorehisformula.Suspenseful violins over heavy tympani underscore the confrontation between Ludwig

(ArnoldMarie)andDr.Bonner,whiledeeppianoandpluckedviolinchordsintonedoomfullyasLudwigkeepstheelixirfromthedecomposingBonner,thenswirlingwoodwindfiguresandstringsswirlundertheirstruggleuntilthevialissmashed.Therearestabbingstrokesofbrassover throbbing tympani,crashingcymbals,andharshxylophonenotesas theenragedBonnerkillsLudwig, thensoloviolinmysteriosoasBonnerscoopsup the remainingelixir fromthebrokenvialandswallowsit,restoringhisyouth.Themusicpeaksinacrashingcrescendoofbrass,woodwind,andpercussionasheswallowstheliquid.For the climax, though, as Bonner ages rapidly and is killed in the cellar fire, Bennett

providesaratheruninterestingandperfunctorygatheringofrepeatedbrassblaresovertappedpiano and xylophone noteswhich intones noisily under the sound effects, and the film endsalmostabruptlyonacacophonyofblaringbrass.SethHolt’sstrikingpsychologicalthrillerTHENANNY(1965)containedaneffectivescoreby

Bennett,oneheconsidersamonghisbest.11Builtaroundapretty,lightlyromanticmelodyforharpsichordoverpizzicato strings, it opens the filmcheerfully aswe first seeNanny (BetteDavis) strolling through the park. This theme will continue to represent her, punctuatingsignificantmomentssuchasthelazycamerapanacrossherbureau,displayingadozenframedphotographsofchildrenintheearlysceneinNanny’sroom.Themusicmakesthisstandoutasan important element of her character. The theme recurs briefly, from tinkling harpsichord,whenNannyclearsthetableafterthebitterJoeyrefusestoeatthemealshehasprepared;fromeerie strings andwoodwind as she brushesMrs. Fain’s hairwistfully; a 10-note phrase forxylophoneduringtheflashbackofSusyandJoeyathomealone;harpsichordoverstringsforthelaterflashbackofamaddenedNannybathingthedrownedSusy.Thisthemealsoclosesthefilmwithanairofsadness.Nannyreturnstoherroomafterrealizingherinsanityandgathersupallherphotosfromthebureau,preparingtomeettheauthorities.Themusictiesthissceneinwith the earlier one of the photographs and lends an air of sympathetic melancholy to thesequence.Nanny’sthemeisalsotakenbylushstringsfortheendtitles.“Ilikeddoingthat[score],”saidBennettinaninterviewwithauthorJohnCaps.

Ididn’twanttogive[theending]away.Iwantedjusttodosomethingratherblandand

rathereerie...InTHENANNY,itwasjustanadamantlookingladywalkingthroughthepark,asfarasIremember.AndI justwantedtoplaya little themewhichcouldthenappearinverystrangecontextslateron.Asortofsurrealistjuxtapositionofsomethingquitebland...Therewasaplacewhereshegoestoseeherdaughter,andIdidamuchmorescaryversion.12

In addition toNanny’s lyrical theme, Bennett provides some striking suspense and shockmusic, includingaveryevocativecrescendoofviolins,rustledpianostrings,cymbals,harshviolafigures,andlow-endharpsichordfingeringasthenursefindsJoeyhangingfromanooseinhisroom,seeminglydead.Thecuesplendidlyreflectshershockathisprank.Duringalaterprank,whenNannyfindsthe“drowned”dollJoeyhasplacedinthebathtub,eerieviolinandpianochordspowerfullymirrorherpanicandterror.Themusicreallyaccentuatesthepsychologicalaspectsofthecharacterandstory,especially

inthefinalflashback,whenNannyfindsSusydrownedinthebathtubandissentsoftlyoverthebrinkofmadness.A sad stringphrase is heardduringobjective shots of the drownedSusy,contrastingwithNanny’stheme,whichisheardundersubjectiveshotsofSusyaliveandhappyin the tub,which ishowthemadNannystill seesor imaginesher.By thefinalclimax,withNannytakingtheunconsciousJoeytothebathtub,themusicfullyrepresentshermadnesswithasqueaking,grindingdissonanceofstringsandcymbals,untilNanny,intheprocessofdrowningJoey,comestohersensesandpullshimoutofthewater.Bennett’smusiceffectivelymirrorsthekind,businesslikeattitudeoftheNannywithhispretty,romanticthemeaswellasherdark,psychopathicsidewithsomehighlyeffectivespookmusic.ForTHEWITCHES (1966, known in theU.S. as THE DEVIL’S OWN), Bennett’s score is built

aroundarhythmicstructureforpercussion,woodwind,piano,andmarimba.Forthemostpart,there is no melody in the score and no actual themes. Instead Bennett uses the repeatedorchestraltexture,particularlytheuniquesoundoftherollingmarimba,todenotetheprimitiveAfricanwitchcraftthatthreatensheroineGwen(JoanneFontaine)andherschoolchildren.Themusicalcuesare,withoutexception,shortones.Theyareusedtopunctuateashock,amomentofsuspense,orlendanairofmysteryas,forexample,whenGwendiscoversthingsthatarenotquite right. Each cue has the same basic rhythmic pattern built around a base of piano andpercussion. Occasional brief fingerings of marimba denote witchery afoot, while the moresustained marimba rolls provide a driving rhythm while recalling the occultic dangerthreateningthecharacters.The closest the score gets to an actual leitmotif is an eerie, music-box lullaby for the

threatenedyouths,LindaandRonnie.FirstheardwhenRonniebuysadollforLinda,themusicturns dark, slow ambient viola and woodwind intruding on the jingly lullaby, the tinklingmusic-box winding down as the children avoid Gwen and head off mysteriously into thewoods.Themotif recurswhenGwenandRonniemeetby the river,growingoutof the lushstringandwoodwindopening that emphasizes the luxuriant setting; and finallynear the end,when Gwen enters the mausoleum and finds a poppet with Linda’s picture on it. The dollseemingly comes to life, the simple music-box jingling lending a peculiar eerieness to thescene,untilGwenpicksupthedollandrevealsthewrigglingblackcattrappedinitsclothing.Thismotifsuggests theyouthful innocenceofLindaandRonnie,contrastingwith themystery

that surrounds their activities, while the percussive atonal rhythms used elsewhere plainlyunderscore theominouswitchcraftandslowlybuild themysterywitheachsuccessivesubtlecue.Thereareonlytworealmelodiesinthescore.ThefirstisacarefreecountrymotifasGwen

drives through the countryside on her way to the private school. Strings are punctuated byxylophoneoverquick,staccatoviolinstrokesand, like theatonalcues, it ishighlyrhythmic.The second is a pretty romantic string theme that swells in after thewitch has been killed.Significantly, melody is heard only before and after Gwen’s occult confrontations in thevillage. The body of the film is wholly nonmelodic, emphasizing the chaotic nature of thewitchcraft.Thescoreendswithill-fittingendtitlemusic,afast-pacedandbusinesslikehornandstrings

themewhichsoundsmoreappropriatetoanurbandramaandseemscompletelyunrelatedtothemusical style, rhythm, and texture that has gone before, although in away it does capture afeelingof“lifecangoon”nowthatthedangerisover.

MalcolmWilliamson

AnambientmusicalapproachwastakenbyMalcolmWilliamsoninfourhorrorscoresforHammer.Williamson’sapproachwasfarmoredissonantandtexturalthanthemoretraditional,thematic-drivenscoresofBernardandothers,notalwaysentirelyeffective,butnotableallthesame.BorninAustraliain1931,WilliamsonbeganstudyingmusicattheSydneyConservatorium

attheageof11.Hisfatherwasaministerandhismotheranactress.In1950,attheageof19,he continued his studies in Londonwith ElisabethLutyens andErwin Stein andwithin twoyears had settled permanently in England. Williamson had scored two Australiandocumentaries in 1947-48 (INLAND WITH STUART and THE TIMBER GETTERS) while still ateenager,andby1960hadbecomeinvolvedwithBritishfilmmusic,scoringafilmtitledARIDLANDS.ThisbroughthimtotheattentionofHammerandJohnHollingsworthandtheoffer toscoreBRIDESOFDRACULA(1960),hisfirstmajorfilmassignment.Williamsonwentontoscoreanothernine films.His last,Tyburn’sSherlockHolmes thrillerTHEMASKSOF DEATH,was in1974. Hewas far better known for his prolific output for the concert hall, which includedsymphonies,operas,ballets,andassortedchoralworks. In1975,WilliamsonwasappointedMasterof theQueen’sMusicand the followingyearwasawarded theCBE(CommanderofOrder of the British Empire). The year 1987 saw him appointed Honorary Officer of theAustralianOrder.Numerousdoctorates,citations,andotherhonorshavebeenbestoweduponhim.Williamson’sfirstHammerscorewasadistinctlydifferentfromtheheavilythematicJames

Bernard score for HORROR OF DRACULA. Why Bernard wasn’t assigned Hammer’s secondDraculascoreisamysterytobothcomposers,althoughHammer’sawarenessofthevalueofBernard’smusic—aswell asWilliamson’s relative inexperience in feature film scoring—isevidencedbythefactthatthestudiohadWilliamsonviewsomeofBernard’spicturestostudy

theirscores.“Ithoughtofhimasfaultless,”Williamsonsaid.

IonlywishIcouldwritehorrorscoresofthatquality.Hammerwasthen,andstillis,verycircumscribedinitsideasofwhathorrormusicshouldbe.Theyacceptacertainmodernity in themusical language, but as far as the orchestration is concerned, theytendto like things tobestereotypedandconventional.Theirphilosophyonmusic,aswellasprobablyeverythingelse,is“ifyou’vegotawinningformula,whychange?”13

Williamson’sBRIDESOFDRACULAmusicisamixedbag,providingmusicalhorrorwhichisat timesquiteeffectiveandatothertimesunusuallyunaffecting.Lackingmelodyorrecurringmotifs,thescorereliesupondissonance,clashinginstrumentation,andhighvolumetomaintaina consistently nightmarish aural ambience. Themain title is a loud and noisy cacophony ofstrings,brass,andpercussions,heraldingwhatmaybeHammer’snoisiest scoreof theearly1960s. For example, in the scene where Maria (Yvonne Montaur) escapes from BaronessMeinster(MartitaHunt)viaasecondfloorbalcony,Williamsonprovidesanatonalmixtureofhigh strings shimering over oboe and deep, cavernous, echoey woodwind which is overlynoisyandloud,givingthesceneasledgehammerforceinsteadofthemysteriousambienceitseemstohaveneeded.Incontrast,WilliamsonscoredaverynicemomentwhentheBaronessconfrontsMariaand

warnsher abouther son.Maria runsoff, frightened, accompaniedby a finemotif for rapid,frenziedharpglissandos,rapidlybowedstrings,andrapidlyfingeredpianonotes.Mostofthescore, however, remains brash and loud, as in the sequence where Maria flees from themansionafterseeing theBaroness’sbodyandruns into thewoods.Themusicaccelerates torapidwoodwindpipingovereeriestringsandtympani,withsubtleguitarorstringbassplucks,allofwhichismergedwiththesoundofmanyfrogsontheeffectstracktotakeonaneedlesslyloudvolume.Williamsonprovides the filmwitha light string love theme,heardwhen theyoungBaron

Meinster(DavidPeel)meetsMariaintheinn.Eventhisthemeisdevoidofmelody,asifunderthe influence of the overall horrific musical tonality that envelopes the score. Chords arerepeated without ever reaching a melody or resolution—empty and full of discord,appropriately,sinceMeinster,thevampire,isequallyemptyandfullofdeceitfuldiscord.LesseffectiveisWilliamson’suseofaclerical-soundingthemeforthereligiouselementsin

the film. The scenewhere the vampireGreta (Freda Jackson) confrontsVanHelsing (PeterCushing) isscoredwithasoloorgan,as if thisweresomediabolical1960soapopera.Themusical texture seems counterproductive to the scene, and the clerical organ relates to littlemore than thechurchyardsetting.Thisorganmotif recurs later,whenVanHelsingstakes thevampireBaroness,andislaterarrangedforhighbrass,signifyingthereligiousnatureofVanHelsing’s defensewhen he holds the vampire at baywith a crucifix. (This church theme isreprisedwhenever the cross is used in thebattle and after,whenVanHelsingburnsout hisvampirebite,butthemotifisaratherobviousone.)Theclimacticfightsceneisscoredwithaloudcacophonyof shriekingbrass, notes riotingwith eachother in awindstormof auditoryfury, until a single, sustained violin note sounds as the vampire dies, its plain tone finallyfadingoutalongwiththevampire’sun-life.Thechurchthemeisthenreprisedfortheendtitles.

Williamson was called back to Hammer by Philip Martell in 1968 to score thepsychologicalthrillerCRESCENDO.Martellhadactuallysoughthisservicespriortothat,butthecomposerwasbusywithothercommitmentsandhadtoturntheoffersdown.ButCRESCENDOcameattherighttime,andWilliamsonhadalotofadmirationfordirectorAlanGibson.Thescore followed the style of the film—what he describes as “cool horror”with amixture ofclassicalandjazzstyles.Oneofthefilm’scharactersisacomposer,soWilliamsonprovidedapiano concerto and about threeminutesworth of a symphony for him to performduring thecourseof the film. In fact,Williamson stood in for actor JamesOlsenduringa sceneof thecharacter playing the piano. Hammer wanted an authentic performance, so Williamsonreceived actor’s pay for this role asOlsen’s sit-in. (The jazzmusic provided underscoringwhiletheclassicalcompositionswereassociatedwithOlsen’scharacter.)Williamson’snextgenrescorecametenyearslater,withHORROROFFRANKENSTEIN (1970),

Jimmy Sangster’s lackluster “comedy” remake. Williamson provides a sporadic score,containing vague, aimless partialmelodies,mysterious violin ramblings, and loud dissonantbrassfigures.Whenthemonsterisbroughttolifeandgoesontheusualrampage,thereisanassemblage of chord professions from scabrous brass, low snarling tubas, warblingwoodwind,lowmoaningtuba,anddilatingorchestraltonesploddingaboutthesoundtrack.Allof this creates an atmosphere of oddness andunusual discomfort due to its grotesquerie. Itsploddingslowlessseemsill-fitting to thesomewhatfuriousactionof themonster’srampage,butperhapsWilliamson’smusicalstrangenessiswhatmakesthescorerathereffective.“It is the occupational hazard of any film composer that when he gets a good idea the

convention-riddenpunditstrytosquashit,”saidWilliamson.

HORROR OF FRANKENSTEIN was planned by me to have eight clarinets ranging frompiccolo clarinet to double bass clarinet and no other woodwind, with conventionalbass,percussionandstrings. Iwas forced toadd flutes (nature,birdcalls theysaid)andoboes (sex interest), so theblanketofclarinetcolor togiveadistinctive featurewasdilutedtoageneralwoodwindsound.Iusedthetubatopersonifythecreature,butthefinaleffectwasludicrous.Ididnotenjoyitatall.14

Williamson’s last Hammer score was for their release of Charlemagne Production’sNOTHINGBUTTHENIGHT(1975).TheproductioncompanywasformedbyChristopherLeeandAnthonyNelson-Keys; their inaugural release turnedout tobe their last.Williamson’smusicunderlined thepsychological elements emphasizedby the film. “ItwasdirectorPeterSasdythatprovidedthetemperamentforthatproduction,”recalledWilliamson.

Hewas fullof ratherpompous ideasofwhat themusic shouldbe;butwhen it camerightdowntoit,hehadveryfewconcreteideas.Hedidn’tseemtohaveaveryclearideaoftheuseofmusic...WhenIwritemyscores,alotofmyideascomefromthevisuals or the artwork. You respond to the visual atmosphere when you write newmusic.NOTHINGBUTTHENIGHThadvirtuallynothingformetoworkwithvisually.15

PhilipMartellhassaidofWilliamson,“ThethingthatmakesMalcolmoutstandingisthathehasaspecialquality.Evenwhenit’suglymusicoruglynotes,itstillhaspolishandelegance.Malcolmhasnosenseofhumorinmusic.Hetakeshimselfsoseriously...”16

StanleyBlackStanleyBlack,alsoarecordingartistforvariouseasy-listeningrecords,scoredahandfulof

fantasy filmsand thrillersduringhis associationwith the film industry since the late1940s,includingHammer’s psycho thrillerMANIAC (1963).Blackwas born inLondon, and for tenyears starting in 1944 he was the resident conductor of the BBC Dance Orchestra. Undercontract toDeccaRecordssince1943,Blackhasconductedmanyrecordings, includingfilmtheme albums for London Records. In 1958, Black was appointed music director forAssociatedBritish Studios.He scored various films of little note throughout the 1950s and1960s,includinggenreofferingssuchasJimmySangster’sTHECRAWLINGEYE(1958)andWARGODSOFTHEDEEP(1965).Black’s music for MANIAC was comprised thoroughly of jazz, with emphasis upon

percussion.Occasionally, as in themain title, the score retains a suggestion of a primitive,near-African rhythm in itsdrumming,butotherwise laysout a carpetof jazz rhythmswhich,while never really correlating to character or plot development, provide a fast-paced andmodernistic tonality to the lackluster production. The music, though, remains indistinct andunmemorable.

ElisabethLutyens

AnotherofHammer’smid-1960spsycho thrillerswasPARANOIAC (1963).Themusicwascomposed by Elisabeth Lutyens, establishing a relationship with director Freddie FranciswhichledtoherlaterworkforAmicusFilms,whenshescoredFrancis’sDR.TERRORSHOUSEOFHORRORS,THESKULL,andTHEPSYCHOPATH.Lutyens is thedaughterofarchitectSirEdwinLutyens. She started a music career in order “to be independent of family influences,”accordingtoaBritishFilmInstitutebiography.Bornin1906,LutyenswasthefirstcomposertointroduceSchoenberg’s12-tonewritingto

Britain’smusicallanguagein1939.ContemporariessuchasWilliamWalton,BenjaminBritten,andHumphrey Searle soon adapted this technique for their own compositions. LutyenswasalsooneofthefewfemalecomposersinBritishmusicduringthefirsthalfofthiscentury.IntheearlydaysofWorldWar II,Germanicmusic styles suchasSchoenberg’swere less thanadmired,andLutyensfoundfewcommissionsavailabletoher.Herhusband,musicalauthorityEdwardClark,wasamentorofSchoenbergandhadsimilarlyfallenoutoffavordueto thisassociation.Lutyenshadtofindadditionalworktosupportherfamily.Shefounditinfilmmusic.In1944,musicdirectorMuirMathiesonofferedherthescoreto

JUNGLEMARINERS.Shewenton tocomposemore thanahundred films, radio,and television

shows through the end of the 1960s. Unlike concert composers working in films—such asMalcolmArnold,WilliamWalton,andArnoldBax—whoretainedthesamestyleusedintheirconcertmusic for their filmwork (oftenwith an eye toward eventually transferring the filmscoreintoaconcertpiece),Lutyensalteredherstylesignificantly,soherworkforfilmsbearslittle resemblance to her concert compositions. In 1964, Lutyens was awarded the CBE(CommanderofOrderof theBritishEmpire)forherworkinmusic.Shegaveupfilmmusicafter1969inordertoconcentrateonherconcertworks.Lutyensdiedin1983.“For Lutyens, the opportunity towrite for films provided her not onlywith the financial

support,butthemoralsupportsheneededtosustainherthroughoutthesedifficultyears,”wroteauthorDebbieMollinsoninacareerretrospectiveonthecomposer.

Lutyensstronglybelieved that filmscoresshouldnotbeconceivedassymphoniesorconcert pieces. In many of her films, she used orchestral nuances to create specialsoundeffects,andintheshorterfilms,heruseoforchestrationisdesignedtocreateanimmediate atmosphere for thewhole film. In feature length films, she used thematicinterlocking cross reference of themes with varying instrumentation, as seen inPARANOIACandTHEEARTHDIES SCREAMING.The imaginativeuseoforchestrationandexploitationofinstrumentaltimbreinthefilmscoreswasincertainrespectsfarmoreadventurousthaninher12-notemusicwrittenduringthesameperiod.17

CarloMartelli

CarloMartelliscoredapairofMichaelCarrerasfilmsforHammer,1964’sCURSEOFTHEMUMMY’STOMBandSLAVEGIRLS fouryears later.Hescorednon-Hammerhorrorssuchas theGolem film, IT! (1966) andLippert’s sorcerousWITCHCRAFT (1964, directed byDon Sharp,whohelmedseveralofHammer’sfilms).Martelliwasbornin1936andbegantostudymusicattheageof10.Hebegantakingviolin

lessons two years later and soon was writing orchestral music. By the age of 16, thesecompositionswonhimamusicscholarshiptotheRoyalCollegeofMusicinLondon.Bythetimeheleftcollegein1956attheageof20,Martelliwasbeginningtogainareputationasaseriouscomposer,hismusiccriticallynoted.Whenhis2ndSymphonywasbroadcastovertheBBC,itcametotheattentionofcomposerGerardSchurmann.Severalyearslater,SchurmannrememberedthatimpressionandaskedMartellitohelpoutasorchestratorandunofficialco-composer on some of his film scores. Thus introduced to the film world, Martelli got anassignment to score a Shell Oil documentary (TONNAGE OXYGEN, 1962) and through hisassociationwithSchurmanncame to the attentionof noted filmorchestra copyistPhil Joneswho,inturn,recommendedhimtoPhilipMartell,whowasthenlookingforacomposerto“dosomecheap‘B’movies.”18Martelli’sfirstscoreforMartellwasCATACOMBS(1964,calledTHEWOMANWHOWOULDN’T

DIE inAmerica), an effectivelydissonant and suspenseful score composedduringDecember1963.Martelliwenton to score threemore filmsbetweenDecember1963andApril1964.

Meanwhile, PhilipMartell had becomeHammer’smusic director and calledMartelli in toscoretheirsecondforayintoEgyptology,THECURSEOFTHEMUMMY’STOMB(1964).AccordingtoMartell, he had tried to engage famed composer Bernard Herrmann (who’d just scoredMYSTERIOUSISLANDand JASONANDTHEARGONAUTS).Ofcourse,Hammercouldn’tafford thecomposer’ssteepprice,soHerrmann,whoknewMartelli,recommendedhismoreeconomicalfriend,whoobliged.19“Myapproach to theMUMMY scorewas the sameas that toanyother job,”Martelli said.

“[Thatis]tofindthe‘motjuste’andapplyit.Idon’tremembergettinganyparticulardirectionfromPhilotherthanthata‘massive’soundwasneededfortheMummyitself.”20Performedwithanorchestraof72players,includingalargestringsectionconsistingof16

violins,6cellos,and3basses,Martelli’smusicisdrawnfromtwoprimarythemes.Thefirst,introducedinthemaintitles,washeraldedbyvaguelyEgyptian-soundingbrasschords.Violinstirringssummonforthastringandbrassmotifthatsoundsvibrantlyamidaclusteroftremoloviolins, cymbal crashings, and tympani rumblings. Strident violin notes, five or six quicklyascending,echoedfromhighwoodwindsandmoreclashingpercussion,demonstratesuspenseand horror. Trills of reeds lend an air of Egyptology to the ambient cacophony. This themerepresents the Egyptian milieu and legendry, from whence the mummy comes. A similarmajesticmotifforlowbrassunderhighstringsheraldsSirGiles’sdiscoveryofthetreasuresofRa,theSunGod.Martelli’s second,moredominantmotif is for themummy itself.Loud, stalkingbrass and

tympani are punctuated by woodwind trills and pizzicatto violins; 2 ominously descendingchordsshuffleforwardmenacingly.Itmusicallydepictsthebandagedcadaver’srampagesandbecomesanostinatofortheshroudedavenger.There is also a tender love themeplayedbycorAnglais andviolin, aminormelody that

tricklesfaintlythroughacoupleofdialoguescenes,underliningthegrowingaffectionbetweenAnnette(AnnetteDubois)andAdam(TerenceMorgan).Thelovethemeremainsafairlyvaguemelodyuntiltheirfirstkiss,whenitswellsintofulfillmentforamoment,thengrowsfaintandmuted oncemore, to rush forth during their final kiss and embrace. But the motif, like thelovers,isheldatbaybythemorepotentmusicofthemummyitself.Martellicreatessomesuperbmusicaldissonance.Hisattackmusicispowerfulandfullof

forward motion, his brassy orchestral crashes doubled by bells or reeds or percussion orvibraphonethatbroadenthemusicandaddanaddeddepthtothemoment.Duringthemummy’smurder of the older Egyptologist,Martelli’s flailing brass chords are augmented by wildlyswirling strings and trillingwinds, their furious speed contrasting against the slower 2-notemummy figure. Harsh, blaring brass shouts and raging shrieks of the entire orchestraaccompanyanothermurderscene.Eerie harp and woodwind figures lend a moody underscore to the scene where Bray

(RonaldHoward)andHashmiBey(GeorgePastell) talkaboutrevivingthedead.Lowviolanotespunctuatetheiragreementtoworktogetherandgotothepolice.Themainthemerecursneartheend,whereAdamrevealsthatheisRa’sbrother,cursedby

theirfatherRamesestoeternallifeforkillinghissibling.The“legend”themeaccompaniesthisinteraction,as ifsanctioningtherevelationthroughtheuseof thehistorical theme.Theever-presentmummymotifsoonswallowsitup.

InadditiontoMartelli’sownmusic,threeminutesofFranzReizenstein’soriginalscoreforTHEMUMMYwerereusedduringa flashbacksequence inCURSEOF.Thiswas thedecisionofproducerAnthonyHinds,whowanted the scene to have amore expansivemood than theircurrentbudgetallowed.21SinceHammerownedthemusicfromthefirstfilm,itwasasimplematteroftrackingitintothenewsoundtrack.“WhenIsawtherough-cutofTHECURSEpriortowritingthemusic,theReizensteinmusicwasalreadyinthere,tocovertheflashbacksequenceinthemiddleofthefilm.Thishadbeendecidedandunderstood,evenbeforethesceneshadbeenshot.”Asidefromthisshortpassage,theCURSEscorewasthoroughlyMartelli’s.Fouryears later,Martelliwascalledback toscoreHammer’s tongue-in-cheeksend-upof

caveman/woman films, SLAVE GIRLS (1968, called PREHISTORIC WOMEN in the U.S.). Usingstandard orchestration, Martelli composed an ambient suspense score centering aroundwoodwind,percussion,andstrings,withvague,exoticreverberatedkeyboardandhorns.Thethematic material is derived from two motifs: a pretty oboe melody associated with theinnocentprehistoric(butperfectlycoiffured)blondetribeswomen,andaharsher,2-notemotifforhornoverrhythmicstringsandpercussionforthecruel(butwithequallyperfectcoiffures)barbaricbrunettetribe.Thethemesretainaprimitivequalitythroughheavypercussivetexturesand very vague melodies. The cruel villainous theme matches the strong dominance of thebarbaric tribeswomen andmusically overcomes the “good” blonde tribe’smusic until theirfinal revolt overthrows the vicious brunettes and their plaintive oboe theme swells withromanticorchestrationasbothavictorymotifandalovethemebetweentheprehistoricSaria(EdinaRonay)andthemodern-dayhunter,David(MichaelLatimer).WhenDavidisreturnedto modern time, the oboe theme recurs as he is reunited with Saria in a modern-dayincarnation,andthefilmcloseswiththeirthemeinfullcrescendo.The SLAVE GIRLS score suffered somewhat due to a rushed music schedule which gave

Martellionlyaweektoscorethefilm.Normallyafastworker,Martellirarelytooklongerthantwoweekstoscoreafeaturefilm(CURSEOFTHEMUMMY’STOMBaffordedhimaluxuriousthreeweeks).Theschedulewasparticularlydraining,aswasthewayhewastreatedbythestudio.“I can say quite definitely that I was deliberately deceived into accepting the commissionwhichIwouldnothavedonehasIbeeninpossessionofallthefacts,”saidMartelli.

Iwastoldthattherewouldbeonlyabout15minutesofmusicrequiredandthatIhadtendaysuntilthesessions.Infact,therewasabout45minutesofmusicandIonlyhadaweek.Ididatleastcompletethescorealbeitnotatalltomysatisfaction.Manyofthesequences which needed a quite full-blooded treatment or very careful exquisitehandlingonmyparthadtobesacrificedtotheskimpiestmusicalrealizationduetothelackoftime.

Martelli was forced to rely upon repetition and redundancy at the expense of musicaldevelopment.“Thecompanywasputtotheenormousextraexpenseofhavingtobookanothersessionforaweekhence,sothatIhadtimetocomposepartsofthescoreinawayIwouldlikedtohavedoneinthefirstplace,”Martellisaid.AsaresultofhistreatmentonSLAVEGIRLS,MartellididnomoreworkforHammerfilms,

althoughhismusicwasused indirectly later in1968.Heclaims tohaveghost-written some

musicforGerardSchurmanninTHELOSTCONTINENT(“someofthemusicand/ororchestrationforthatpictureismine,”hesaid.Schurmannwillnotverifyifthiswasorwasnotthecase.).TwominutesofMartelli’smusicfromWITCHCRAFTwasreusedastheendtitleforQUATERMASSANDTHEPIT(otherwisescoredbyTristramCary).Martellicontinuestocomposemusic,recentlycompletinganoperabasedonW.W.Jacob’s

famoushorror story“TheMonkey’sPaw,”and is also frequentlyengagedasaviolaplayer.Hislastfilmscorewasin1984,creditedasassistanttoGerardSchurmannonCLARETTA.HeiscurrentlyProfessorofMusicatGuildhall.“Thechallenges[ofscoringHammer’sfilms]werethesameasforanyotherfilm,”Martelli

concluded. “The most arduous and distressing challenge was trying to communicate withmusicallyilliterateproducers,directorsandeditors.”

WilfredJosephs

FANATIC(1965,releasedintheU.S.asDIE!DIE!MYDARLING!)containedauniquelyfarcicalhorrorscorebyWilfredJosephs.HehadpreviouslyscoredHammer’s1963suspense-mystery,CASH ON DEMAND and later would score British thrillers such as THE DEADLY BEES, DARKPLACES, THEUNCANNY, andmore thanahundred televisionproductions, including theBBC’s1976TVversionofTHEHUNCHBACKOFNOTREDAME.JosephsobtainedhisfirstmusicalstudieswithDr.ArthurMilnerin1947attheageof20.

However,hisfirstuniversitytrainingwasinthefieldofdentistry.Inhissparetimehewrotemusicand,aftertryingoutadentistrypracticeforawhile,hedecidedtotrytoearnalivinginmusic. “Inorder todo that Iwouldhave todo filmand television,” Josephs said, “which Iwanted to do anyway.”22 During 1954-59, Josephs studied with Alfred Nieman and theGuildhallSchoolofMusicandwithMaxDeutschinParis.UponreturningtoLondon,hefoundworkscoringdocumentariesandtelevisionplays,eventuallylaunchingacareerscoringnearly120 television productions, 26 feature films, andmore than 30 documentaries. Josephs alsowroteincidentalmusicforthetheateranddramarecords,andseveralconcertworksincluding11symphonies,numerousconcertos,quartets,andotherworks.JosephshadmetPhilipMartellwhilewritingmusicfortheHOTELIMPERIALseries.Martell

conducted the on-screen orchestra, inpersonating the hotel’s proprietor. John Hollingsworthengagedhimin1963toscoreHammer’sCASHONDEMAND,andMartellcalledhimbacktwoyears later for FANATIC. Hollingsworth, who was already quite ill, worked minimally withJosephsonCASHONDEMAND,thoughtheydiddecidetoopenthefilmwithastreetbandplayingaChristmascarol. “Gradually, Ibrought in the suspensemusicbelowandabove itwith theorchestra,”Josephrecalled.“Itwouldoverlapandtakeover.”Asidefromthis,thescorewasleftentirelyinJoseph’shands.WithFANATIC,JosephsworkedmuchcloserwithMartell.“FANATIChasalotofcynicismin

themusic,”saidJosephs.

Itwasmyidea,forexample,towriteamarchforthescenewhereTallulahBankhead

walksdowntheroadwiththegirl,who’stryingtogetintostepwithherandTallulahistrying to avoid getting in step with the girl. It’s kind of a quirky march, withharpsichord put in to suggest that Tallulah is so ancient—several centuries old. Themusicforherdeadsonwaswayoverthetop,withtheseexcrutiatingviolinsplayingin3rds,whichwasmeanttobefunny.Itwasmeanttomakeyourealizethatshewasasnuttyasafruitcake!

Josephs’ FANATIC score is frantic and farcical, utilizing an array of purposefully overlydramatic musical phrases, often synchronized, Mickey Mouse fashion, with visual action,whichplaysupthecomicaspectsofthemadMrs.Trefoile(Bankhead).LikeFrankel’sTHEOLDDARKHOUSEmusic,Josephs’scoreisoccasionallyjazzy,occasionallyromantic,butconstantlymaintaining comic overtones, portrayingMrs. Trefoile’s insanity with considerablemusicaltongue-in-cheek.Onlywhen theoldwoman’smadnessbecomesmalevolentanddeadlydoesJosephs’scoretakeonmoreominoustendencies.Evenhereitremainsratherdistantandaloof,asintheperfunctorybrasspunchesduringthefightbetweenPatricia(StephaniePowers)andthemaid,Anna(YoothaJoyce).There is a repeated harpsichord ostinato—little more than rapidly fingered notes on the

keyboard—which is used to represent Mrs. Trefoile, and this orchestral texture takes onthematiccharacteristicsasitrecurswheneverMrs.Trefoileisuptosomething.Otherwisethescoreprimarilyconsistsofdissonantphrasesforsuspenseandactionscenes(likethegrating,descendingwhirlpool of strings and hornswhen Patricia sees the chauffeur’s corpse in thecellar, the sound and the scene taking on an obvious PSYCHO-like style), and everythingculminatesinadismaldissonanceofblaringhornsasMrs.TrefoilesuccumbstoastabwoundbeneaththeportraitofherbeloveddeadsonSteven.“PhilipMartellwasveryhelpfulonFANATIC,”Josephssaid.

TherewasonesequencethatImentionwhenIdolecturesonfilmandtelevisionmusic,andthat’sinthecellarwiththedeadbutlerinthebath,andYoothaJoycescreamingherheadoff andTallulahwith theknife . . . It’s a sectionabout30 seconds longwith asynchronizationpoint roughly every third of a second, so therewere about 40 synchpoints in 30 seconds, and Philip said—I remember it to this day—he said “I don’tknowhowyou’regoingtodothis!It’sverycomplicated!”ItoldhimthatIwasgoingtodoitbyplacingsynchpointsmathematicallysothatthelastnotewouldapplytooneofthecharacters—thestringsfor thegirl, thebrass forTallulah, the tympani forYoothaJoyce,woodwindforthebutler,orwhatevertheorderwas.AndallIdid,literally,wasrule out 28 seconds worth of bars and measures and put in the various istruments,playingfragments.Theviolinshadalongbreaththatwentthroughthewholepiecebutwhichhappenedtohittheappropriatesynchpointswhennecessary.Alltherestwerejust played mathematically—all anybody had to do was to play what was written.Forgetaboutexpression—itwasallfortissimo!Philipsaiditwouldneverworkoutbutitdid,andwediditinonetake!

Josephsalsoscored the“CarpathianEagle”episodeofTHEHAMMERHOUSEOFHORROR in

1980,giving ita jazzyandsomewhatcontrapuntalmusicalstyle.Since this,Josephsworkedprimarily in television, scoring episodes of TALES OF THE UNEXPECTED, London Weekend’sTHRILLER,andnumerousothers.HehasalsorecentlywrittenaballetonCyrenodeBergeracandanoperabasedonDaphneduMaurier’sREBECCA.

MarioNascimbene

AparticularlyuniquesoundwasgiventoHammer’sprehistoricepicsbyItaliancomposerMarioNascimbene,wholenthischaracteristicblendofsymphonicsandunusualmusicalsoundeffects toONE MILLION YEARS B.C. (1966),WHEN DINOSAURS RULED THE EARTH, (1970), andCREATURES THE WORLD FORGOT (1971). Born in Milan in 1916, Nascimbene studied at theGiuseppe Verdi Conservatory there. After composing a variety of symphonic and chamberpieces,Nascimbenebegantowritefilmmusicinthe1940sandsoongainedareputationforutilizingstrangeinstrumentsandeffectsinhisscores.Typewriters,clocks,bicyclebells,andvarious other electronically enhanced sounds merged with orchestras to provide strikinglyunique and original musical scores for films such as BARABBAS, SOLOMON AND SHEBA,ALEXANDERTHEGREAT,andDOCTORFAUSTUS.“No longerarewe tieddownby the inflexiblerules of composition and instrumentation laid down by tradition,” Nascimbene said of hispersonalphilosophyoffilmmusic.“Nowwecanexploittothefullthosemusicalpossibilitiesofferedbyfilms,bothinactualcompositionandthescoringofthevisuals.”23Thesedays,digitalsynthesizerscancreatethatkindofrepertoireattheflickofabutton,but

in the 1950s and 1960s, Nascimbene was indeed creating unique musical magic with hismachines.“Iworkwith sounds, changing their tonalitywith filters, recorders, vibrations, playing it

backwardorchanging thespeed,”headdedelsewhere.“Butwhat Iprefer is thecreationoftotallynewsounds.Todothis,IcreatedtheMixerama,a12-channelmixergivingnewsoundsalready altered. This combination of new sounds came directly from strings, horns,percussions,humanvoiceandchorusthatImodified.”24Nascimbenebrought thesenewsounds to splendiduse inHammer’s trilogyofprehistoric

fantasies. His association with the studio began when his friend, Hammer producer AidaYoung,calledhim in toscore the firstof fourprehistoric fantasy films.Rather thanworkingwithPhilMartell,Nascimbenerecorded thescores inhisRomestudio,workingwithItalianmusicdirectorFrancoFerrara.Themusiccontained suchperiod soundsas rocksand shellsbeingtappedtogether,andeventheclackingjawboneofanass,combinedinunusualcontrasttoarapturouslovethemefororchestraandchorus.Anotheroddinstrumentusedinthisscorewasdubbedthe“rastrophone,”whichNascimbenelateradmittedwasnoneotherthantherakefromhisowngarden!ThemusicfortheopeningscenesofONEMILLIONYEARSB.C.(1966)dramatizesthecreation

of the world and is a tour-de-force of musical effects and bristling symphonies, utilizingelectronicallyreprocessedsoundscombinedwithatonalstringchords,eventuallyseguingtoastrong,brassymaintheme—somethinglikeaRomanmarch—whichproceededsluggishlyover

rhythmic,muted cymbal banging and other percussion effects. Themotif nicely suggests theimmensityofthenewlycreatedworldandretainsasenseoftremendousprimitivitythroughanorchestra consisting mostly of percussion and brass. The use of choir added a dramatic,profoundsenseofhistoricalimportance.“To recreate the soundof theperiodwithabrassy flavor, I recorded the themeatdouble

speed with five trumpets, five French horns, five trombones and two bass tubas,” saidNascimbene.“Playingitbackathalf-speedgaveitanarchaicflavor.”25NascimbenescoredHammer’sTHEVENGEANCEOFSHEin1967,scoringitwithaplethoraof

jazzriffscenteringaroundfourrepeatedmotifs.Ashrill,sustained,electronicallyreprocessedviolin tune relates to the horrible aspects of the legendary She as her spirit possesses theunfortunate Carol (Olinka Berova). The second motif, the tune of which becomes the songheard under the main titles, is an acoustic jazz-pop melody. The same tune is used in acontemporary saxophone rendition,oftenmingledwith the shrill violinsof theShemotif, asPaul encountersCarol in theopening scenes, and further along asCarol sneaksonboard theyacht. A third motif consists of ancient-sounding organ in a majestic, slow melody thatcorresponds to theflashbackof theoriginalAyesha(She)andherkingdom.It later recurs tosuggest the legend of She asCarol recollects it, often tingedwith the shrill She theme thatsuggests the horror ofAyesha. Finally,Nascimbene provides a pretty love theme played byoboe,harp,andbongos.Thethemesworktogether,althoughtheyallremainsubordinant tothedominantShetheme

which interweaves throughout the score, just as the spirit of the ancient Ayesha constantlyinfluencesthecontemporarycharacters.“ForTHEVENGEANCEOFSHE,”saidNascimbene,“Ididathemefortenor-saxandstringstomakethegirllookmodern,andusedamorecommonmusictoshowthemysticalsideofherpersonality.”26Nascimbene’s use of jazz styles and instruments in this score tends to overplay the

contemporary setting and underplay the mysterious legend. In some ways the scorewhitewashes the proceedings and is too glossy, likemany European pop-jazz scores of the1960swhichtendtospongeovertheirfilmswithlittleinteraction.It’stoNascimbene’screditthatwithinthejazzformathemaintainsaninterestingleitmotifapproachandthescore,ifnotremarkable,isanusualcontrasttoNascimbene’sprimitiveprehistoricsthatbracketit.HisnextHammerscorewasareturntotheJurassicagewiththeprimitivemusicfor1970s

WHENDINOSAURSRULEDTHEEARTH.AswithONEMILLIONYEARS B.C.,Nascimbeneutilizedatriumphant main theme to refer to the human characters, their spirit, and their awakeninghumanity,whilemusicalodditiessimilar to those incorporatedin thefirstpicturereferredtothe primitive environment and its carnivorous denizens. The main theme apears in variousguises throughout the film, includingavariation for large,mixedchoir, amore subduedandalmost lullaby-soundingarrangementused in somenight scenes,andacomicversion for thesequencesofmotherandbabydinosaursfrolicking.AfinalvisittoancienttimesoccurredinCREATURESTHEWORLDFORGOT(1971),whichwas

lessinteresting.Bythistime,thescoreseemedlittlemorethanareworkingoftheprevioustwocompositions.AcentralmajesticthemeforfullbrassensembleoverpercussionrepresentstheDawnofMan,while a primeval percussionmotif for atonal drums and a raspy,wheel-likesoundsignifies the tribeofcavemen.Thismotif lendsasustaineddesolateprimitiveness to

their noisy activity, underlining place and era, not character or situation. There is also arecurringmotiffortheladywitchdoctor,eeriespectralstringshimmerswhichunderscorehermysticism.Thesethreemotifs,alongwithafairshareofunrelatedatonalnoise,comprisethescore,aworkablecomposition,ifderivativeofitsownpredecessors.

TristramCaryTristramCarycametoHammerinthelate1960s,scoringQUATERMASSANDTHEPIT (1967,

knownintheU.S.asFIVEMILLIONYEARSTOEARTH)andthefinalEgyptologyfilm,BLOODFROMTHEMUMMY’STOMB(1971).Apioneerintheuseofelectronicmusic,Carywasbornin1925andreceivedhismusicaleducationatTrinityCollegeofMusic,London.ServingintheNavyduringWorldWarII,Caryspecializedinradarandthusreceivedearlytraininginelectronics.Uponhisreleasefromservicein1946,Carybeganexperimentinginrecordedmusic,havingindependently developed ideas for what was to become tapemusic while in the Navy. HestudiedmusicfurtherinLondon,augmentinghisstudentgrantwithateachingposition.Bytheearly1950s,Caryhaddevelopedhisfirstelectronicstudio,whichgraduallyaffordedhimtheopportunitytomakealivingthroughmusicalcommissions.Hisfirstfilmscorecamein1955,attheageof30.Afterworkinginradioforanumberof

years,CarywascalledbyEalingStudios,whichfelthismusicwasappropriateforanAlecGuinness black comedy they were filming. “I was then inexperienced in orchestral work,”Carysaid,“butIdidatestpieceforthemwhichwerecordedandthenextdaytheycalledandoffered me THE LADYKILLERS at something like 20 times the money I was getting from theBBC.”27 Cary went on to score numerous films through the 1950s and 1960s for variousstudios.In1967,CaryfoundedtheelectronicmusicstudioattheRoyalCollegeofMusic,whilealso

designing and building his own extensive electronic music facility. A teaching position atAdelaide University brought him to Australia in 1974, where he has remained, leaving theUniversity in1986 to resume self-employment as a creator of electronicmusic.He recentlyauthoredalargebookonmusicaltechnologyandhaspublishednumerousarticlesonmusicaltopics.In1991,CarywasawardedtheMedaloftheOrderofAustralia(OAM)forservicestomusic.His acquaintancewithHammer began in 1967,when the studio approached him to score

theirlatter-dayQuatermasssequel.MartellhadbeenattractedtoCary’selectronicscoresforvariousepisodesofthepopularDOCTORWHO televisionseries.“Hammerwantedacompleteorchestralandacompleteelectronictrack,”Carysaid,“whichIfoughtbecausethemoneywasprettyminimal and I pointed out thatwhen it came to dubbing theywould almost certainlychooseoneortheotherofagivencueandnotuseboth.Buttheymoreorlessgottheirway.”Cary spent a lot of time discussing the music with the director, and it was decided to

emphasize the science-fiction aspects of the storyline with unusual musical textures. “IngeneralItriedtomakestrangesoundingmusic,”Carysaid.“InhindsightIthinktheorchestralstuffcameoffbetterthantheelectronicinthismovie.”Cary’s Quatermass score opens with a typically Hammeresque cacophony of horrific

chords: groveling low brass, bursting percussion, and serpentine string intertwinings. Asubduedvariation isheard in theopeningsceneasaconstablewalksdownadesertedearlymorningstreet.Themusicgrowsominousashestopsandgazesattheredevelopmentportionof London’s underground. The music here anticipates suspense rather than matching anyactivityshownonscreen.Itcreatesaneeriemood,notforanythingcurrentlyseen,butforlaterhorrorsthatwillbeassociatedwiththedevelopment.The music accelerates to accompany the workers’ sighting of a skull, shock chords

punctuating the discovery of an unexploded bomb among the diggings. As ProfessorQuatermass (AndrewKeir) iscalled inand investigatesaderelicthousewith theconstable,Caryprovideseeriepercussionisticsoundsbeneathbrassandstringsas thecoptellsastoryabout“ghosts.”Thescoreaboundswithavarietyofeerieandsuspensefulmotifs,whollynonmelodic,full

ofbriefatonalchordsandfigurestopunctuatevarioushappenings.Weird,FORBIDDENPLANET-likeelectronictonalities(moreakintosoundeffectsthanmusic)buildachillingmoodasthecarpenter’sbodyistakenoverbyalienforces.Themusicismingledbrieflywithanelectronicchoraleffectasheenters thechurchyard,suggestiveof thatmilieu,until themusicreverts topure electronics as he is overcome by the alien. Later, when the man is questioned byQuatermassatthechurch,thesamemotifisreprised,recallingwhathappened.It’susedlaterwhen Quatermass experiences the alien presence in the pit and as the alien force takespossessionofothers.This “alien theme” dominates much of the final confrontation. Cary provides lots of

momentarybrasshitswhichpunctuateshocksorreferencestothealien.Themusicsupportstheotherworldlynatureoftheactivityon-screen,insteadofbecomingpartofthataction.The closest the score ever comes to a real melody occurs, appropriately, under the end

titles,afterthehorrorisover:asofter,rhythmicthemeforstringsandwoodwindovertympaniandeerieorganshimmers.Themelodyisslightlymournfulandmelancholy,givenasomewhatmechanical tonality with rhythmic tympani beats that recall the alienness of the preceedingeventswhileallowingthemusictoprovideacalmerresolution.Cary’sscorefor1971’sBLOODFROMTHEMUMMY’STOMBtookadifferentstyle,butlikethe

Quatermassfilmemphasizedthestrangenessofitsstorywithascorethatismorediscordantthanmelodic.“IaimedforadifferentsortofstrangenessinBLOODFROMTHEMUMMY’STOMB,”Cary said, “andwe tried to avoidbeing tooobviouslymock-Oriental. I treated someof theorchestal trackselectronicallyaswell.”DirectorSethHolt,whodiedduring theshootingofthefilm,wasafriendofCary’sfromEalinginthemid-1950s(hewasassociateproduceronTHELADYKILLERS),anditislikelyherequestedHammertocommissionCarytoscorethefilm.“Intheend,withanewdirector[MichaelCarreras]tofinishthemovie,itwasallabituntidy,andInevergotareallygoodrapportgoingwiththeproductionpeople.”The main theme is a dreamy ambience of vibrato strings and harp, capturing a vaguely

Egyptian-likemelodyforbrass(severalascendingnotespeakingandcappedbytwonotesanoctave lower). This dreamlike quality is maintained throughout the score, associated withMargaret(ValerieLeon),whodreamsofancientEgyptandfallsunder the influenceofTera,the priestess whose perfectly preserved “mummy” awaits resurrection. The motif is usedwhenevermysteriouseventsoccur,becomingbothalovethemeforMargaret,theheroine,and

a suspense theme forTera.During a dream sequence asMargaret andDr.Berigan (GeorgeColouris)sleeptogether,Caryprovidesdreamy,yetatonal,figuresforwoodwind,strings,andharp;brief intrusionsof themain themepunctuateTera’s threateningvoice-overnarrative.Aminor secondarymotif consistsof rapid, rhythmicup-and-down tappingofpianoormuffledxylophone,usedinthemidstoforchestralfigurestoreflectTera’spoweroverMargaretandherfather.

DonBanks(courtesySimonBanks).

MarioNascimbeneinDecember,1987(courtesySijboldTonkens).

JohnCacavas(courtesyJohnCacavas).

HarryRobertson(courtesyHarryRobertson).

JamesBernard(courtesyRichardKlemensen).

JohnHollingsworthin1954,whileheadconductoroftheRoyalOperaHouse,CoventGarden(courtesyRichardKlemensen).

DouglasGamley(courtesyDouglasGamley).

GerardSchurmann(courtesyMalcolmCrowthers).

PhilipMartell(courtesyRichardKlemensen).

Caryunderlinescharacterizationsnotthroughthematicinterplaybutbymoresubtlemusicaltexturesandatmospheres.Itmaynotbeasapproachableasscoresutilizingmorerecognizablethemes,butitiseffective.“Ifeelafilmscoreisapartofateameffortratherthanapersonalstatementasinmyconcertmusic,soItrytogoalongwithwhatthedirectorwants,”saidCary.

Ifthesescoresseemtounderlineeventsratherthancharacterthismustreflectwhatwediscussed at the time. In general I tend towards “complementary” rather than“supplementary”musicasbeingasubtlerapproach.BythisImeanthatin,say,afight,a supplementary music track goes bang when someone is hit on the jaw (usuallyunnecessarybecause it iscarriedbysoundeffects),whereacomplementaryscore istalkingaboutwhatgoesoninthemindsofthecombatants.Stylistically,Ifoundmyselftypecast for different things by different directors forBBCTV, for example, I did anumberof19thCenturynovelslikeJANEEYREandMADAMEBOVARY,forwhichIwrotemusictotallydifferentfrommyHammerscores,andmycomedystuffistotallydifferentagain.

Cary found Hammer supportive but aloof, working closely with Philip Martell butinteractingwithfewotherstudiorepresentatives.“Iwashiredtodoajob,”Carysaid.

Iwasaknownprofessional,wasexpectedtodoitwell,andlefttogetonwithit.TheHammer topmanagementwereacosygroupwhoallkneweachotherverywell,butapartfroma“Hi,Tristram”nowandagainIcameandwentlargelyunnoticed,unlike

otherproductioncompanieswhereImadefriendsandwe’ddrinkanddine.WithmostmoviesIwouldexpectthedirectorandpossiblytheproducertoturnupatleastatonerecording session, but as far as I remember theHammer people left Philip to get itright.IdidseesomethingofSethintheearlystagesofMUMMY,butIdon’trememberhimspellingoutmuchaboutthemusicthoughI’msurehewouldhavedonesoifhe’dbeenaroundatthefinalcut.

GerardSchurmann

Gerard Schurmann provided two effective textural scores for Hammer, their low-budget1958 war film, THE CAMP ON BLOOD ISLAND, and the far more lavishly budgeted THE LOSTCONTINENTadecadelater.Schurmannhadreceivedconsiderableexperienceimprovisingmusicforsilentfilmsdueto

anassociationwith theNewLondonFilmSocietyatLondon’sScalaTheatre.HeeventuallyreceivedtheopportunitytoscorefilmsthroughhisfriendshipwithcomposerAlanRawsthorne,withwhomhehadstudiedcomposition.Schurmann’sfirstfilmscorewasa1948Anglo-Dutchco-productioncalledNOT INVAIN, recorded inAmsterdamatCinetoneStudios. “InEngland,majorfeaturefilmsrepresentedanimpenetrablyclosedshoptoayoungcomposer,”Schurmannrecalled.“ItwasRawsthornewhointheenddevisedaneffective,altruisticplanwhichledtomyfirstopportunityatEalingStudios,withthemusicforTHELONGARMandMAN INTHE SKY

[calledDECISION AGAINST TIME in America].”28 This launched Schurmann on an impressivecareeroffilmcomposition.Notedforhisworkonsuspenseandactionfilms,SchurmannwasrecruitedbyJohnHollingsworthtoscoreTHECAMPONBLOODISLAND(1958).ThatAnthonyHindsfilmhadasmallbudgetandbythetimeSchurmanncameonthescene,

therewaslittlemoneyleftformusic.ButSchurmannwasimpressedbythescriptandagreedtoscorethefilm,providinganexcellentmilitaristicscoreforasmallensemblethatemphasizedwindsandpercussion.“Theactionwasset inacoupleofJapanese internmentcampsduringthewar,” Schurmann said. “The fact thatmymother had suffered similar internment by theJapanese in theformerDutchEastIndieshelpedtomakethesubjectaverypoignantoneforme.”PostproductiononthefilmtookplaceatAnvilStudiosinBeaconsfield,wherethemusicscoringstagewasverysmall,accommodatingnomore than thirtyplayersorso.“I thereforeconcentratedonusingwoodwind,hornsandbrasswithasmallishstringsection,andabatteryofpercussionusedmostlyalaStravinsky’s‘Soldier’sTale’.”Schurmann was busy with other projects in the ten years between THE CAMP ON BLOOD

ISLAND and THE LOST CONTINENT, gaining some notice for his music for such films as THEBEDFORD INCIDENT,CONEOF SILENCE,HORRORSOFTHEBLACKMUSEUM,andDR. SYNALIAS THESCARECROW.WhenHammer’snewmusicdirector,PhilipMartell,askedSchurmann toscoreTHELOSTCONTINENT, the composerwas tiedupwith anotherproject. “Hammerpaidme thecomplimentofwaitinguntilIbecameavailableafewmonthslater,”saidSchurmann.Initially,composerBenjaminFrankel,whohadscoredHammer’sTHECURSEOFTHEWEREWOLFin1960,wasengagedtoscorethefilm.FrankelcomposedmusicforTHELOSTCONTINENTbut,forone

reasonoranother,hisworkhadbeenrejectedbytheproducers.MartellturnedtoSchurmanntoreplacethediscardedFrankelscore.Atthetimeofitsproductionin1968,THELOSTCONTINENTwasHammer’smostexpensiveandlavishlybudgetedfilmtodate.ComposerCarloMartelli,an occasional associate of Schurmann, claims to have ghost-written portions of THE LOSTCONTINENT. Schurmann will make no comment on the allegation, though he does admit tohavinghadMartelliashisassistanton1984’sCLARETTAinRome.Schurmannprovidesplentyofhorrificshockmusic,includingarepeatedmotifforhysterical

brassandstringsusedtocomplementtheattacksbysharksandtheTentacledRubberSeaweedMonster (the film’s budget did not encompass extremely provocative special effects). Thecomposer’suseofbroadorchestralstrokesandfuriousinstrumentalinterplaywasparticularlyevidentintheclimacticscenes,wheretheship’screwandthenativesconfronteachotherinaragingfray.Schurmannsuppliedaneffectivelygrimromantic themeforLansen(EricPorter)andEva(HildegardKnef),abriefrespitefromthehorrorsof theSargassoSea.Beyondthismelodic theme, Schurmann’s score is characterized by its wild orchestral dissonance.Thematically, the score contrasts a modern, popular theme that emphasized the film’scontemporary exoticness with a darker, more primitive agitated allegro for the mysteriousislanddwellerswhoareencounteredbythelucklesssailors.Thepoptunewas,infact,thechoiceofMichaelCarreras.Thevocalmusicunderneaththe

main titles was recorded months prior to Schurmann’s involvement with the film by anestablishedpopgroup.“Ihadabsolutelynothingtodowiththechoiceofthe‘jazzy-popbossa-nova’musicorwhereitwastogointhefilm,”saidSchurmann.“Thiswasentirelydecided,prior tomy involvement,byMichaelCarreras.For reasonsbestknowntohim,hewanted itsomehowtobeassociatedwiththecharacterplayedbyHildegardKnef.”PhilipMartellhiredcomposer Howard Blake to provide this element, and Blake incorporated several ofSchurmann’s orchestral tunes into his arrangements. Regretably, this bossa-nova pop musicwas much to the detriment of the film score, which shines only in those moments whereSchurmann is allowed to bring his own musical intentions to the fore. “Where the largeorchestralscoreanddramaticorganmusicwasconcerned,IwastotallyfreetodowhatIliked,withoutanyoneelse’sinput.”Unfortunately,muchofSchurmann’smusicalintentionswereannihilatedduringthedubbing.

Themeswerescatteredaboutbytheeditorsandusedinplacesforwhichtheyweren’tmeant.The jazzy-popbossa-novamusicwasusedoverandover insuchaway that itssnappyflufftends to contradict the pace of the film and the actions on-screen. Sound effects wereemphasized and usurped the effectiveness of the score in most places. The result was adisjointedscorethatfrequentlyplayedagainstitsfilm;ratherthansupportitsmoods,thescoresometimescontradictedthem.“Ourcarefullylaidmusicalschemesandpreparationswereintheendtotallyundonebythe

mostruinousfinaldubithaseverbeenmymisfortunetoencounter,”Schurmannsaid.

Themaninchargewas,Ibelieve,thesupervisingeditor,whohadimpressedmebeforeI even started towrite themusic by his arrogant and patronizingmanner. So utterlyappalledwasIbythisgentleman’sdemeanor,thatIrefusedtogotoanyofthedubbingsessions.InowadmitthathadIbeenthereImightperhapshavebeenabletoprevent

someoftheveryworstfromhappening,butitjustseemedtobealostcauseatthetime.

A fine horrificmoment occurs when the ship’s compartment containing the explosives isflooded.Nonmelodicbrassfiguresoverrapidlybowedstringsuggestthefuryandperilofthisevent, but in the midst of this dramatic sequence, the music unaccountably reverts to jazzybongodrums.Theresult isastrangemixtureof traditionalhorrormusicandpercussive jazzwhichdoesn’treallywork,andthescenesuffersasaresult.Once the lifeboats enter the seaweed area, strident shouts from the brass accompany the

vines that reach up for the passengers and crew onboard. Mysterious woodwind phrasesdabble below the crew’s discussion that follows, until a wild, hysterical version of theseaweeddwellers’motifisheardasthetentacledcreaturerearsoutofthewatertoattackthegroupondeck.Amomentarymonk-likereverberatedchant isheardas thesurvivorsfind theoldgalleonand itscathedral-like interior.Thisprompts theuseofchurchorgan inclimacticbattle music where the lost seaweed civilization is forever destroyed by the steamshippassengers.HereSchurmanncreatesan interestingcontrast—churchlikemusicforasceneofterribledestructionandbattle.Theorganmusicisplayedharshly,dissonantly,asiftheorganwerebeingplayedwith thepalms insteadof the fingers, and the resultantcacophony,mixedwiththefuryof thebrass,strings,andpercussion, lendsahorrificdramatothebattlescene.Thescoreendswithacontrastinglyprettymelody for fullorchestra.Seeminglyunconnectedwiththepriormusic,thethemeis,infact,avariationofthemoresubduedmusicsupportingthePorter-Knefromance,hereopenedupintoabroadsymphonicresolution.“Theideabehindafresh-soundingendwas to signifyanoptimisticnewbeginning in the livesofeveryonewhosurvivedtheordealsofTHELOSTCONTINENT,”Schurmannsaid.DespitetheoverallwreckageofhisLOSTCONTINENTscore,Schurmann’smusicdoesmanage

toshineduringitsdarkermoments.Thehorrificcrescendosandmonstrousdissonancesbuildan effective mood of terror and contrast with the lighter, more intimate moments. It isregrettablethatwhatcouldhavebeenoneofthecomposer’sbestscores—particularlyinviewofthelargeorchestrahewasabletouse—wascarelesslydisfiguredbyelementsbeyondhiscontrol.As it turnedout,THELOSTCONTINENTwasoneofSchurmann’s last scores, his unpleasant

experiencesapparentlydirectinghimawayfromfilmscoringandbacktonumerousworksfortheconcertstage.Itwouldn’tbeuntilsixteenyearslaterthatSchurmannwouldreturntofilmscoringwith1984’sCLARETTA,aWorldWarIIepicaboutMussoliniandhismistressClarettaPetacci,whichhewroteandrecordedoveralavishfivemonthsinRome.

Notes1.SimonBanks,lettertotheauthordatedAugust15,1993.QuotedbypermissionofSimonBanks.2.DonBanks, from interview in the“DeBurgTapes”held in theAustralianNationalLibrary,Canberra. (Thesewerea

seriesofaudiotapeinterviewsrecordedbyawomannamedDeBurg[firstnamenotlisted], torecordfamousAustraliansandtheirlifestories.)QuotedbySimonBanksinlettertotheauthor,ibid.

3.SimonBanks,opcit.4.SimonBanks,lettertoRichardKlemensen,datedJuly1,1990.QuotedbypermissionofSimonBanks.5.ValGuest,interviewedbyAlTaylor,LittleShoppeofHorrorsNo.7(December1982).

6.LeonardSalzedo.ThisandfollowingquotesarefromaninterviewwithRandallLarson,May16,1993.7.CliftonParker,quotedbyColinA.Adamson,“CliftonParker,”TheNewZealandFilmMusicBulletinNo.73(February

1991).Originalsourcenotcredited.8.EdwinAstley.ThisandfollowingquotesarefrominterviewsbyRandallLarson,May18,1993,andJuly17,1993.9.MontyNorman,interviewedbyRandallLarson,June30,1993,andOctober22,1993.10.Ibid.11.RichardRodneyBennett,interviewedbyIrwinBazelon,KnowingtheScore(NewYork:Arco,1975),p.212.12. Richard Rodney Bennett, interviewed by John Caps, Motion Picture Music, ed. Luc Van de Ven (Belgium:

Soundtrack!,1980).13.MalcolmWilliamson,interviewedbySamIrvin,LittleShoppeofHorrorsNo.10/11(1990).14.Ibid.15.Ibid.16.PhilipMartell,interviewedbyTonPaans,LittleShoppeofHorrorsNo.10/11(1990).17. Debbie Mollison, “Elisabeth Lutyens: A British Composer,” quoted inNew Zealand Film Music Bulletin. Original

sourcenotcredited.18.PhilipMartell,quotedbyCarloMartelli,interviewwithRandallLarson,October19,1993.19.PhilipMartell,interviewbyTonPaans,LittleShoppeofHorrorsNo.10/11(1990).20.CarloMartello.AllquotesfrominterviewbyRandallLarson,October19,1993.21.AccordingtoRichardKlemensen,aletterinthefilm’sproductionfilefromAnthonyHindstoMichaelCarrerasreveals

Hinds’ssuggestiontoreusethemusicasabudget-savingmeasure.22.WilfredJosephs.AllquotesfromaninterviewbyRandallLarson,May25,1993.23.MarioNascimbene, interviewedbyEzioReali andJamesMarshall,Soundtrack!TheCollector’sQuarterly,No.24

(1981).24.MarioNascimbene.UnpublishedinterviewbyAlessandroPanuccio,translatedbyMarcoWerba.25.Ibid.26.Ibid.27.TristramCary.AllquotesfromaninterviewwithRandallLarson,June11,1993.28.GerardSchurmann.AllquotesfromaninterviewwithRandallLarson,January21,1993.

6

TWILIGHT

WhileJamesBernardandDonBankswereHammer’smainstaycomposersduringthe1950sand 1960s, their counterparts during the 1970s were certainly Harry Robinson and DavidWhitaker,bothofwhomprovidedexcellentscoresformanyofHammer’sbestfilmsfromthestudio’stwilightyearsasaproduceroffinehorrorfeatures.

HarryRobinsonandTheKarnsteinTrilogyHarryRobinson is, in reality,producerHarryRobertson.ThenameRobinsonerroneously

appeared on his first paycheck due to a clerical error early in his career. Not wishing tocontestitanddelayhissalary,Robertsoncontinuedtousethatnameonhismusicalendeavorsthrough the 1970s. Robertsonwas born in Scotland and trained as a classicalmusician. In1958, he entered the television industry and soon became a musical director for EMI andDeccaRecords.HewasanarrangerformanyBritishpop-musicTVspecials,aswellasforthe SHINDIG series in America. He has worked as a composer, arranger, and conductor onnumerousdocumentaries,children’sfilms,televisioncommercials,andfeaturessincethemid-1960s.OutsideofhisassociationwithHammer,Robertsonprovidednotablescoresforlow-budgetthrillerssuchasHOUSEINNIGHTMAREPARK(1973)andchildren’sfilmssuchasDANNYTHE DRAGON (1966) and THE JOHNSONTOWN MONSTER (1971) and Tyburn Film’s premierethrillers,THEGHOULandLEGENDOFTHEWEREWOLF(both1975).By1980,Robertsonhadtakenbackhisrealname,actingasbothproducerandcomposerforthe1981fantasyadventurefilmHAWKTHESLAYER.RobertsonbeganworkingforHammerin1968,composingthethemeandepisodemusicfor

theirshort-livedtelevisionseries,JOURNEYTOTHEUNKNOWN(1968).ProducerJoanHarrisonwantedtohaveaScottishflavorinthethemeandselectedScotsmanRobertsontoscoreitafterrejectingtheeffortsofseveralpreviouscomposers,includingasongwrittenbyDavidLindup(whowouldlaterresurfaceatHammer,scoringTHEHAMMERHOUSEOFHORRORTVseries in1980) and producerNormanKaye. Robertson came upwith a heavy popWhistling Themeincorporatingsoundeffects,suchasawoman’sscream,forthestrangeshapesandvisualsusedforthetitlesequence.JoanHarrison loved this theme and askedRobertson to score thewhole series. “But you

onlyhadaweektodoeachone,andyouwouldhavehadtohavestartedhalfwaythroughone

todothenextone,”recalledRobertson.

Philipaskedhowlongittookmetocompose,andIsaidIwasprettyfast.SohewasamazedathowfastIgotthescorestohim.Andeventually,PhiliplikedwhatIwrotebecauseIthinkwhathelikesissonority.Ifyou’reaconductor,ifyou’redealingwithmodern composers like Elisabeth Lutyens who writes sort of a spidery music, thatmusicisextremelydifficulttoconduct.Inthefilmworld,you’retrainedtowritesofastthatyoudon’thavetimeforthenuancesofmusicality.Somywritingwasmuchmoresonorousandlarge.1

Inadditiontothetheme,Robertsonwrotefouroftheepisodescores.ComposerJohnScottalsocontributedtotheseries’music.MartellgaveRobertsonhisfirstfeaturefilmassignment—aYulBrynnerdetectivepotboiler

called THE FILE OF THE GOLDEN GOOSE (1969). Robertson provided a cool jazz score andfollowed it up with American International’s Edgar Allan Poe thriller, THE OBLONG BOX.BecauseofRobertson’sassociationwithAmericanInternationalPictures,hewasbroughtintoscoreTHEVAMPIRELOVERS (1970),whichwasaHammer/A.I.P.co-production.For thisboldmixtureofhorrorandsexuality,Robertsonunderlinedboththevampiricandromanticaspectsof the film’s sensuouscharacterswithmusic that isveryGothic incharacter,pervadedbyarichlovetheme.“VAMPIRE LOVERS was a very Gothicmovie and takes place inside large, coldmanorial

halls,”saidRobertson.

It’spowerfulcentralfemalecharacterandthelesbianovertonesgiveitalushheart.Icameupwiththreebasicthemes:a)TheManinBlack—astarkhalfminor-halfmajorbrokenchordwhichthreatenseverythingdistantly;b)Carmilla’sTheme—moodilysexyandundulating,lushlydoneonthestrings;andc)TheEmotionalTheme(inthetitles)representstheinexorabilityofthetragedyusuallyplayedonlowflutesandhornswithasearingtopstringdescant.2

THEVAMPIRELOVERScontainsagreatdealofmusic,themajoritybeingunrelateddissonantmotifsthataccentuatethehorrorofthefangedseductressandachievesomesuperbmomentsofmusical terror and excitement. Interspersed among themareRobertson’s trioof themes.Thefilm opens with fluid string figures as Baron von Hartog (Douglas Wilmer) tells of hisencounterswiththeKarnsteinvampires.HighpizzicatostringssoundasvonHartog,hidinginthe cathedral, sees the vampire rise from dust; lower plucked strings are used as he goesdownstairs to follow her. A sustained high violin note accompanies the vampiress as sheventurestoacountryinnandluresayoungmanintoanalley.Thehigh-pitchedtonecontrastswiththerowdytavernnoiseuntilbotharebrokenbytheyoungman’sdyingscream.A neat harpsichord roll occurswhen the vampiress returns to the bog and finds that von

Hartoghasstolenhershroud,usingittolurehertohimforashowdown.Lowimpendinghornand string chords await the confrontation, but instead of the expected crashing horror,

Robertsonbeginsalush,romanticstringmelodyasthevampireisrevealedtobeagorgeous,buxomblondewhoalluringlyembracesvonHartog.Butwhenherbreasts touchhis crucifixandareburned,shegapestorevealfangsandattackshim,accompaniedbyshriekingviolinsandshoutingtrumpetsuntilheadstrongvonHartogdecapitatesher.The sensualmelody revealedwith the vampire is the film’smain theme, associatedwith

Carmilla (Ingrid Pitt) and accompanying her vampiric seduction of the young women withwhom she stays. It is heardwhen, asMarcilla, she exerts her influence over Laura (PippaSteele), particularlyduring a longmusical sequence as thebedriddenLauradies.Themotifaccentuates Marcilla/Carmilla’s odd behavior, broken by suspenseful figures and then amournfulviolinphrasecapturingthegeneral’sgrief.Thesadmusicbecomesaflutteringmotiffor rapidly descending string swirls asGeneral Spielsdorf (PeterCushing) sees the telltalevampirebitesandunderstandswhathashappened.ThemusicthemturnstoeerieviolinsasherealizesMarcillaisgone.Inhernextguise,nowcallingherselfCarmilla,shetriestoexplaintheunusualprickmarks

on Emma’s neck as having been caused by a brooch she’d given her, the Carmilla themeaccentuating her seductive lies. The motif, as always, is associated with her sensual evil.WhenCarmillagivesMadamePerrodon(KateO’Mara)asimilarbrooch,sheawakenssexualdesiresintheotherwoman,allsustainedandemphasizedbyCarmilla’sevocativemusic.Soonafter,whenPerrodonisluredintoCarmilla’sbedroom,themusic(stringsandharpsichord)isrhythmicanddreamy,reflectingthenear-hypnoticinfluenceofthevampiress.There is a very interesting musical moment early in the film, at the large ball where

Marcilla/CarmillameetsLauraandher father,GeneralSpielsdorf.WhenCountessKarnstein(DawnAddams) instructsMarcilla to staywith theSpielsdorfswhile she and the count areaway,theclassicalwaltzplayedbythefour-pieceensembleatthepartypausesamoment,andtheirplayingwaversbriefly,supplementedbyaverybrief tympanirollbeforecontinuingonwith its classicalgaiety.This is averygoodexampleof the score’s sombermoodaffectingwhatisotherwisepuresourcemusic.An especially vibrant arrangement of Carmilla’s theme for lush strings, oboe, and

percussionisusedwhensheseducesRenton,thebutler,therebyengaginghisaidingettingtothecrucifix-protectedEmma.Therhythmicmelodyiscounterpointedbyviolinfiguresastheyembrace,untilshebiteshisneck,atwhichtimethemusiccrashesharshanddeadly:swirlingviolinsandlow,stabbingviolachordsoverpercussion.Thesesamedownwardstrokingviolinchordsareputtogooduseafewmomentslaterwhen

CarmillatakesEmmadownstairs,preparingtotakeheraway.MadamePerrodonappearsatthetopofthestairs,disconcertedattheirimminentdeparture.CarmillagoesbackupstairsandputsthebiteonPerrodon,puttinganendtoherjealousy.ButEmmaseesthisandscreams,realizingthe true nature of her companion. The music really whallops with terror, whipping theorchestraintoafrenzyofmusicaldissonance.Attheclimax,whenCarmillaisbroughtinhercoffintoachapelforstaking,themelodyof

Carmilla’sthemeisreversed.Whereasbefore,afterthefirstfewnotes,themelodydescended—tragically, like the unfortunate and evilCarmilla—it now rises, hopeful for an end to thehorrorsassociatedwithher(andhermusic).AsGeneralSpielsdorfpreparestodrivethestakethrough her, the music becomes relentless with apprehension, growing to a crescendo of

swirlingstrings,harpsichord,andpoundingdrums.Thentheviolinsrevolvelowlyashethruststhe stake in. The music descends to a long, sustained bass note as the deed is done andCarmillaagainbecomesdust.“THEVAMPIRELOVERSwasabrutalscoretowrite,”Robertsonsaid.“Therewereabout75

minutesofmusicinthemovie,andIdiditintendays.”3Robertson’smusicforTHEVAMPIRELOVERSisseductivebutthematicallysimplistic,relying

on a single motif to emphasize the allurement of Carmilla, while nicely fluid nonmelodicorchestrations embellish the film’s moments of suspense or terror. A more involved, andinvolving,scorefollowedinthesequel,LUSTFORAVAMPIRE(1971).Heretherearenofewerthan four themes that interweave throughout the score to emphasize character relations anddevelopments.Themaintheme,whichwecancallCarmilla’stheme,isalovely,soaring7-notemelodyfor

mostlystringsoverhorns—veryromantic.ThisrepresentsCarmillaandherdarklyseductiveinfluenceover thegirls in the finishing school sheattends.Asecondvillainous theme is thecastle theme,aclericalorganmotifheardinsomeof theearlyscenesoccurringatKarnsteinCastle(theblackmassinwhichCarmillaisresurrectedfromdust;LeStrange’sexplorationofthe castle and his bizarre encounter with Giles Barton [Ralph Bates] and his mysteriouscompanions).Also associated with Carmilla is a motif for up-and-down violin and harp figures over

ambientstring tones, firstheardas the taverngirl isattacked.This themerepresents theevilnatureofCarmilla,thedestructionwroughtbyhervampirism,whereasthefirstthemehastodowith her alluring appeal. The twomotifs will interact frequently as the film progresses. Aslow, pretty version of Carmilla’s theme is heard as Carmilla/Marcilla and Susan (PippaSteele) swim nude in the lake, the music swelling romantically as they kiss. As they arewatchedbyadarkfigure(CountKarnstein),thevampire’sthemesoundslowly,underlyinghisevilintentandCarmilla’ssinisterpurpose(SusanissoonfounddeadbyGiles,thesamemotifaccompanyinghishidingofherbody).The two motifs interact again as Giles confronts Carmilla, swearing his devotion and

servanthoodtoherevilpower.Carmilla’sthemereferstoherintoxicatingsensuality,whilethevampire’sthemelendsanundercurrentofdanger,reflectinghertruenature.WhensherejectsGiles’ entreaties and bites his neck, he is left alone, dying, to a sad, scorned rendition ofCarmilla’stheme.A fourthmotif is Janet’s theme, for the young teacherwho befriends LeStrange (Michael

Johnson).First heardbrieflywhen shegoes to talk tohimaboutSusan’sdisappearance, thetheme (a soft, low viola melody which is extremely pretty) plays on after she leaves,provocativelybutwithoutthedeceptivesensualityoftheCarmillatheme.LikeJanet(SuzannaLeigh)herself,itishonestandsincere,averypoignantmelody.ItisusedagainwhenshevisitsLeStrange after his tryst with Carmilla and notices he’s changed. As she leavesbrokenheartedly, the theme escorts her out of his cottage, but is soon overwhelmed by theCarmilla themeasLe-Strangerecallshis rendezvouswithCarmilla,herspectrallyseductivemusicreflectinghislustfulobsessionandoverpoweringthemorehonestpotentialoffriendshipwithJanet.Janet’sthemeisusedinjustthesetwoscenes,hersadlypoignantmusicevidentlyreferringonlytoherhopeanddejectionhere.

AfifthmotifisaGregorian-likechantformassedmen’schorusheardasMr.Pelley(Susan’sfather), the pathologist, and the priest lead a gang of villagers against Karnstein Castle todestroythevampires.Themotifisanadaptationofthatoldhorrorworkhorse,theDiesIrae.Thismotif has been suggested earlier in the scenewhen LeStrange examines the corpse ofGilesBarton,theresuggestingtheevilpowersbehindBarton’sdemise.Hereittakesonalmostheroic proportions as it accompanies the torch-bearing crusaders on their godly missionagainstevil.A female choir is added as the villagers march closer and confront the Karnstein’s

coachman.Whenthecoachmanbaresfangsandattacks thevillagers, thechoirdropsoutandnonthematic,heavilydissonant, atonalmusic embellishes the ensuing fight scenes.The choirreturns, now heavenly and joyous, after Carmilla has been killed, the Count and CountessKarnstein left fordead in theburningcastle, and thepriest thanksGod for theirvictory, thepicture endingwithCarmilla’s theme for full orchestra and choir over harp—very pretty—Carmilla’sdeceitfulalluregoneandonlythelovelinessofthemelodylefttorecallherwickedbeauty.“LUSTFORAVAMPIREwassuchagirlie-girliemovie, Ididn’tevenknowhowtoapproach

it,”saidRobertson.“TheonlyextraingredientIdecidedtousewasachoirwhichgavemeachancetodosomethingdifferentwiththe‘peasantsattackingthecastle.’”4Thescorealsocontainsadistractingandneedlesspopsong,usedinthetorridlovescene

between Carmilla and LeStrange and then a few minutes later as LeStrange recalls theiractivity afterhismeetingwith Janet.The song“StrangeLove”waswrittenunderprotestbyRobertson at the producer’s insistence. Evidently he was eager for record tie-in sales.Robertson claims the song “drew hoots and jeers from every audience that heard it.”As aresult,heconsidersthishisworstscore.5Forallitscommercialindulgence,“StrangeLove”doesn’truinLUSTFORAVAMPIRE, it just

dilutes what could have been a very passionate or frightening sequence and turns it into aVegasstripshowthatneedlesslycallsattentiontoitself.RobertsonwasaskedbyproducerHarryFinetowriteasimilarpopsongtobeusedinthe

third Karnstein film, TWINS OF EVIL (1971), but this time the composer refused to oblige,instead composing a fine theme featuring apowerful trumpetmelodyoverbrass, piano, andtympanithatgavedramaticstrengthtothefilmanditsevilcharacters.The TWINS OF EVIL score, composed at the same time Robertson was doing COUNTESS

DRACULA, is nearly as complex as its predecessor, interweaving three themes, including ahighlyadventurousmainthemefortrumpetsovermilitaristicsnaredrum.InadistinctcontrasttothesoftlyseductivethemesfromTHEVAMPIRELOVERSandLUSTFORAVAMPIRE,Robertson’sTWINSthemeisvibrant,exciting,distinctlyun-Hammerlike,andreminiscentoftheearlyItalianWesternscoresofEnnioMorriconeinitscomplexascendingtrumpet-and-stringsmelodyanditsrhythmic,drivingsnaredrum,tympaniriff,andpipingwoodwindbridge.Thecomparisonisapt. “TWINS OF EVIL was a cowboy film in disguise,” said Robertson. “Except for PeterCushing,mostoftheothercharactersarepaperthinandhavenothingtohangyourthemeson.Butithadagoodartdirectorandhiscastlesetwastremendousforthemoney.Ihadseensomerough assembly and decided to go for broke with a pulsing Rider’s theme.”6 Elsewhere,Robertsonadmittedthathe“alwayswantedtodoaWesternscore.SoIsawallthisbitabout

thePuritansandtheBrotherhood,andIsaid...‘I’mgoingtodoabigcowboythemefortheBrotherhood’ . . . The music comes on at a hell of a speed. There are great chunks ofit...abouttenminuteseach.”7ThethemeisassociatedwithGustavWeil(PeterCushing)andhisbandofwitch-hunters,a

heroicthemesuitableforthedo-gooders.Eveniftheyhappentobehypocriticalfanatics,themusic accentuates their self-righteous behavior with adventurous pride. However, harsh,horrifyingchordsblazewhentheyburnthesuspectedwitches,theresultsoftheirjudgmentfarfromheroic,insteadgrotesqueandinhuman.The Karnstein family is represented with an atonal motif consisting of soft zimbalom

“tweaks”—the simple rapping of 3-successive fingers against the keyboard to provide astingingchordassociatedwiththevampirefamily.ThezimbalomisaHungarianvariationonthedulcimer,anditshollowstringedsoundlendsanunusualtexturetotheorchestration.TheKarnsteinthemeisfirstheardastheresurrectedMircalla(Carmilla)appearsandseducestheyoungCountKarnstein.Thetweakspunctuateherappearanceamidotherwiseramblingstringphrases, notes going this way and that, eventually growing into a pretty love theme forunaccompanied paired strings as the two make love, turning dissonant as Mircalla bitesKarnstein,inauguratinghimintovampiredom.Butthe“love”theme,likethelovers,isemptyofpassion:sixnotesrepeatedoverandover—alovethemeforthewalkingdead.ThezimbalomtweaksrecurtoheraldthearrivalofCountKarnsteininlaterscenes,andthe

6-notelovethemeisheardagainasthetwins,FreidaandMaria,meetAntoninthefinishingschool, theKarnsteinmusic suggesting their later associationwith the vampiric count, as itdoeswhenFreidaseesCountKarnsteinforthefirsttime.There is a thirdmotif associatedwith Freida’s nocturnal seductions after she becomes a

vampire, an8-notedescendingmotif for strings,very fluid,brokenbyharshchordsandsoftviolinnotes.The latter portion of the film is scored with primarily non-melodic suspense figures for

trumpets,strings,andtympani,asthevampireFreidapretendstobeMariainordertoescapethewitchfinder’sburningandAnton’stimelyrescueoftherealMariafromthepyre’sflames.Thisdissonance is occasionallybrokenby theheroicmain themeas thewitch findersmaketheirwaytodoGod’sbusinessandvanquishtheevilcount,theirmusicunabashedlygloriousnowthatGustavhasrealizedhisself-righteouserrorsandiswillingtofaceCountKarnstein.The themebegins to takeon somehighlydissonant aspects as theband storms the castle,

seguingintoacontrastingmixofquiet,rhythmiczimbalomandharshbrassycrescendos.Asthecountiskilled,thezimbalomquietlydiesout,replacedbyharshdissolvingchordsasthecountskeletonizes. Then the triumphant main theme swells up into the end titles, thundering andvictorious.AlthoughRobertsonrefusedtoabidebyproducerHarryFine’sdesirestouseapopsongin

thefilm,Finehadwordssettothefilm’sthememusicandhaditreleasedasanunsuccessfulsingleperformedbythegroupEssjay.Robertson’s problems with Fine began to signal the end of his tenure with Hammer. He

startedtoscoreDR.JEKYLLANDSISTERHYDEin1971,composingsomebarrelorganthemesandsongs, but disagreements between him and the producers resulted in his departure from theproduction.

“I...foundmyselfoverstretchedonotherscoresand,candidly,didn’tthinkIwasgoingtoget on with Albert Fennell who’d always worked with another good composer, LaurieJohnson,”Robertsonsaid.

HisconversationtendedtorevolvearoundhowheworkedwithLaurieandhowsaditwas that Laurie couldn’t do this score, etc. I felt like the second wife to Laurie’s“Rebecca.”Inpassing,theotherproducerwasBrianClemens—anicemanwithoneofthemostagilebrainswhenitcametowritingtortuous,bizarreandentertainingscripts.SoIaskedPhiliptoconveymyregretstoallandextricatemefromthatcontract.Idon’tthinkAlbertFennelllostmuchsleepoverthat.8

David Whitaker was called in to score the picture, although the music Robertson hadcomposedpriortohisleavingwaspartlyincludedwithoutcredit.RobertsonwentontoscoreCOUNTESSDRACULA(1972),whichwasaprofoundlyromanticcompositionforzimbalomandforceful, Gothic strings, effectively depicting the passion of the aging countess, her sincereloveforhersuitor,andherinevitabletragedyinrevertingtohertrue,agedstate.

COUNTESS DRACULA’s producer and director were both Hungarian and wanted to make a“historical”vampiremovie,withahistoricallyaccuratescore.“I followedtheir instructionsbysteepingmyselfinethnicHungarianmusicandusingcertaininstrumentslikethezimbalom.Infact,theygavemeetchingsrelatingtotheCountessBartholdyto‘inspire’me.”9Robertson’s main theme is an extremely sensual, rhythmically undulating motif which

weavesalluringlythroughthescenesassociatedwiththeCountessElizabeth(IngridPitt)andhertemporalattainmentofyouththroughthebloodsacrificesofyoungwomen.AsherfriendCaptainDobi(NigelGreen)kidnapstheyoungCountessElona(LesleyAnnDown)andallowsElizabeth, now young again, to masquerade in her place, Robertson’s music captures adreamlike quality, voicing the Countess’s love for the dashing Imre (Sandor Eles), yetmaintainingamelancholytone,tingedwiththetragedywhichwillultimatelyencompassall.TheCountessElizabeth’s themeisheardinespeciallypowerfulpoignancyas thecountess

rages in grief over the youth she keeps losing, unable to feed it with enough young blood.Robertson’sviolinsreachthesearingdepthsofhertorturedsoulandcreatealotofsympathyforthecharacter.Unfortunately—forthemusic—thesceneisrepeatedlyintercutwithunscoredscenes ofDobi bringing a drunk Imre and a village harlot to the castle (intending to betrayImre’sevidentunfaithfulnesstoElizabeth),soRobertson’sgorgeouscrescendolosesmuchofitscompletemusicalimpactduetobeingaudiblychoppedup.A second motif is associated with the real Countess Elona, a soft and sad melody for

woodwindovermuted,rhythmicup-and-downpianonotes,heardwhenElonaiscapturedbyDobi’smen,duringhercaptivityintheforestcabinandherattemptedescape(thelatterscoredwithavariantforsoftviolinsandthenvibratoxylophonerollsassheflees into thewoods).Themelody’sprettiestvariationisheardwhenElonaisbroughtbyDobi to thecastleandisfoundbyherformernanny.Thethemeswellsintoapoignantmelodyforfullstrings,slowandverymoving.AbriefswirlofElona’s theme isheardassheconfronts thecountessduring thewedding,

then Elizabeth’s zimbalom theme accompanies themaddenedwoman’s attack, desperate for

blood to restore her youth. In the struggle, Elizabeth accidentally stabs Imre, and themaintheme hangs heavy over the countess’s heartbreak as she realizes what she has done.Elizabeth’sthemerecursfortheepilog,alow,somber,andsomewhatvilearrangementasthehangman comes for the captive countess, now known as Countess Dracula by the peasantvillagers.Themusicswellsintoapassionate,full-bloodedarrangementduringtheendtitles,capturingthedesperationandtragedythanhasbefallenthewoman.“I had just barely finishedTHE VAMPIRE LOVERSwhen I had to startCOUNTESS DRACULA,”

saidRobertson,who scored the picture in only a dozen days. “Itwas a very easy score towrite.Ididn’tusewhatIwouldcall‘Hammerchords’...”10Robertson’sfinalHammerscore,andtheonethatRobertsonratesashisbest,wasforPeter

Sykes’s unusual and intenseDEMONS OF THEMIND (1972). For this Freudian thriller dealingwith psychological/demonic possession resulting from incestuous liaisons, Robertsonprovided a romantic, slow-moving string and brass melody with lush and adventurousovertones.Themotif,alsotakenbysensuousflute,isassociatedwithElizabethandherbrotherEmile,whoareaffectedby their father’sdemonicpossession.For themostpart,DEMONSOFTHEMINDisnotagreatlythematicscore.Robertson’smusiceerilyaccentuatesthefilm’ssenseofforbiddenobsessionandpsychichorrorwithslowlybroodingstringphrases,surgingbrasscrescendos, soaring romantic violins, pulses of horn and tympani.Dreamlike, reverberatingharpfingeringunderaspiritedstringmelodyisheardasEmilestrangles thevillagegirl,hisactionslinkedwiththewakingElizabeth,whobeginstostrangleherself, thetwopsychicallylinkedinactionasinblood,theeerieharpgivingthesceneaveryweird,nightmarishquality.Theclimaxisscoredwithlotsofbrassyactionmusic,asEmileisshotbyhisfather,Zorn

(RobertHardy),whoisthencapturedbyvillagersandhasaflamingcrossplungedthroughhistorso.HisdemonwillremainspossessiveofElizabethandsheattacksherrescuer,Carl(PaulJones). The film endswith freeze frames of their faces—Emile, Zorn, Elizabeth—linked infamilial madness and psychic possession—the music crashing, descending with brass andspiralingstrings,aseguetoalong,sustainedfigureforstringsunderrandomzimbalomnotes,and resolute brass. The score is not as complex or involving as the Karnstein films orCOUNTESS DRACULA, but it’s a good one, effectively capturing the film’s unusual style ofpsychichorror.RobertsonusedaMoogsynthesizer—ararityatthetime—togivethescoreanappropriately

unusualandcerebraltonality.RobertsonworkedcloselywithMartell,whomaintainedrightofapproval for both scoring and orchestration. “I have always had certain predilections anddislikesasregardsinstrumentation(I’mnotgreatlyenamoredoftrumpets),”saidRobertson,

andPhilipwentalongwith thesequirksashewoulddowithanycomposer.While Iwrotethescore,IwouldtryandgeteachsectionovertoPhilipquicklysothathecouldget a feel for the way it was going. Now and then he might suggest some dynamicchanges, which is the prerogative of all conductors. I don’t think we ever had anargumentonanyofthefilmswedid.Anysuggestionshemightmakewereusuallygoodones,andIwouldhavebeenafooltohavethoughtotherwise.11

Harry Robertson’s music for these lush and sensual horror films remain a highlight of

Hammer’slaterfilmproduction,underliningwithmelodicromanticismtheirdynamicqualitiesof horror and sexuality, and his music is among the prettiest to appear on horror filmsoundtracksofthe1970s.

DavidWhitaker

DavidWhitakercame toHammerFilms in1971afterhavingscoredSCREAMAND SCREAMAGAINforAmicusthepreviousyear.Whitaker’sformalmusicaleducationcameinthe1950sfrom the Guildhall School of Music, where he studied piano as well as composition andconducting. However, he didn’t pursue a career inmusic until 1962, when he tried to sellmusictovariouspublishinghousesinLondon.Hehadatunepublishedandbeganworkingforonemusicpublisher,throughwhichhemetAndrewOldham,thentheproduceroftheRollingStonesrockgroup.WhitakerdidsomearrangementsforOldhamand,in1965,joinedOldhamand the Stones in LosAngeles,where the group recorded their hit “Satisfaction.”Whitakercontinued doing arrangements for various singers in England and France and eventuallyrecordedaninstrumentalalbumofhisownentitledMusicToSpyBy.WalterShenson,who’djustproducedtheBeatles’AHARDDAYSNIGHTandHELP!,heardthealbumandwasimpressedenoughtoofferWhitakerthescoreforhisJerryLewiscomedy,DON’TRAISETHEBRIDGE,LOWERTHERIVER(1967).The success of the film brought in further offers, including the spy thrillerHAMMERHEAD

(1968)and thedramaRUNWILD,RUNFREE (1969),whichgaveWhitakerhis first soundtrackalbum.HewentontoscoresuchfilmsasVAMPIRA(1975;OLDDRACULA intheU.S.)andTHESWORDANDTHESORCERER(1982),thelatterofwhichwasnominatedasbestoriginalscorebythe Academy of Science Fiction. Whitaker’s music for DOMINIQUE (1978, later retitledDOMINIQUEISDEAD)wasawardedbestoriginalscorebytheAcademieDesFilmsFantastiqueinParis.His1971 score forBLINDTERROR (SEE NO EVIL in theU.S.),whichhad replaced arejected score by André Previn, was itself rejected by the producers (Elmer Bernsteinprovided the third and final score for the film).Whitaker also collaborated with rock starJimmy (LedZeppelin) Page on the score toDEATHWISH II in 1982.Although only seven ofWhitaker’smorethan20filmscoreswerefantasyorhorrorfilms,Whitakerhasprovidedsuchpowerfullydynamicscoresforthegenrethathe’sbecomeoneofitsmostnotablecomposersofthe1970s.WhitakerhadcometoPhilipMartell’sattentioninthelate1960swhenheaskedifMartell

would conduct one of his scores.Martell’s asking price, however,was turned downby thefilm’sproducers.ButafterWhitakerhadscoredAmicus’sSCREAMANDSCREAMAGAINin1970,MartellcalledhimwiththeoffertocomposethemusicforDOCTORJEKYLLANDSYSTERHYDE.WhitakerprovidedoneofHammer’sbestscoresofthedecade,andherepeatedthefavorwithhisscoreforVAMPIRECIRCUSin1972.TheDR. JEKYLLANDSISTERHYDE score isbuiltaroundasingle5-note theme(twoprimary

ascendingnotesechoedbythreeup-and-downnotes)whichisputtoverygooduseinavarietyofdeftarrangements.Themaintitlemusicisagorgeousclassicalwaltz,awarmandromantic

melodywithnohintoftheterrorstocome,growingwithincreasingpassionandreflectingtheguildedclassicismofthetitlecards.“Theopeningofthepicturehadasortofblackclothwithacandle,andtherewasnoaction,”

saidWhitaker. “It evokedVictorianaand, as therewasnoaction, Ididn’twant to telegraphwhatwasgoingtohappen.Ithoughtusingawaltzwasquiteagoodidea.”12TheJekyll/Hydethemeisderivedfromthistitlewaltz,althoughitiscompletelydifferentin

styleandtone.Ittakesthewaltz’sfirsttwonotes,butcarriestheminadifferentdirectionafterthat, surging evocatively andmoodily with large orchestral waves. First heard after Jekyllswallowshischemicalpotionandisgrippedbyaconvulsivetransformation,themusicturnsfrombubbling lowdrumsand low-endpiano intoa lovely,dynamicconcerto-likepianoandorchestrapieceas Jekyll looks into themirror and sees thechange.The lush, elegantmusicreflects both the beauty of thewoman he has become aswell as curiously accentuating thebizarreness of the transformation, its surging volume capturing a strong sense of awe andwonder.ThemelodyquietstoasoftlyricalromanticismasSisterHydegazesdelightedlyatherself

inthemirror,butthemusichasanaddedtextureofominousapprehensionthroughwhatsoundslike a low synthesizer drone below the piano melody, lending a subtle undercurrent ofeerienessandnot-quite-rightnesstothescene.Themusicturnsdissonantandviciousasshediscoversherowncarnality.Anatonalversion

of themain theme forviola, tympani, andhighpianoaccompanieshercollapse intoachair,overwhelmed and exhausted by the transformation.The contrast between the lyrical and theatonalmusiccomplementingthedivergentaspectsofSisterHyde—beautifulandfree,butalsocarnalanddeadly.This theme recurs during all of the transformation, swelling voluptuously as SisterHyde

emerges,thevaguewaltzfiguresgivingheranelegancethatbeliesherevilnature.Italsolendsa subtle romanticism to the provocative teasing betweenher and Jekyll’s neighbor,HowardSpencer.Attheclimax,whenJekyllstrugglesagainsttheoverpoweringinfluenceofHyde,themusic

takesonanappealingrhythmfromwoodwindandstrings,drivenbyharpandpianonotes,asJekyllmakeshiswayacrosstherooftops,fleeingtheangrycrowd.Themusicbuildsandbuildspowerfullyasheclingsprecariouslytoledges,themusicportrayinghispanicandtorment,aswellashispathosattryingtoevadetheevilSisterHydesideofhimself.Unabletoovercomeher,hebegins to transform,until he letshimself fall from the roof tohisdeath,SisterHydereverting back toDr. Jekyll for one last time as themusic ends on a dynamic recap of theJekyll/Hydetheme,theuseoftheconcertpianonoteslendingaparticularlyprofoundcharacterandclassicstyletothetheme.“Ithinkallofmymusicalideascouldbecalledneo-romantic,”saidWhitaker.

Ialwaystrytogetbacktothematicdevelopment,andI’vealwaysthoughtaboutmotifs.Theycomenaturallybecauseyou’re looking for something to identifypeople.Motifsseemalogicalpointtoidentifycharactersorsituations.It’sreallymyusualapproachtofilmscoring. I identifycharactersorsituationswithmotifs,and themusic justcomesout.It’spossiblyanobviousapproachbutit’sfuntoknitthemintothemusic.

The following year, Whitaker composed an equally stunning score for VAMPIRE CIRCUS,underliningthefilm’smagicaltoneandtempowithahighlyromanticscorewhichincludedaviolin theme,bestheardwhenyoungJennymarvelsat thesplendorofMitter-house’sCastle,andapulse-poundingcathedralorgantheme.AquotationfromtheDiesIraeechoesacrossthesoundtrack as Jenny gazes at the portrait of Count Mitterhaus—a somber warning to theaudienceandaprecognitionofherimminentdemiseathishand.Thescoretakesonacarnival-like flavor through the use of an organ, but this is no jolly sideshow: the scoremaintains aconsistentdarknessthroughprogressivelow-registerchordsandmysteriousdissonances.

VAMPIRECIRCUSisoneofonlythreeHammerscorestoemphasizethetraditionalspookeryofachurchorgan(theothersbeingBRIDESOFDRACULAandTHEPHANTOMOFTHEOPERA).“Ihiredachurchandanorgan,”Whitakersaid.“Wehadamobilerecordingunit.AsIdon’tunderstandorganatall,Ipulledoutallthestopsandplayedregardlessandjustmadeanoise.”13A slight violin melody is the score’s only light music. It closes the film with an air of

melancholy, building into a harsh, footsteps-like series of chords in the end titles, as ifrepresentingthethwartedvampiresstalkingfuriouslyaway.“Ihadtorelyuponmemoryalonewhilescoringthefilm,”saidWhitaker.

Themusicdeveloped,virtually,asthecuesheetsbecameavailable.TherewasafiveorsixweekdeadlinewhileIwaswaitingforthecuesheetstocomein,onebyone,andit’sratherliketurninguppies.AssoonasI’dfinishmycueI’dgetitofftoPhilMartell,who’d then say yes or no as the case may be, or “why have you done that?” ButinvariablythingsworkedoutOK.

In 1973,Whitaker scored his final Hammer film, a minor comedy entitled THAT’S YOURFUNERAL.“Thatwasablackcomedyanditdidn’tworkatall,”hesaid.“InfactitwasaturkeyandIthinkPhilMartellandIfelloutoverit.”Regrettably, these were Whitaker’s only Hammer films. Even so, the horror scores are

exceptional and among the bestmusical contributions toHammer’s later period.His use ofstrident melodies in the midst of progressive orchestral disharmony fit perfectly into theHammer style of film scoring and gave both films an extra dynamic through the powerfulmusic.Whitaker has been especially adept at scoring action and battle scenes, his franticmusic

weavinginandabout thefuriousactivity,skillfully tyingeverything together throughmusicalfluidityandharmonicdissonance.“Imark the topofmyscorewithactualcuepoints [of thefilm’svisualaction],soIseethatpointwhichIhavetomakeinthemusicisnowtwoandahalfbarsaway,”saidWhitaker.

Musically,howamIgoingtoattempttoreachthatcuepoint?Onetries,sometimesyouhave tomickey-mouse [synch themusic to visual action hits], but toomuchmickey-mouseis,ofcourse,ridiculous.You’llhavetocompetewithshockinthemovie,soyoudon’ttelegraphthewholethingwithmusic.Yousometimesgoawayfromitcompletely.

Whitaker found nothing remarkably special about working at Hammer but enjoyed theexperienceofscoringtheirtypeoffilms.“Hammerwasalright,”saidWhitaker.

Work’s always enjoyable when it’s music and when it’s possible to use a largeorchestra.PhilMartelldidtheconductingontheHammerstuff,andIlearnedquitealotfrom Phil. He’s a good man. He gave up cigar smoking at one point and then gotawfully bad tempered. But Hammer was an era. I was lucky to have had a littleinvolvement,andthat’sall.

ChristopherGunningAlongwithWhitaker’sDR. JEKYLLANDSISTERHYDEandRobertson’sKarnsteinscores, the

best Hammer music of the 1970s must include Christopher Gunning’s lovely score for thepoignant thriller,HANDS OF THE RIPPER (1971). The film, about a woman possessed by theunwholesomespiritofher father, Jack theRipper,benefitted froma literatescript,excellentdirection,fineproductiondesign,andastandoutthematicscorebyGunning.Christopher Gunning had gotten into film music through an association with composer

Richard RodneyBennett, withwhomGunning had studied at Guildhall. “I went to RichardspecificallybecauseIwasinterested,already,inwritingforfilms,andIthoughtthat,sincehewasalreadyavery,verysuccessfulfilmcomposer,hemightbeabletohelpmewithsomeofthe technicalaspectsof filmscoring,”saidGunning.“And, in fact,hewasmosthelpful.Myveryfirstjobsinfilmwerearrangingsomemusicforhim—bitsforNICHOLASANDALEXANDRAandTHEBUTTERCUPCHAIN.”14Gunninghadspentseveralyearsscoringtelevisioncommercialsanddocumentaryfilms,as

well as writing arrangements for pop singers including Cilla Black, the Hollies, TommySteele,andMelTorme.HisfirstfeaturefilmwasGOODBYEGEMINI,fordirectorAlanGibson.“The scorewas partly popmusic andpartly orchestralmusic,” saidGunning. “Someof theorchestralmusicwasprettyfreaky,Ithink,foritstime.”As a result of this and some of his other filmwork,Gunningwas approached by Philip

MartellwithanoffertoscoreHANDSOFTHERIPPER.Gunninghadbetweenfourandfiveweekstoscorethefilm.Thennewtofeatures,thetimepressurewastaxing.HeworkedcloselywithMartell,whoinsistedonapprovingeachofGunning’scuesashewrotethem.“AtfirstIfounditquitegallinghaving somebodyelse imposing their ideasandpersonalityonme,”Gunningsaid. “Nevertheless I do recognize a common failing of novice film composers is to writemusicthatistoocomplicated.WhatIfinallyarrivedatwasfarsimplerthanwhatIintended,andthatmaywellhavebeenofbenefittothefilm.”TheRIPPERmusichasitsbaseinthreethemes.ThefirsthastobeoneofHammer’sloveliest

melodies,emergingoutoftheviolinstrainsheardwhentheRipper,havingjustkilledhiswife,embraces his young daughter, Anna, whose witnessing of the event will seriously scar herfuture,and themotifwillunderline the tragedyofher innocenceandaffliction.The theme isdirectly contrasted with a chilling motif for high-end strings, heard whenever Anna isovercomebyherfather’smurderousspirit.Thethirdmotif,however,actuallyaccompaniesher

compulsive killings, a 6-note, ascending theme for brass. The three themes are thereforeintimatelyrelated:thefirstforthegirlherself,herdelicateinnocenceandunfortunatepathos;thesecondfortheunswayablecompulsionthatovercomesher;thethirdforthedeadlyactionsthatcompulsioncauses.“The most important theme was a rather idyllic theme played mostly by a solo flute

accompaniedbyaharpandsomestrings,”Gunningsaid.

Thisrepresentedthelittlegirl,whenshewasnotpossessedbytheRipper.Andthenweneeded some contrasting material to be used when she became possessed, and ofcourse this was of a much more horrifying nature. Another important thematicingredientisthetrancemusic.FormanychunksofthefilmweareawarethatAnnaiswalking around in a trance-like state, andwhatwe neededwas something high andsuspended. That’s when I used the vibraphone and the harp and very high strings,suspendedwithhardlyanymovement.

Thecorrespondenceofthesethemesisintricatelyworkedout,andthescorebecomesatour-de-forceofleitmotifinterrelation.Forexample,whenDr.Pritchard(EricPorter)returnshometofindAnna(AngharadRees)standinginatrance,handsbleeding,wefirsthearAnna’stheme,playedsoftlyfromanoboeoveraveryfaintRipper’sthemeheardfromtheharp.Themixtureofthetwothemeseffectivelycontrastsandcomplementsthetwosidesofthisunfortunategirl.It’ssosubtlethatmostmoviegoerswon’tevennoticeit,yetitlendsanalmostsubliminaleffectto the mood and atmosphere. The recurrance of these themes will establish an emotionalundertonetotheproceedings.Later, themurder theme is given a very evocative rendition for strings as Dr. Pritchard,

having stepped out of the room, returns to findAnna hiding, possibly in anothermurderousstate.Amomentofdelicious supenseaccompanies the stringchords,untilPritchard realizesthedoorisopenandAnnahasfled.TheRipperandmurderthemesthenalternateasthesceneshiftsbetweenAnna’swandering

throughtheWestEndstreetsandPritchard’ssearchingforher.Herethevariationismoreforvibrato violin, deep and quivering, slowly accompanying Pritchard’s urgent search for hischarge.WhenAnnaistakeninbyLongLiz,theharlot,theRipperthemeissupplantedbythemurderthemewhenAnnaisovercomebyherfather’scompulsionandstabstheharlottodeath.A gently shocking cue for spiralling strings and rustling cymbal greets the dyingLiz as shestaggersintothestreetandisfoundbyherfellowstreetwalkers.Thescoreseguestoasomber,fluid low string motif as Pritchard investigates Liz’s house and finds Anna, at which timeAnna’sthemeisheardfromtheoboe—verysadandtragicastheconfusedgirlistakenawaybyherbenefactor.Thefluidstringmotifwilleventuallybecomeafourthleitmotif,whichIwillterm the aftermath theme, as it will always be associatedwith the awful results of Anna’smurderous rage,most effectively afterAnnahas stabbedPritchard andhe crawls acrosshisfloor,seekinghelp.Itremainsaveryminormotif,comparedtotheomnipresent trinityof theAnna-Ripper-murderthemes.OnHANDSOFTHERIPPER,GunningusedafairlylargeorchestraforaHammerfilm—about

forty or fifty—mostly strings, French horns, and some percussion, harps, and vibraphones.

“ThewholeRIPPERscorewasabitofachallenge,becauseIwasnewtoit,”Gunningsaid.

Thebiggestchallengewasgettingthemusicfinishedintime.UnlikeAmerica,insomerespects, one is generally expected to orchestrate one’smusic also.And of course Iverymuchenjoythataspectofit,butitisterriblytimeconsuming.Inthosedayswehadnoneof thecomposingaids that Iusenow—time-codedvideocassettesand the rest.Basically,onehadtorememberthefilm.Youwenttoseeitonce,twice,maybewentthroughitinthecuttingroomacoupleoftimeswiththeeditor,andfromthatmomentonyouworkedfromashotlistwithtimingsgiventoyoubytheeditor.Youhadtorelyonyourmemory forwhatwashappeningon the screen.Nowadays,ofcourse,weworkwithVHScassettesathome,andit’smuchbetter.

Like most composers employed by Hammer films, Gunning found the studio a welcomeplace to compose, if very much a movie-making factory. “One of the successes, fromHammer’spointofview,wasinproducingfilmsatveryreasonablecosts,”Gunningsaid.

I think the fees paid to composers were, by and large, pretty low. That didn’tnecessarily make it the most attractive thing for composers! However, in anotherrespectonehastosaythatHammerwasverysupportiveofmusicians.Theyusedlargeorchestras,employed lotsofmusicians,although theaimwas to recordabsolutelyasmuchmusicaswaspossibleduringasession.InthosedaysIhadbeenusedtohavingthemusic played through once, and then recorded. But Hammer recorded themusicvery, very quickly. You had to have your wits about you to spot wrong notes andperformanceinaccuracies!

GunningscoredoneadditionalfilmforHammerin1975,a televisionspin-offcalledMANABOUT THE HOUSE. The comedy film had a far lower musical budget than the RIPPER film.Gunningwenton toprovidenotable scores forWHENTHEWHALESCAME (1989) andwon anIvor Novello Award in 1991 for scoring UNDER SUSPICION. Apart from these few featurescores,Gunninghasfoundhishomeintelevisionmusic,havingscoredsome40TVplaysorserials, twice winning the BAFTA award for best original TV music. His early work forHammerresultedinoneofhisbestscores,andoneoftheirs.

JohnMcCabe

The year after Gunning’s excellent leitmotif score, John McCabe’s first Hammer scoreprovided a similar motific effectiveness with FEAR IN THE NIGHT (1972). All the moreremarkableisthefactthatthiswasMcCabe’sfirstfilmscore.McCabehadbeenaclassicalcomposerandpianist,studyingattheManchesterUniversity,

RoyalManchesterCollege,andattheHochschulefürMusikinMunich,Germany.From1965-68,McCabewasappointedpianist-in-residenceat theUniversityCollege,Cardiff,andfrom

1983-90,Director of the LondonCollege ofMusic.Apart from those appointments and thewritingofseveralmonographsonclassicalmusic,McCabehasdevotedhimselftocomposingandplaying.Theauthorofmuchpublishedorchestralandvocalmusic,McCabehasalsomadeover50commercialscores.In1971,acomposerfriendofMcCabe’shadbeenaskedtoscoreFEARINTHENIGHT,buthad

been too busy to do so, and suggestedMcCabe instead. PhilipMartell listened to some ofMcCabe’spreviouscompositionsand invitedhim to takeon theproject.McCabeadoptedasemithematicscorethatalsorelieduponvariousnonthematic,nonmelodicmusicalmotifsandorchestralphrasestocreateaneffectiveambienceofterror.“The two elements inFEAR IN THE NIGHTwere the emotions connectedwith the principal

womancharacterPegandthegrowingterrorofhersituation,”saidMcCabe.

Weallfeltthatthethemeassociatedwithhershouldbeabsolutelythemainthemeinthepicture,tostrengthentheunityofthefilmandmakeclearthatitwasreallyabouther.Otherwise, the gradual intensifying of the dissonance in the “terror music” wasdesigned to reflect the growing sense of powerlessness and increasing fear she felt.Herownthemehadtobebothromantic(becauseofheremotionalsituationatthestartofthefilm)andpoignant,toreflecthergrowingisolation.15

Peg’sthemeisbasicallyavarietyofnonmelodicsuspensecuesandasinglerepeatedtheme,aplaintive, solowoodwindmelodyassociatedwithPeg (JudyGeeson)and theattackmadeuponherintheopeningscene.Thethemerecurs,alongwiththememoriesthathaunther,assheisstalkedbythekillerintheabandonedboardingschoolshemovestowithhernewhusband.LowgroaningviolalinesunderthewoodwindmelodybuildagoodsenseofspookyuneaseasPegstaresoutthewindow,suspectingashadowyfigureiswatching,thenhigherviolinstakethemelodyunderstaccatostringstrokeasPegandhusbandRobert(RalphBates)returntobed.Thenextday,asshebrowsesthroughtheemptyschoolwhileRobertisaway,themelodyopensupromanticallyforfluteoverharpandstrings,mergingintoaprettyviolinthemewhichsoursasshenoticesthat thecafeteria,whilehavingplacesettingsoneverytable,exhibitssignsofonlyoneof themhavingbeenused.ThemotifalsosoundssoftlyafterPeg isattackedagain,whenRobertarrivesandcomfortsher.Themajority of the score’s second half is comprised of actionmotifs, several of which

reachastrong levelofmusicalexcitement. Inparticular is thespookyscenewherePeg, leftalonebutarmedwithashotgunshe’sfound,isconfrontedbythemadHeadmasterCarmichael(PeterCushing),whoshesuspectsisherpreviousattacker.Sheshootshim,buthestalksafterher,apparentlyuninjured.McCabe’smusiceruptsintoaferociouscueforstrongviolinchordsandtympani(thisisthecuewhichisreorchestratedonPhilipMartell’ssuitefromthefilmontheHAMMERPRESENTSDRACULArecord).AcacophonyofviolinsshriekasPegischasedintothe school, pursued by the stalking headmaster, and hears the tumultuous laughter of unseenboys.McCabe’swildlydissonantmusiccreates anexcellenthorrific frenzy; it really letsusfeel Peg’s panic and terror as she is chased and trapped. The full orchestra belches into adynamic crescendo of blaring trumpets, snarling trombones, wildly flailing strings, andmiasmicpercussionasPegslumpsintounconsciousnessandCarmichaelbearsdownonher.

The opening theme returns for soft flute, warm and melancholy as Robert comforts theexceedinglywithdrawnPegaftersurvivingherexperiencewiththeheadmaster.Later,asplottwists reveal the true villain, suspenseful tones and shimmers embellish the deceptions andcounterdeceptionsuntilallbutPegmeetultimatedestruction.McCabe’sscorewasperformedbyanorchestraofabout40players.“Itwasprettystandard

orchestration,”saidMcCabe,“though,asoftenwithHammer(frequentlyattheurgingofPhilipMartell)abassflutewasincludedtoinflectthesoundalittle.”

FEAR INTHENIGHT remainsMcCabe’sonly feature filmscore.Outsideofhisownconcertcompositions and recordings,McCabe has scored several television episodes for theBBC,Thames,andGranadaTV,aswellasfiveepisodesofHammer’sTVseriesofthe1980s.ForTHEHAMMERHOUSEOFHORROR,McCabescoredthreesegments,andforTHEHAMMERHOUSEOFMYSTERY AND SUSPENSE, he composedmusic for two episodes.He approached these shorterassignments(60and90minutes,respectively)alongthesamelines,thoughwithlessrelianceuponthemes thanappropriatemusicalambiences.“TheTVfilmswereshortbut theyneededquitealotofmusic,probably18or19minutesinmostcases,”McCabesaid.

TherealdifferencewastheamountoftimeIwasgiven.WithFEARINTHENIGHTIhadtwo weeks (by no means generous), but time got increasingly short with the TVprograms.On threeoccasions, because themusic recordingdateswere fixedbut theshootingschedulesgotlaterandlater,Ihadtowritenearly20minutesofmusicin2or3days.WheninvitedtodosomemoreIdecidedthatitwasn’tpossibleformetodogoodworkunderthosecircumstances.

While the rushed nature of the television scores resulted in McCabe’s bowing out ofHammer film scoring, he greatly enjoyed the opportunities available in writing fantasy andhorrormusic. “There is a considerable challenge inwritingmusic that reallyunderlines themainemotionalandpsychologicalelementswithoutdrawingattentiontoitself,”hesaid.

Anotherchallenge iswriting lotsofusefulandatmosphericmusic for scenesof, say,peopletip-toeingdowncorridors,withoutactuallyrepeatingoneselforbeingreducedtoformulae.TherewasacertainamountofformulaeinmylaterTVscores,duetothefactthatIhadnotimewhatevertothinkaboutthemusic—Ijusthadtositandandwriteitstraightoff.

As forworking forHammer,McCabe found the studio supportive andbeneficial. “PhilipMartellwasatowerofstrengthandaninexhaustiblesupplyofexperienceandadvice,”saidMcCabe.

Iwasonlytoowillingtolearnfromhisexperience,andhisinputintothekindofthingoneshouldwrite,andwhereitshouldbefitted,wasmostvaluable.Wehadplentyoflongdiscussionsaboutsomeofthedetail,whileheleftmeacompletelyfreehandwiththe music of it, as well of course as in the actual thematic material. He was also

invaluableasaguidetoputtingmusictosceneswithdialogueandpracticalmattersofthatkind.

“Hammerwasalwaysconcernedtogetthebestplayerstheycould,”McCabeadded.

Ijustwishthere’dbeenabitmoretimeonsomeoccasions.Ithinkpeopleinthefilmindustry,thoughawareofhowimportantmusiccanbe,donotrealizehowlongittakestoworkitout,letalonethinkaboutit,andrelyonthecomposerstowriteitinstantly.

LaurieJohnson

Laurie Johnson provided a highly romantic, heroic score for Brian Clemens’s CAPTAINKRONOS,VAMPIREHUNTER(1973).BorninHampstead,London,in1927,JohnsonstudiedattheRoyalCollegeofMusic,wherehelatertaught.Heembarkedonaprofessionalmusicalcareerin the1950s,composingandarrangingforavarietyofbigbands. In1956,hebeganscoringfilmsandtelevision,amonghisearliestbeingRayHarryhausen’sTHEFIRSTMEN INTHEMOON(1964)andStanleyKubrick’sDR.STRANGELOVE(1963).JohnsonalsoscoredepisodesofTV’sTHRILLERandTHEAVENGERS (including the latter’spopular theme).Johnsonwasbrought intothe project because of his association with producer Albert Fennell and director BrianClemens,withwhom hewas a partner in a film producing companywhichmademanyTVfilms, including THE AVENGERS. When they were engaged to direct KRONOS, they naturallybroughtJohnsonalongwiththemascomposer.ThescoreforCAPTAINKRONOSisbuiltaroundtwothemes,oneforthetitularhero,Kronos

(HorstJanson),andoneforthevillainousvampires.Kronos’sthemeisanadventuroustrumpetmelodyoverfast-pacedstringswhichlendanalmostmedievalrhythmictexturetothetheme.First heard in the main titles, it underscores scenes of Kronos’s anti-vampire activities,soundingsubtlyforoboeandstringsashefreesKarlafromthe imprisoningstocks,whenheandhisentourageheadtowardtowntolocatethevampires,andasapreludetotheclimacticswordfight between Kronos and vampiric Lord Durward (Shane Briant). Half of thisswordfight isn’t scored at all and is very dull as a result. Only when Johnson’s thrillingwoodwind,brass,andstringactionmusicentersdoesthefightreallycaptureanyexcitement.Musicforthevampiresconsistsprimarilyofextremelylow-endbassoon,whichlendsanice

rumbling texture to the vampire attack scenes. It’s also heardwhenKronos andDr.Marcusdiscuss vampirismand as anunderlying counterpoint toKronos’s themewhen the entourageapproachestown,tyinginKronos’sheroictunewiththechordalphrasesforthevampireandlinkingthetwocharacters.Later,Johnsonaddsazimbalomtotheslow,vampirechordsasasubthemeforDr.Marcus(JohnCarson),linkedwiththevampirethemeduringMarcus’svisittoDurward’smansion, and in thenext scenewhenhewanders relentlesslyatnight afterhisvampire encounter. The zimbalom is heard again after Marcus’ death, under low stringtonalities as Carla (CarolineMunro) arrives at Durward’smansion as bait for the stalkingKronos. Themotifmakes its final appearance in a low dying tone as the vampires die, the

musicdissolvingwiththeirdemise.Much of Johnson’s suspense music is very Herrmannesque, which is no surprise since

Johnson collaborated with Bernard Herrmann frequently during the 1960s and in factcomposedthemusicforLarryCohen’sIT’SALIVEAGAINandIT’SALIVEIII:ISLANDOFTHEALIVE,based onHerrmann’s original score forCohen’s first film in the series.Much of Johnson’sCAPTAIN KRONOS score captures the same kind of chordal effectiveness as did Herrmann’smusic for filmssuchas7THVOYAGEOF SINBADand JASONAND THEARGONAUTS, yetwith hisowndistinctivevoicings.“Eachfilmisdifferent,”saidJohnson,

therefore thedramaticemphasis is theonlyguiding line.Theprocessfromthenon ispurely instinct and subconscious. As far as CAPTAIN KRONOS was concerned, weworkedtogetherinourusualmanner,asateam.IcannotrememberanycontributionorinvolvementfromanyoneatHammer.16

Notes1.HarryRobertson,interviewedbyBruceG.Hallenbeck,LittleShoppeofHorrorsNo.7(December1982).2.HarryRobertson,interviewedbyRichardKlemensen,LittleShoppeofHorrorsNo.10/11(1990).3.HarryRobertson,interviewedbyHallenback,opcit.1.4.HarryRobertson,interviewbyKlemensen,opcit.2.5.HarryRobertson,quotedbyRichardKlemensen, “AnOldFavoriteCensored,”Fandom’sFilmGalleryNo. 3 (Hove,

Belgium:JanVanGenechten,1978),p.163.6.HarryRobertson,interviewedbyKlemensen,opcit.2.7.HarryRobertson,interviewedbyHallenbeck,opcit.1.8.HarryRobertson,interviewedbyKlemensen,opcit.2.9.Ibid.10.HarryRobertson,interviewedbyHallenbeck,opcit.1.11.HarryRobertson,interviewedbyKlemensen,opcit.2.12.DavidWhitaker.AllunattributedquotesarefromaninterviewwithRandallLarson,January11,1993.13.DavidWhitaker,interviewedbyRichardKlemensen,LittleShoppeofHorrorsNo.10/11(1990).14.ChrisopherGunning.AllquotesfrominterviewbyRandallLarson,May20,1993.15.JohnMcCabe.AllquotesfromaninterviewbyRandallLarson,May15,1993.16.LaurieJohnson,interviewedbyRandallLarson,July14,1993.

7

SWANSONGS

Toalargedegree,Hammer’spendulumswingintorockandpopfilmscoringwasaforecastof its eventual demise. Asmore andmore commercialistic pop tunes, songs, and full rockscoreswere sought, it seemed the integrity of their films (asmuch as theirmusic) suffered.Popular music and film music have always been odd bedfellows, the structured beats andrhythms of pop tunes, jazz, and rock unfit to capture the nuances of character, theme andsubtletythatsymphonicscoresdidsowell.Earlyattemptsatjazzinfilms,suchasDonBank’sHYSTERIA and Stanley Black’s MANIAC, failed to capture the dramatic sense those samecomposersprovided throughsymphonichorrormusic.Laterattempts, suchasMikeVicker’sDRACULA A.D. 1972, were similarly undistinguished. Because horror derives from mood andcarefullycreatedatmosphere,araucousbassrhythmandpopbeatisoftencounterproductive.

DonEllisAn early attempt to pop-ize Hammer films occurred when jazz trumpeter Don Ellis was

brought in to compose the music for the execrable MOON ZERO TWO (1969). The generalconsensus has been that this lunar spy adventure is among Hammer’s all-time worst films.Ellis’s score is among their all-time worst scores, consisting of counterproductive,obstreperous, and clamoring jazz conglomerations which, for the most part, do nothing todevelopatmosphere,mood,orfollowaction.Duringthe“climactic”fightandescapesceneonthe abandoned moon base, Ellis pours out a cacophony of free-form pandemonium fromburbling saxophones, flutter-tongued trumpets, and retching trombones, addingnothing to thescene’s drama or pacing. It becomes downright laughable when Ellis begins to echo thecharacter’s gunshots with blares of brass, turning the whole scene into a Mickey Mousecartoonbeforegoingintoarapidrockriffforelectricguitar,snaredrum,andlow,dullorgannoteswhichonlymiresthisfranticactionsceneinagooeysyrupofannoyinganddistractingraucousness.Thisisnottosaythattheentirescoreiswithoutmerit,thoughitsfeweffectivemomentsare

faroutweighedbyitsomnipresentsilliness.Thefilmopens(afteranawfulrock-song/animatedcartoonmaintitle)withreverbedsolotrumpetplayinginextremelyslowmeterastheastronautretrieves a space satellite. After awhile, woodwinds create amysterious texture below thetrumpet, both nicely evocative of the solitude and remoteness of space. The low, groaning

woodwindandstringsunderdistant,raspingtrumpetscreateanicelystrangeandalienmoodforthefirstscenesonthemoon’ssurface,likewiseforthesceneoftheastronaut’sshuttlerideacrossthelunarsurface,creatinganundercurrentofdarktonalityandunearthliness.But these are brief moments. The score quickly digests them in its ill-matched and

hopelessly inappropriate free-form and modern jazz melodies, tones, blares, rhythms. Thiskind ofmusic really doesn’t accomplish what filmmusicmust—creating an emotional linkwith characters and situations. Ellis’s style of music was far better suited to THE FRENCHCONNECTION,wherehisboisterousjazzassistedthaturbanactionthrillerratherthanhindering,asitdidinMOONZEROTWO.

RolandShaw

Similarlyuninvolving,jangly1960sjazzwasusedbyRolandShawinhiscover-glossscoreforthe1972thrillerSTRAIGHTONTILLMORNING.Fast-paced“cityjazz”isusedtoaccompanyscenesofthegirl’smovetoLondon,whilesofter,moresubduedrhythmsareusedforthegirl’smotherbackhome.But thescoreneverreachesanyparticular levelofeffectivenessbecauseit’snothingbutlipstick,arhythmiccoatingforthefilmwhichhasnorealassociationwith itscharacters or situations and, as a result, doesn’t allow theviewer to becomevery involvedwiththem.

MichaelVickersIn1972,whenWarnerBros.,Hammer’sAmericandistributor,convincedtheBritishstudio

tomake a contemporaryDracula film geared to the rock-and-roll crowd, themoodyGothicatmospheresofJamesBernardwerereplacedwithloudrockmusicthat,whileinkeepingwiththefilm’smilieuandtheme,failedtounderscorethefilm’sdrama.MichaelVickers,aformermemberof theManfredMannrockgroupwithnoprevous filmexperience,wascalled in toscoreDRACULAA.D.1972,providingagrating,pop-jazzscorewhichwasawkward,dramaticallyoutofplace,distractinginthefightscenes,andoverallsoundingmorelikeannoyingTVcop-showmuzak.TherockgroupStonegroundprovidedthesongsheardinthefilm.VickershadbeenrequestedbydirectorAlanGibsoninspiteofPhilipMartell’sobjections

that he was wrong for the film. Producer Jo Douglas recalls a different story, however.“MichaelVickerswasapromisingyoungwritersuggestedtomebyPhilipMartell.Wewenttohimanddiscussedsomeideaswithhimandhecameupwiththingsthatfittedexactlywhatweweretryingtodo.”1AccordingtoMartell,though,muchofVickers’smusicwasreplacedbylibrarytracksfrom

previousfilms(ASCAPcuesheets,however,donotcreditanyotherworkbesidesVickers’sashaving appeared in the film). “The producer asked what I was going to do about it,” saidMartell.“Itoldheritwasdone,thatthemusicwasset.‘Youaskedforhim;youwouldn’tlistentome,wouldyou?’Anyway,wegotDonBankstoredoabouthalfofit.TherestofthescoreI

gotoutoflibrarytracks.”2WhetherlibrarymusicdoesindeedoccurinDRACULAA.D.1972, theeclecticconglomeration

never did congeal, and the attempt to modernize DRACULA into the trendy 1970s failedmusically, as it did cinematically. Vickers later provided similar musical carpetting forAmicus’sATTHEEARTH’SCORE(1976)andWARRIORSOFATLANTIS(1978).

JohnCacavas

Hammer’ssecondmodern-dayvampiremoviewasTHESATANICRITESOFDRACULA (1973).Duetotheawfulreceptiongiventhefirstfilm,itwasn’treleasedinAmericauntilmanyyearslater and thenunder avarietyofothernames, includingTHE 7 BROTHERSMEET DRACULA andDRACULAANDTHE7GOLDENVAMPIRES.AmericancomposerJohnCacavaswascommissionedto score the film,usinga combinationofpopandGothic scoring techniques—anadmittedlystrangealliancethatdidn’talwaysworksuccessfully.BorninSouthDakota,Cacavaswasajazzsaxophoneplayerwhobecameabandcomposer

andarrangerinNewYork,providingarrangementsforgroupssuchasthe101Stringsandothereasy-listeningorchestrasandsingers.HemovedtoLondonin1970inanattempttobreakintothe movie business, which he did through his friendship with actor Telly Savalas, whoprovidedthekindofcontactsCacavasneededtogethisstart.HisfirstcreditwasthetitlesongofaSpanishproductionofPANCHOVILLAin1971.CacavaslaterprovidedanotablescoreforAIRPORT 1975 inAmerica andeventuallybecameaprolific scorerof televisionmovies.HealsoenjoyedseveralyearsasthemaincomposerforSavalas’spopularTVseries,KOJAK.ButitwasCacavas’ssecondscorethatbroughthimtotheattentionofHammerFilms.ABritish-Spanish co-production starring Peter Cushing and Christopher Lee, HORROR EXPRESS was alow-budgettaleoftrainterror,givenaneffective,subduedscore.CacavaswasintroducedtoPhilipMartelland,onthestrengthofhisHORROREXPRESSmusic,wasgiventheassignmenttocomposeTHESATANICRITESOFDRACULA.“Thefilmwassupposedtobeastraight-offCountDraculafilm,”recalledCacavas.“Butan

Americanproducerbecameinvolvedwhowantedthefilmtohavearockandrollscore.Anorchestrastruckmeasbeingright,butIdidgivethemainthemeapseudorockbeat.ThatwasaboutasfarasIcouldgo.”3Cacavas worked strictly with Martell, not even meeting director Alan Gibson until the

recordingsession.Martell,meanwhile,passedalongtheAmericanproducer’sinsistenceonapop-styledscore.“Theywerereallysetintheirways,”saidCacavas.“Ididn’tmakeitasGothicasIprobably

wouldhavewantedit,becauseIwasunderpressurefromtheotherstudio.”Cacavasrecallshewasgivenabouttwoorthreeweekstocomposeandorchestratethirtyminutesofmusicforthefilm.Hehadtheluxuryofalargeorchestracomprisingsome75players.Thescoreisamixtureof thematic andatmospheric,hingingarounda semiromanticmelody for trumpet and strings.Thethemeretainstherequiredrockbeatwhilemaintaininganairofadventureandimpendinghorror in the low rhythms. Outside of this, Cacavas’s score was primarily atmospheric,

occasionallyrecallingorreprisinghismainthemebutotherwiserenderingasenseofmusicalhorrorthroughdarkrhythmanddiscord.“Iwriteinadissonantstylethat’skindofsubdued,”saidCacavas.“Iliketolaythemusicin

thereandletithoverbehind,notbetooobtrusive.Butyoualsotendtowritewhatpeoplewantyou to write. This should have been either all rock or none.What we ended up with wasneitherfishnorfowl.”The “new direction” taken by DRACULA A.D. 1972 and SATANIC RITES OF DRACULA on the

insistenceof theirAmericanco-producers turnedout tobecadaverouslyanemic,asDraculaalwaysseemedtodobestintheGothicshadowsofthenineteenthcentury,andinfactSATANICRITESwasHammer’slastrealDraculamovie(nottodiscounttheHammer-ShawBros.psuedo-Dracula,LEGENDOFTHE 7GOLDENVAMPIRES the followingyear).SATANICRITESbenefits fromthefactthat,whereDRACULAA.D.1972remainedpurelyinthepop/rockbeat,Cacavasbroughtinhismorerefinedmusicalsensibilitieswhichsupported thefilm’sdarkersenseofhorroranddramaandgaveitamorecohesiveandatmosphericscore.It’stitlethemedoestendtogetabitglossyattimes,butthescoreoverallserveditsweakpicturewell.

PaulGlass

AnotherAmericancomposer,PaulGlass,wascalled in toscoreHammer’s lastbonafidehorrorfeature,TOTHEDEVIL...ADAUGHTER(1976).BorninLosAngelesin1934,PaulEugeneGlassbegancomposingatanearlyage.HereceivedhismusicaleducationattheUniversityofSouthern California, earning a Bachelor’s Degree. He went on to study with GeoffredoPetrassi in Rome, as well as in Warsaw and at Princeton. Beginning in 1957, Glasssupplemented his compositional output with film and TVmusic, scoring such films as THEABDUCTORS, LADY IN A CAGE, BUNNY LAKE IS MISSING, and episodes of television’s NIGHTGALLERY,aswellasJacquesCousteaudocumentaries.HewontheBerlinfilmprize in1975for his score forOVERLORD; his earlier score for TEST OF VIOLENCE was also honoredwithseveralawards.Glass’Hammerscorewashislastfeaturefilmscore;GlasscurrentlyteachesmusicaltheoryandcompositioninSwitzerland.TheDEVIL scorewas used sparingly andwas thoroughly atonal and dissonant—a far cry

fromthedynamic,fluidmelodiesofBernardandRobinson!Frighteninglystarkassemblagesofstrings,scrapedpianostrings,reprocessedvoices,andweirdtonalitiescreatedemonicsounds,usually correlated with Father Michael (Christopher Lee) and his diabolical rituals.Juxtaposed against these dark sounds is a choir, heard in more triumphant moments. Thereprocessed choral music is not weird and harsh but victorious, an ironic mood whichcounterpoints the film’s downbeat ending while lending churchlike music to Lee’s satanicreligion.Where other composers have usedmelody or dynamic orchestration to accentuatecharacters and humanize the horror, Glass accentuates the film’s occult unnaturalness andclinical grotesquerie.Much of the score is difficult to listen to, and perhaps in that lies itspower—themusiccreatessuchafeelingofdiscomfortanddemonicunearthlinessthatitfitstheequallydisturbingvisualandstoryelementsofthefilm.

Notes1.JosephineDouglas,interviewedinLittleShoppeofHorrors[authoruncredited]No.7(December1982).2.PhilipMartell,interviewedbyTonPaans,LittleShoppeofHorrorsNo.10/11(1990)p.97.3.JohnCacavas.AllquotesfrominterviewbyRandallD.Larson,July7,1993.

8

NONHORRORNOTABLES

Hammer didn’t produce only horror films, thoughmost ofwhat they released outside thegenrehaslongpassedintooblivionwhiletheirsciencefictionandhorrorfilmsremainwell-respectedafteralmost40years.TherewereafewHammercomposerswhoweren’tassignedtohorrorfilms,yetwhoseeffortsforthestudioareworthnotingparenthetically.NotableEnglishcomposers suchasRoyBudd,AlbertElms,andRonGrainercontributed

Hammerscoresovertheyears.KennethV.Jonesprovidedafine,brassyscoreforHammer’sSevenArtsproductionofRobertAldrich’s top-notchpostwardrama,TEN SECONDS TO HELL.FrankSpencerandDoreenCorwithenprovidedeffectivescores forHammer’searlydramasandadventurefilms.ThemusicaleffortsofDouglasGamley,AlunHoddinott,GaryHughes,and,morerecently,

RichardHartley,aresignificantandworthyoffurtherstudy.

DouglasGamleyDouglas Gamley scored a pair of comedies for Hammer early in his career. Born in

Melbourne in 1924, Gamley took up piano at the age of 6, becoming a professionalaccompanist by 14. Commencing studies atMelbourneUniversity, Gamley left Australia in1949tostudycompositionandconductinginLondon.In1952,hewasengagedbyM-G-MasarehearsalpianistandlaterasassistantmusicdirectorfortheGraceKellyfilm INVITATIONTOTHE DANCE, which was then being made at Elstree Studios. The music director was JohnHollingsworthand,during the ten-monthproductionperiod, the twobecamefriends.Gamleywentonasapianistforfilmmusic-scoringsessions,frequentlycalledinbyHollingsworth.HealsoperformedinconcertwiththeLondonSymphony,RoyalPhilharmonic,andPhilharmoniaorchestras.“I frequently played on Hammer soundtracks,” said Gamley, “including an excellent

diabolicalpianoconcertowhichwasthetitlemusictoavampirefilm.”1Thescoreinquestionwas James Bernard’s KISS OF THE VAMPIRE, (1964), which used a piano concerto as asecondarytheme.GamleyalsoorchestratedthewaltzesBernardcomposedforaballsequence.Graduallyexchanginghiscareerasaconcertpianistwiththatofacomposerandconductor,

Gamley went on to arrange and orchestrate numerous popular and operatic recordings andcomposed or conducted the music for over 40 feature films. In 1953, Gamley became the

assistanttofilmconductor/musicdirectorMuirMathieson,andthebulkofhisfilmcomposinguntil the mid-1960s was in collaboration with Mathieson. In 1975, Gamley received anAcademyAwardnomination formusical directionof theLerner andLoewe filmTHE LITTLEPRINCE.GamleycollaboratedwithKennethV. Joneson the score toTOMTHUMB (1958) andalsocomposedthemusicforsuchearlierhorrorfilmsasHORRORHOTEL(1960),THEHORROROFITALL(1964),nottomentionprogrammerslikeTARZAN’SGREATESTADVENTURE(1959)andTHERETURNOFMR.MOTO(1965).Gamley had scored a couple of light comedies for JohnHollingsworth in themid-1950s.

WhenHollingsworthwasengagedbyHammer,hesuggestedGamleyscoreTHEUGLYDUCKLING(1959)andWATCHIT,SAILOR(1961).“[These]werefairlylowbudgetfilms,”saidGamley.

IseemtorememberthatIhadthree,oratmostfourweeksfromseeingthefilmcutuntiltherecordingsessions.ThemusicwasrecordedatAnvilStudios,Beaconsfield,wherethemaximumpossibleorchestrawasabout35players.Inolongerhavethescorestocheck,[but]IwouldguessthatIhad24orperhaps26players.

In 1972, Gamley became the music director for Amicus Productions, composing fluidlyevocative orchestral music for their horror pictures TALES FROM THE CRYPT, THE VAULT OFHORROR,ASYLUM,THEBEASTMUSTDIE,andothers. Itwas theseeffectivescores thatgave thecomposeradegreeofnoteasascorerofhorrorfilms.“Oneofthemorerewardingaspectsofwritingmusicforhorrorfilmsisthatonecanwriteinastylethatwouldbeinstantlyrejectedfortheaverageromanticstory,”Gamleysaid.“Noonewillcomplainofexcessivedissonancewhilethebloodflowsonthescreen!”AsforhisworkforHammer,Gamleyremarkedthatthestudio

was always a fairly small organization, even in its later days, and so the wholeproductionunitwasbothapproachableandaccessible.Theytendedtoleavethemusicto the composer andmusicdirector. “Interestwithout interference,”would sum it upfairlyaccurately,Ishouldthink.

AlunHoddinott

Bornin1929,WelshcomposerAlunHoddinottstudiedatCardiffandtheUniversityCollegeofSouthWales,wherehewasappointedprofessor in1968.Composerofnumerousconcertworks, Hoddinott provided an excellent score for Terence Fisher’s 1960 Robin Hoodadventure,SWORDOFSHERWOODFOREST.Hoddinott’sscoreisbasedontworhythmicthemes,oneforRobinHood(RichardGreene)

and his band—a slow-moving, heraldic, and often lushly romantic melody filled withupsweeps of strings over brass.The other theme is for the villainousSheriff ofNottingham(PeterCushing),whichconsistsoflow-endbrassrhythms.Theinterplayofthesetwomotifsiseffectivelyused in theopening scene, as the sheriff’smenchase ahorseman intoSherwood

Forest.The rhythmic violin chasemusic, punctuatedby the villains’ brass chords, spurs theriderson.Repeatedswirlsofstringsrevolvehigherandhigheroverlowerbrasschords,untiltheRobinHoodthemeemergesastheriderreachesthesafetyoftheforestandRobin’sarrowsforcethepursuersaway.Lowbrasschordsareassociatedwiththesheriff,asinthepowerful,stridentnotesheardasheconfrontsthecapturedMartin.A four-note trumpet ostinato is associated with the medallion found by Robin which is

soughtbythesheriffandalsosignifiesthedeviousLordNewark.ThemusicisfirstheardwhenRobin finds themedallionon the injured rider, laterwhenhespiesasimilaramuletbeneathNewark’s tunic, and finallywhenoneof the corrupt nuns is seenpossessing it in the abbeywhereRobinandMiriam(SarahFrench)goforshelter(thethemeherealsotakesonthetoneofthevillain’stheme).A soft romantic violinmelody is associatedwithMiriam, first heard as she comforts the

dyingMartinandlaterassheembracestheamorousRobinHood,becomingtheirlovetheme.ThisthemesharestherhythmicnatureandrestrainedmelodicstructureofRobin’stheme—lowstringswithhigherpipingfromthereeds.Infact,Hoddinott’sscorereliesmoreonrhythmthanmelody.TheswordfightbetweenRobinand the sheriff is scoredwith thrilling string figuresascending and descending over brass and percussion, rhythmically maintaining a forwardmotiontotheaction-filledsequence.Theclimacticswordfightintheabbeyisscoredforslow-buildingbrass hits, complementing the scenenot through excitingmusic, as before, butwithslowrhythmicaccompaniment.AparticularlygoodcueoccurswhenthearchbishopandMiriam’spartyisambushedbythe

villains.Hoddinott provides a potent repetition of brass piping over incessant,monotonousviolinfigures.ThisveryunusualapproachremindsoneofthelaterminimalistmusicofPhilipGlass (particularly moments of KOYAANISQATSI or MISHIMA) and is highly effective in itsunvarying repetition and powerful rhythmic structure. The cue segues to themain theme asRobinHoodarrivestosavetheday.Hoddinott’sonlyHammerscoreisacommendable,cohesivescorebuiltaroundaneffective

thematicandrhythmicstructure.

GaryHughes

Whilehedidn’tscoreanyofHammer’soutrighthorrorfilms,GaryHughescontributedsomefinemusic to thestudio’sswashbucklersduring theearly1960s.His firsteffort forHammerwas with John Gilling’s sturdy seventeenth-century adventure, THE PIRATES OF BLOOD RIVER(1962). Hughes’s main theme, introduced during the main titles, is a gorgeous overture, agrand,seafaringmarch that surges frombrassandstrings,accompanying the tall sailingshipon-screen. Rhythmic violin chords accentuate the breezy, ascendingmelody from horns, thefast-pacedstringscontrastingeffectivelywith theslowermelody line.The themeparts forabrief folkmelodyplayedonviolin,whichadds anice touchofhumanwarmth to the robustmotif. This is Hughes’s most expansive Hammer theme. Where later scores would soundorchestrally thin due to size limitations imposed by small budgets, PIRATES’ theme sounds

broadlyandvividly.After the title sequence, the music segues to a lyrical woodwind and string melody that

accompanies the introductory text crawl, until the melody sours as the text concludes:“Happinessbecameanechoofthepast,freedomjustamemory.”MuchofHughes’sscorewill,infact,contrasthappinessandsorrow.Therich,luxuriantFrenchhornandviolinlovethemethatattendsJonathanandMaggie’strystinthewoodsturnsgloomyasMaggievoicesconcernoverdiscoveryandastheirillicitunionisinterruptedbythetownelders,causingMaggietoflee into the river, where she is quickly consumed by piranha. The harsh brass chordsaccompanying her demise drone into a resolute violin statement as her self-righteous fatherintones“itisthejudgment.”LaterthemusicwillheroicallysupportthepirateswhomJonathan(Kerwin Matthews) reluctantly enlists to thwart the puritanical elders, sounding moreinharmoniouswhen the treacherous freebooters turn against their benefactors.A low brass-and-woodwindmelodyisheardasJonathanandJasondiscussthetown’shiddentreasure,untilpiratecaptainLegouche(ChristopherLee)entersthechapel,havingoverheardthem.Darkandmalevolentviolinchordssignifyhisevilintent.Hughes’smainthemeisassociatedprimarilywiththepirates—atleasttheirnobler,daring

side. It is reprised briefly when Jonathan, having just escaped the penal colony, is firstconfrontedbythepirates(HughesfollowsthiswithaliltingvariantwhenJonathanistakenbyrowboat to the anchored pirate ship). Themain theme is repeated jubilantlywhen Jonathanleads thepirates through the river toward the settlement. Jaunty strokesof violin propel themelodylineasthecrewwadesthroughthewater,themusicinterruptedbydissonantfiguresofbrassastwoofthembeginfighting.Themainthemerecursafterthefightisoverandthegroupreaches the town, which is heralded by high woodwind trills. Finally, the main theme isreprisedfortheendtitles,providingasuitablyintrepidmusicalconclusion.Hughes’s love theme is first associated with Jonathan andMaggie but after her death is

heardwhenHenry (Glenn Corbett) and Bess talk of the town’s hidden treasure (which thepirateswillsoonsteal)andlaterasBessandHenryhelpJonathaninthefinalbattle.Other than thesemotifs,Hughesprovidesanassortmentofunrelatedbutconsistently tonal

and rhythmic action figures that attend the film’s numerous battle scenes. Severe strokes ofviolinandbrassaccompanythetwopirateswhotrytorapeBessandhermother.Furiousbrassactionmusiccomplementsthepirates’firstattackonthesettlement:punchesofhighbrassoverlowersurgesofhorn,builtaroundaseriesofdescending5-notefigures.Theclimacticbattleisscored for ascending brass figures extended into forceful action figures. Hughes’s musicremains tonal even at itsmost dissonant, sustaining a cohesion to directorGilling’s furiousbattles.Hughes scored Gilling’s next swashbuckler, a Cromwell vs. Royalists tale occurring in

1660sEngland,THESCARLETBLADE(1963).Thefilm,whichwasretitledTHECRIMSONBLADEby itsmore sensationalisticAmerican distributors, told of a band of freemenwho defeat atyrannicalCromwellcronynamedColonelJudd(LionelJeffries).Hughesopensthefilmwithajauntymedieval-styled tune—trumpets over brass and percussion—whichwould have beenbetter served by a larger orchestra thanwas available to him.HisKorngoldesquemelodicsweepsandflourishessufferfromathin-soundingperformanceandfromanoverlypop-styledrhythmwhichseemsdetrimentaltothefilm’stimeperiodduringthefilm’smainandendtitles.

Thismotifrecurselsewhereinthescore,asdoesaprettystringandwoodwindlovethemeforClare(JuneThorburn)andhermixedaffectionsforCaptainSylvester (OliverReed)andEdwardBeverly(JackHedley).ThemotifbothsuggeststhewarmthofClare’scharacterandher mixed loyalties—she is both the daughter of Colonel Judd and a spy for the Royalistfreemen. The subtle violin melody underscores her manipulations with the self-servingSylvesterandsoftensthemoreinnocentromancebetweenherandEdward.AswithPIRATESOFBLOODRIVER,Hughesscoresthebulkofthefilmwithavarietyofmoody

suspense and brassy battle cues.An eerie vibraphone tonality of lowwoodwind sounds asClarefirstfollowsthesecretpassagewaydownbelowtheestate.It’saneffectivemysteriosothatisnotreprisedelsewhere.Earlier,asClareseeksthewhereaboutsoftheimprisonedking,Hughesdesignedamotifforlowkeyboardandpercussion,veryfaintandfurtivelikemovementglimpsedamiddarkshadows,whichisveryeffectiveinitssubduedquietness.Anunusualfaintclappingofpercussionaccentuatesthemelodicstrains.AsEdwardandhisbandof freemanbeginattackingCromwell’s soldiers,Hughescreates

fastandfuriousbattlemusic—swirlsandphrasesofviolinmixedwithprogressiveshoutsofbrass potently propel the action along.Later, asEdward (now“TheScarletBlade”) sneaksintothemansion,stridentstrokesofviolin,thenfurtivestringfiguresbeneathhighmutedbrassconvey suspense, emerging into an ejaculation of furious musical action as Edward isdiscoveredandfightstheguards.Theclimacticswordplayscenesarescoredalongtheselines,onlywithmorerelianceonthemainthemeamidthemusicalclamor.Thefollowingyear,Hughesscoredasimilarswashbuckler,THEDEVILSHIPPIRATES (1964),

directorDonSharp’sstoryofaformerpirateenlistedintotheSpanishArmadaduringthewaragainst theBritish fleet in 1588.Hughes’smain theme—a typicallyKorngold-styledmartialtheme introduced by crashing cymbal and blaring trumpets—sounds a little thin due to itsundersizedorchestra.Thestrong,uncomplicatedmelodiclineisdrivenbywoodwindtrillsandprogressivestrokesofviolinandpipinghorns.LikethemoodyvibraphoneofSCARLETBLADE’ssecretpassagewayscene,DEVILSHIPPIRATEScontainsabriefmoodpieceforeerievibraphonessetagainstamellifluentstringmelodyasthewoundedSpanishvesselDiabloenterstheBritishfog.Itlendsamysteriousmoodbutisnotreprisedelsewhere.Aneffectivecue isheardwhen theDiablo’s crewencounters a lonegirl in a rowboat as

theyheadupriver seekingshelter.Hughesconveysagooddealofmenacewithhisploddingdangerchords.Asimilarmotifforstringsandbrassisusedmomentslaterasthecrew—withthegirl,Jane,safetyintheDiablo’shold—preparestoattackhertown.Tremoloviolinsunderbrassaccompany thepirates’stalkingofavillagegirl.Furiousviolinswirlsandpunchesofbrassescorttheirpursuitofher,eruptingintovividbrassasothervillagersleaptoheraidandsubduethepiratepair.AnequallypowerfulactioncuesoundsasJaneescapesfromtheDiabloandischased throughthewoodsbyhercarelessguards.Arapidup-and-downstringrhythmpropels the action under a higher string melody backed with drums that maintain a pulse-poundingbeat.Therhythmreallypushsthevisualsalong,whiletheviolinfiguresaboveitkeeptheactionracing.AsimilareffectisachievedmuchlaterasCaptainRobeles(ChristopherLee)fightsoneof

thevillagelocals.Hughes’sferociousstringfiguresrecalltheJamesBernardchasemusicfromDRACULA in their rapid stroking.A similarly effective combinationof snaredrum rollswith

brassfiguresisusedasoneofRobeles’sturncoatsiskilledbythepiratecaptain.A slower, almost dirgelike variation is heard as the Spanish crew struggles to repair the

riggingintheirdamagedship,andthenagainasRobelescapturesfivevillagegirlsandleadsthemaway.Themaintitlereturnsforfullorchestra, triumphant,as the localBritswinthedayandthe

Diabloburns.Hughes’senergeticscoresetsupanumberofexcitingbattlecuesderivedfromandeventuallyreturningtohissinglemaintheme.

THEVIKINGQUEEN(1967)camefouryearslater,alongwiththescoreforoneofHammer’sinfrequentSherwoodForestadventures,ACHALLENGEFORROBINHOOD.InVIKINGQUEEN,DonChaffey’sstoryofRomansversusdruidsinEngland,Hughescomposedamartial,Romanesquemaintheme—verybrassy—whichsuggeststheoppressiveRomansandtheirarmedsplendor.Againstthisissetastaticmotiffortremolostringswhichisassociatedwiththedruidpriest

Malgan.Firstheardunder thepretitleprophecynarration, thismotif isalsoheardduring thefuneralpyre,underthestormthatbodesillforSelena(Clarita;thedruidking’sdaughterwhoeventuallybecomestheVikingQueen)andherRomanlover,Justinian(DonMurray).Theuseof the druid’s music for the romantic couple reflects the oppressive druidic influence thatMalgan holds over their relationship. The same music is heard again later, during ritualsacrificescenes,tyingthemallinwiththesocietyandultimatelyevilbeliefsofthedruids.Themaintheme,whichsoarsoutoftheRoman/druidmaterialintheopeningtitles,isalush,

romanticmelodyforfullorchestra,asurgingascentwhichsuggestspowerandheroicswhileits lyricalmelody line takesoff ina seriesofupsanddowns tocaptureanadventurousandromanticmood. In fact, the themegoeson to becomea romantic love theme forSelena andJustinian, representing the freer side of their affection apart from the druids’ influence. Themotif startsout softly foroboeoverharp andviolins to lenda soft hintof romance to theirdialog after Justinian thwarts Octavian’s attack on the funeral ceremony. The theme isdevelopedfurtherastheyaredrawntogether.However,afterJustinianismisledintoundertakingadistantexcursionallowingOctavianan

opportunity todestroySelena’svillage,heraffection turns tobitternessand their love themebecomesasorrowfulpaeanasthevillageisburnt.AswarwiththeRomansensues,thisthemerecurs here and there to remind us of their dormant love in themidst of battle. Finally, asSelena chooses death in lieu of Roman slavery, her theme swells to orchestral fullness, nolongeralovethemebutaheroicacclamationtohercharacter.Hughes’sbattlemusicis,asusual,expressiveandenergetic.WhenMalganconvincesSelena

to leadherpeopleagainstRomanrule, themusicmovesfromramblinglowviolas tofaster-paced and higher-toned violins over snare drum, musically amplifying the priest’s urgings.Thereareseveralfuriousfightcues—convulsivewhirlwindswirlsandbroodingtremolosofviolin,piercingstabsoftrumpetsandsurgingwavesofhorns,viciouslypoundedpercussion,and fluidly trillingwoodwinds are skillfully integrated to form amusical counterpart to thescenes’violentaction.During a bear hunt scene, Hughes provides a very light, classical tune for strings and

woodwindoverrhythmicsnaredrumsthatkeepthetime.Whilethejauntycueisnoticeablyoutofperiodandalittletooairyforthehuntscene,itcleverlyrecallsBritishfoxhuntmusicandlendsaninterestingsatiricaltonetothescene.Thelongscherzoiseventuallysupplantedbythe

mainthemeasSelenaandJustiniandiverttheirattention,andtheirchariots,tothewoodsandeachotherfortheirfirstlovemakingscene.Whilehefrequentlyhadtocontentwithorchestrastoosmallforhisneeds,Hughesdidsome

fineworkandremainsHammer’sswashbucklercomposerparexcellence.

RichardHartley

Hammer’s last feature filmwas a big-budget remake of the 1938Hitchcock classic, THELADY VANISHES (1978). Eschewing Hitchcock’s quiet, slow-building mystery and farcicalcharacter affectations,Hammer’s version emphasized colorful scenery, glossy romance, andhighadventure.Itwasprovidedwithanappropriatelyromantic,adventurousscorebyRichardHartley.Pianolessonsattheageof5hadinauguratedHartley’smusicaleducation,whichcontinued

foranothertenyearsandincludedstudiesonharmonyandcounterpoint.Inhisteens,HartleygotintorockandrollandtouredEuropeasamemberofvariousgroups.HesettledinParisfortwo years, studying composition and orchestration, after which he returned to London andbegan work scoring plays at the Royal Court Theater. In 1973, Hartley became musicaldirectorforthehugelysuccessfulstageshowTHEROCKYHORRORPICTURESHOW,whichledtohis first film engagement, adapting themusic of Hans Eisler for a film version of Brecht’sGALILEO. Hartley’s first feature film score was for Joseph Losey’s THE ROMANTICENGLISHWOMAN.In 1978, Hartley’s orchestra contractor introduced him to PhilipMartell, with whom the

contractor had worked onmany Hammer films, and Hartley was asked to score THE LADYVANISHES.Hartley’spretty,adventurousmelodyforstringsandwoodwindswaswellsuitedtothis colorful film and its European settings. A secondary theme for jazzy saxophone overjinglingbell-tree emphasizes the seductiveKelly (CybilShepherd),butmostof themystery,action,andromancemusicisderivedfromthemaintheme.“ThewaltzthemewasusedtodenotethewhimsicalcharacterplayedbyCybilShepherd,”

saidHartley,

who seemed to glide through the early part of the film completely oblivious of theimpendingwar.ThefilmwassetagainstthedangerousbackgroundofNaziGermany,butwewantedtocontrastthiswiththeratheroddballassortmentofcharacters.Hencetheromanticnatureofsomeofthemusic.2

Themusicwasrecordedwitha62-pieceorchestraatAnvilStudios,Denham,overathree-day recording session engineered by Eric Tomlinson. Martell conducted the orchestra, asusual. “Themain feature of theorchestrawas a 5-piece saxophone sectionwhichwasusedespecially for thewaltzmusic,” saidHartley. “Iworked very closelywith Philipwhowasvery experienced at spotting.We went through the scores thoroughly before the session tocheck for timing errors, etc.” During postproduction,Martell had considered temp-tracking

part of the film during editing. This is standard practice in contemporary filmmaking, usingexcerptsofexistingmusic (filmsoundtracks, classicalorpopularmusic) togive the filmanadded flavoras it is formedduringediting. It alsooftengives thecomposeraclear ideaofwhat the director wants, musically, for a certain sequence. Unfortunately, directors andproducers canbecome somarried to a temp track that they can’t envision the filmwith anyothermusic, so a composer is sometimes locked intowriting something that sounds like thetemptrack.Somecomposersprotesttherestrictionsinherentintemptracking,othersrelishtheopportunitytogetaclearpictureofwhatthedirectorwantsmusically,especiallyifhe’sunabletoconveythatinmusicaltermsthatthecomposerunderstands.Hammerinfrequentlyusedtemptracks,thoughMartelldiddothismoreintheirlatterdays,oftenusingtheatonal,avant-gardemusicofBelaBartoktoaddtothetensionoftemptracks,accordingtoHartley.InthecaseofTHELADYVANISHES,however,Martelldecidednottotemp-trackthefilmandHartleyfacednocompetitionwhenscoringthefilmhisownway.“IthadbeenanearlyambitiontoscoreaHammerfilm,”Hartleysaid.

MichaelCarreraswas very supportive and I think PhilipMartell has a great say inwhich composerswere used.He also insisted on using symphonic scores in the oldtradition of film scoring. I think it’s rather sad that shortly afterTHE LADY VANISHES,Hammermovedintotelevisionandsodeprivedusoffurtherhorrorfilms.

Notes1.DouglasGamley.AllquotesfromaninterviewbyRandallD.Larson,June2,1993.2.RichardHartley.AllquotesfromaninterviewwithRandallD.Larson,May28,1993.

9

HAMMER’STELEVISIONMUSIC

Hammer had tried its hand at television back in 1968,with the ill-fated anthology seriesJOURNEY INTOTHEUNKNOWN.Themusic for thatserieswasscoredby then-newcomerHarryRobertson, along with John Scott and a number of other composers. A dozen years later,Hammertriedoutanewanthologyserieswithfarbettersuccess.

THE HAMMER HOUSE OF HORRORS began with a 30-minute show once a week and laterexpanded toafullhour.Ayearorsoafter itsdebut,aslightlywatered-downseries took itsplace, THE HAMMER HOUSE OF MYSTERY AND SUSPENSE. PhilipMartell invited several of theregularHammercomposers,includingJamesBernard,tosubmitthemesfortheshow.“IwrotesomethingthatIhopedandthoughtgavetherightfeelingof‘HammerGothic’,”said

Bernard, “as well as allowing of a strangely rhythmic treatment, if that was required.However, I played it to Phil and itwas clearly notwhat hewas looking for, as I heard nomore!”1ComposerRogerWebbwaschosen tomakehisHammerdebuton theseries’main theme.

Webb,who’dscoredhorrorfilmssuchasBURKEANDHARE(1971)andTHEGODSEND (1980),providedtheseriesthemeandalsocomposedthemusicforvariousepisodes.Webb’stheme,however,istypicalTVthememusic—apleasantpoptuneforelectricpianooverbassguitar,strings,andpercussion.It’snotmuchofamood-builderbutisapleasant-enoughmelody.Themajority of the episodemusic for THE HAMMER HOUSE OF HORROR was nonthematic,

comprisedpurelyofvarioussuspensecuesandactionfigures.Hammerrecruitedanumberoftheirprevious composers to score the episodes, including JamesBernard,LeonardSalzedo,Wilfred Josephs, and JohnMcCabe.Newcomers toHammer like Paul Patterson andDavidLindupalsoprovidedepisodemusic.Thetelevisionscoresdifferedfromthefilmscoresnotinapproachbutinsize.Thereduced

budgetsof televisionproduction require lessmusic for less instruments, and in less time.“Itreat [theTVepisodes] all as if theywere feature films,” saidMartell. “And itworks.Theproblem is time. The composers don’t get enough time; I don’t get enough time.We had torecordtwoepisodesinonesession. . .andyouhavetocutdownintheinstruments tosavemoney.”2“ThedifferencebetweenfeaturefilmsandtheTVepisodeswasreallyonlyinthebudgetary

conditions,” said JohnMcCabe. “They were less generous so one had smaller orchestras,averagingabout25players as far as I recall.Theotherdifference is the inevitableone thatdifferentstoriesrequiredifferenttreatmentbecauseofthesubjectmatter.”3

David Lindup’s “Charlie Boy” episode was particularly noteworthy, with its fine JamesBernardlikesuspensefiguresandgroaninghorrorchordsforbrass, tympani,andeeriepianofingerings. Elsewhere, Lindup utilized rather familiar surging horror chords here, rhythmicmodernjazzthere,primitivesticksanddrumsforthevoodoofigurine,bongos,marimbashereandthere.“Children of the Moon,” scored by classical composer Paul Patterson, contains some

splendid dissonant moments for strings and woodwinds, embellishing this story of abackwoodsmansion house boarding a werewolf. Patterson provides an effective cluster ofmoaning, muted trumpets over bristling violins as Sara returns to the boarding house, nowimpregnatedbyoneof thewerewolves.Themusicprovidesanicelyhellishaccompanimentunderliningtheawfulcircumstancesandfutureterrorsimplicitinhercondition.For “The Thirteenth Reunion,” John McCabe’s music featured strings, woodwind, and

tympanilinkedtogetherbypianofiguresthatprovideaspookybackgroundforthisstoryofadietclubofratherextrememeasures.McCabealsoinsistedonusingaharpsichordinordertogive the harmonies a particular astringency. Bass flute and bass clarinet were employedfrequentlytoemphasizethedarkermoods.McCabe’s “Guardian of the Abyss” was a similarly discomforting score, featuring wild

tympanichasemusicasthegirlrunsfromthemurderouscultists.Shimmeringstringsemphasizethe sorcerous mirror in which she sees a demonic visage, while organ and vibrato stringsembellishtheloveritual,turningintohighstringswirlsandtrumpetsasthedevilworshipersattack.Amotiffortremoloviolinisassociatedwithasorcerousmirror.Asimilarmotifwithorganaddedbecomesathemeforthecult’sloveritualanditseffectonthevictims.Whentheritual turns from love tomurder, high string twirls, trumpet figures, and finally PSYCHO-likestabsofviolinmatchthesuspenseandhorrorofthesceneandthecult’svoodoo-likeinfluenceoverthelovers.“‘GuardianoftheAbyss’hadapseudo-religious/Satanicmasselementandsoneededritualisticmusic,”saidMcCabe.“Weusedasmallgroupofsingersandchurchorganforsomeofit.”4For a nearly eight-minute long chase scene in the “CzechMate” episode ofTHE HAMMER

HOUSE OF MYSTERY AND SUSPENSE, McCabe used a jagged symphonic style to suggest thedisturbed panic of the woman running through Prague pursued by who she perceives asenemies.“ ‘CzechMate’was themostvaried[of theTVscores],”saidMcCabe,“becauseaswith

FEARINTHENIGHTtherewasastrongromantic/lyricalelement(thegirlbeingagainthecenterofthepicture)aswellasthemoreviolentand,inthiscase,‘athletic’music.”5Wilfred Josephs’s “Carpathian Eagle” score was a serviceable assemblage of pop-jazz

motifsforthis trendytaleofawomanwhokillsmen.“ScoringtheTVshowsreallymeantafasterpace,”saidWilfredJosephs.

There’s less timewasted. In feature films there tends tobea lotof timewasted,andthen itallsidlesup to itselfandfallson topofyouandyou’vesuddenlygotno timeleft.Intelevision,you’vegottoplanthescoringandeverythingelsedowntothelastsecond.You’vereallygottoworkquitehardandquitefast.6

JamesBernardlikewiseexperiencedtherushedpaceandlowerbudgetsoftelevisionwork.

Wehadperhaps20or24players[intheorchestra],butofcoursetoacertainextentitwould have been dictated bywhat type of sound each episode required. I had two,maybeeventwoandahalfweeksinwhichtowritemyscorefor“WitchingTime,”andfor“TheHouseThatBledToDeath”ratherless—maybe12days.Buttherewasalsolessmusic.7

Bernard’sHOUSEOFHORRORscoresbristledwiththesamekindofferociousorchestrationsthatenlivenedhisDraculascores.TheonlydifferenceisthattheysoundalotthinnerduetothesmallerorchestranecessitatedbyTVbudgets.Buthisfrenziedactionmusicfortheclimacticfight between the couple and thewitch in the “Witching Time” episode pulseswith franticenergy. Bernard also provides a pretty piano theme for the more tender moments of thisepisode.ThecharacterDavidisakeyboardist,andthepianotiesinwithhischaracterinthisway.Butthescoreprimarilyconsistsofragingbrass,string,andpercussionorchestrations,asexcitingasanyofBernard’searlierhorrormusic.“ImustadmitIfounditquitehardtogetdeeplyinvolvedintheseunrelatedTVepisodes,”

saidBernard.

Ithinkitwouldbedifferentifonewasworkingonseriesofrelatedstories,particularlyif onehadcomposed the theme tune for the series. I tried to approach the televisionepisodes exactly as I would approach a full-sizemovie—with just asmuch seriousapplication.Butobviouslyeverythingwasonareducedscaleanditwasharderformetogetdeeplyoremotionallyinvolved.8

TheHAMMERHOUSEOFHORRORepisodescores,whilehamperedbylowtelevisionbudgets,were, in the midst of the day’s somewhat slim and routine television horror music, oftensuperior efforts in line with what we’ve come to expect from Hammer filmmusic. In thissense, the notable work of James Bernard on the series brings us full circle—back to themusicalstylethatinauguratedHammer’semergenceintothegenreaquartercenturybefore.

Notes

1.JamesBernard,interviewedbyRandallLarson,May13,1993.2.PhilipMartell,interviewedbyTonPaans,LittleShoppeofHorrorsNo.10/11(1990).3.JohnMcCabe,interviewedbyRandallLarson,May15,1993.4.Ibid.5.Ibid.6.WilfredJosephs,interviewedbyRandallLarson,May20,1993.7.JamesBernard,opcit.8.Ibid.

10

CODA

Musichasalwaysbeenanimportantingredientofhorrorfilms,emphasizingthoseelementsof mystery, suspense, romance, unbelief, and shock. As we have seen, the use of music inHammerfilmsbroughtadistinctiveflavortothesemovies,lendingthemanidentifiableairnotunlike the earlyUniversal horror pictures of the1930s.Throughout the studio’s twenty-yearhistoryasaleaderofcontemporaryhorrorcinema,itproducedsomeofthebestgenrefilmsoftheperiod.Similarly, its composers,whether regulars likeBernard,Bank,Nascimbene, andRobinson,orpart-timerslikeSalzedo,Reizenstein,Searle,Johnson,Gunning,andWhitaker—allunderthesupervisionofHollingsworthorMartell—haveprovidedsomeofthebestscoresof the genre, scores which have been romantic,modern, experimental, Gothic, popular, butwhichinmostcaseshavebeenmarvelouslyeffectiveincontributingtotheoverallatmospherethathasbecomeunmistakableas...Hammer.

11

“ALASPOORHAMMER,IKNEWITWELL”

ByHarryRobertson

Whensomeoneasks,andthelasttimewasonlytwenty-fiveyearsago,whenlassitudehungintheair,“WhatareyourmemoriesofHammerFilms,andhowdiditallstartandeventuallyend?”,myansweristhatthepartIplayedwassmall,andIwasonlytherewhenthecorpusofthatcompanywasalreadyinitsdeaththroes.ButhowIwishIcouldhavebeenthereearlier,whenitwasreallyagoldentime.As it is,mymemoriesofHammerarenowpackaged innostalgia. I’mdeeply indebted to

them for allowingme to composemusic for themovies.When youworked forHammer inthose days, you were in a very special group of composers. And every time we beganrecordingthefirstmusiccueofanewfilm,therewasthatspecialfeelingthatthistimeI’dbefoundout.Yet, in all the time I worked for Hammer, I never entered Bray Studios once. I almost

bumpedintoSirJamesCarrerasataChristmaspartyinWardourStreet.IfI’mnotmistaken,Iwasintroducedtosonandheir,Michael,buthewasmoreinterestedinMOONZEROTWOandhisblockbustersthanthelowerordersonthesausagefactoryfloor.One thing that has to be remembered is, for me, as a composer, Hammer Films was

representedtoachanginggroupofpeoplewithonenotableexception.Therewouldalwaysbetheproducer,andsometimesthedirector,althoughmostdirectors’

contractswithHammerendedassoonasthelastshotwasputinthecan.Thentherewastheeditororthedubbingengineer.Tothecomposer,theeditor,orinthecaseofmoreexpensivefilms,themusiceditor,hasonlyonejobandthatistosupplythecuesheetswhichareconcisebreak-downsof thescenebeingscoredlistingeverycut,eventhose lastinghalfasecond.Inone film I had an amazing cue which represented the whole of reel four. All it said was:“Lively talks between the lead characters until end of reel.” And a reel normally lasts tenminutes! I’m only joking—editors can put as great a stamp on a movie as the lightingcameraman,artdirector,oreventhedirectorhim/herself.ButthemostimportantHammermanforallcomposerswasthemusicdirectorwho,inmy

case,wasPhilipMartell.Theideaofaninhousemusicmanwassomethingofathrowbacktoanearlierage.Moststudioshadtheirownmusicdirector—checkoutthenameBakaleinikoffonColumbiaandRKO’searlyoutputduringthe1930s.(Todayit’suptothecomposerwhetherhewantstoconducthisownscoreornot.Andhe’stheonewhochooseshisownconductor.)

HavingtheirownmusicaldirectorsuitedHammer.Itmeantthattheirmovieswouldretainakind of overall style. In the main, this meant a symphonic score played by a symphonyorchestra.Itwasalsoagoodideapsychologically.Ifthepublicheardabigwashofsoundandsonority,theywouldbelievetheywerewatchinga“big”movieandthussometimesturnablindeyetothebadactingabilityofthevillagersouttostakethecountoracertaincheapnesstothesets. (However, this is an unwarranted attack on certainHammer art directors, forwhich Iapologize. Some of their workwas incredible on the budgets they had. The TWINS OF EVILKarnsteinCastle setwas terrific.)Still, it could restrict a composer ifyouwanted todoanoffbeatscore.Havingsaidthat,astrangeconstrainthappenstoday.JohnWilliams’sscores,forexample,

havesetastyleandtoneforallsciencefiction,fantasy,andadventuremovies.Inthiscase,it’sdifficult to break out of the Richard Strauss mode of orchestration. Producers like bigorchestral sounds, and Hammer was no exception. There’s a silly story concerning AndrePrevin,whowanted touse a pieceof real classicalmusic for oneparticular sequence.Notwantingtoappearignorant,theproduceragreed.HewasnotaHammerproducer,bytheway.Atthescoringsession,helistenedattentivelytotheclassicalpieceMr.Previnwasrecordingforthescene—aMozartstringquartetasitsohappened.TheproducerwasthoughtfulwhileheandMr.Previnlistenedtotheplayback.Eventually,hecametoanexecutivedecision.“Ilikeit,Andre.Butnexttime,getthewholebandtoplayit,willya?”SohowdidIgetthroughthedoormarked“Music”atHammer?Most composers, if not all, who worked for Hammer from the fifties through to the

seventies,were“serious”composers.Alotofthemsawfilmcomposingasaneatwayofekingouttheirexistence,sincelivingoff“serious”musicandcommissionswasthenearestthingtotakingupresidenceunderafreewaybridge.IwouldexcludefromthislistthelikesofJamesBernardandRichardRodneyBennett,whobothclearlylovedmovies,lovedwritingforthem,and didn’t disown their efforts in this field as being the outcome of a visit to their bankmanagers.ButIdigress.IbelieveIwasthefirstHammercomposerwhohadno“serious”musicaltrainingbuthad

originatedfromhorrorofDraculas—thepopfield.Butbeforesomeoneshouts“SourGrapes!”letmeexplainthatIhadmadeacareermovewhenIwasfifteentobecomeapaleontologist.Thisprofessionnevergotofftheground,orImighthaveendedupdoingresearchonJURASSICPARK,workingwithdinosaurs...Ahwell!Maybethat’sexactlyhowIdidendup.Of course, I had studied the piano and guitar up to a reasonably good standard, but as

regardsharmonyandcounterpoint,mostofthatwasself-taught.SowhenIwasgivenmyfirstassignmenttoscoreamovie,myteacherswerefilmcomposerslikeBernardHerrmann,JerryGoldsmith, Quincy Jones (whose score for IN COLD BLOOD truly deserves the accolade“awesome”),andamultitudeofAmericanTVscoreswhichimpressedme(HAWAIIFIVE-0wasoutstanding—remember we’re talking Seventies—Billy Goldenberg knocked me out, stilldoes).YoumaywellaskwhyaBrit—Scottish,asitsohappens,onlymentionsAmericans.Ithinkit’sbecausethebusinessoffilmisanAmericanthing.Alltheabovecomposersknowthemanipulative relationship of music to film. There is only one English film composer whoimpressedmeandcontinuestodoso.ThatisJohnBarry.ButIcouldbebiased,sinceJohnand

Iweremusicalassociatesonarockshowmanymoonsago.ButIdigressagain...Sohowdidanon-“serious”composercrackit,astheysay?Itbeganwithanaccountantwhowaswatchingthepenniesonaverysmall-budgetfilmIhad

been asked to score because they couldn’t find anyone else to work for nothing. As it sohappened,hewasalsolookingaftertheledgersonaco-productionbetweenHammerand20thCenturyFoxcalledJOURNEYINTOTHEUNKNOWNandhadheardthattheproducersweretearingtheir hair out because every composer (English ha-ha!) they had commissioned had beenunabletocomeupwiththe“MainTheme.”Notknowinganybetter,hepushedmynameatoneof the producers, Joan Harrison (well-known prior to this as Alfred Hitchcock’s associateproducer).Unknowntome,MissHarrisonhadasoftspotforScotsmen.TheaccountantaskedifIcouldcomeupwithademo.Ihaveanotherconfessiontomake.Iamalousypianoplayer.Ioncehadtoletaproducer

hearanintendedscoreonabadlytunedpiano.Itwasexcruciatingforbothofus.Thisproducerwasawoman. Imusthavearousedhermaternal instincts,because she stoppedmeafter tenminutesandsaid,“I’msureit’sgoingtosoundawholelotbetterwithanorchestra.”Therefore,ratherthansquatattheSteinway,whatIdidwasmakeademoontapeinwhichI

multi-dubbedfourpianopartsandsomeweirdpercussionplusbackingvoices—myownGodhelpus—andsent it in.Amazingly, she loved it,calledme toheroffice tomeet themusicaldirectorforthetelevisionseries,PhilipMartell.Now,Philipisaverykindmanbuthemustreallyhavewonderedwhathewasgettinginto

whenhesatdownandlistenedtothisdreadfultape.YoumustalsorememberthatPhiliphashis“ownmen”—composershefeltsecurewith,andherewassomePopPersonfromleftfield,crowdinginonhim.However,wehadalongchat,andIbelievewhatswungitwithPhilipwasthat,besidesbeingakindman,hewasalsothepossessorofawonderfulsenseofhumor,andwehititoff.WeoncehadlunchatPinewoodwithtwoEuropeanproducers,andPhilipandI,as was our norm, found a lot of things to laugh at, including the meal. Unfortunately theproducers, being foreign, found our laughter difficult to comprehend. Later that day, one ofthemtelephonedPhilip,worried.Hethoughtthat,foracomposer,Ilaughedtoomuch.Allthecomposers he had ever met had been serious people. Did I have the “gravidas” he feltnecessary foracomposer?Thatkindofcrockwasverycommon inEnglandwayback then.Nowadays,acomposercouldturnuponaHarleyDavidsonwithringsthroughhisnose,andnoonewouldblink.Theydidn’t firemeandIdidactuallyscore theirmovie,even thoughthey,themselves,neverhadagoodjokebetweenthem.Suddenly,IwasonPhilip’slistIwas“in.”Themoralofthistaleisclearlynevertrustaman

withacalculatorbearinggiftsofcomposers.AllthemoviesIdidatHammerwereunderPhilip’sguidance.IfIlearnedanything,itwas

allfromPhilip.Hehadasupernosefordecidingwhenacueshouldstartandend.Bigdeal,Ihearyousay?Awronglyplacedcuecankillascenedead.Nexttobeingabletowriteatune,thisisnumerouno,Ibelieve,inthemechanicsoffilmwriting.Philipgavemelotsofsmallhintswhichinthemselvesmusthavebeenasminuteaschanging

adiminuendoorthelikebut,intoto,itwaslikegoingtoschool.Philiponcephonedmeupinahightemper.Notwithmywork,butthatofanew,younghotshotcomposer.Thathurtslightly

becauseIthoughtIwastheonlyyoungcomposeratthattime!Thescenetheladwasscoringwastheinterior/exterioroflargemansion.Insidethehouse,theheroineisthinkingaboutaballshe is going to. Outside, the monster is staggering round the place in lead boots. Philip’sproblem was that the young composer had written a minuet for the scene. His secondaryproblem was how to tell said composer that Hammer never played minuets when theirmonsterswereontheloose.This is not to saywedidn’t haveour arguments.Ononepicture,Philip suggested I do a

“jazz”score.Now,withthebestwillintheworld,Iamnotajazzfan.ItoldPhilipthiswasn’tmy bag.Maybe I could do a rock score instead? Iwould feelmuch safer on that. Even anelectronicscoreperhaps?Philiplistenedtomeverysympathetically.ThejazzscoreIturnedinwasprettypoorstuff.Eventually,allofuscouldsee theend loomingforHammer.Everything iscyclical in this

business.Universalhadstartedthewholehorrorgenresingle-handed,butbythefortieswerereducedtomakingABBOTTANDCOSTELLOMEETFRANKENSTEIN.Therewasnowaytheycouldgobacktothestartanddotheclassicsagain.Inanycase,Universalwasbecomingaforcetoreckonwithandweremaking“better”pictures.StepforwardHammerinthelateforties/fifties.Anewcompanywhocouldshootthehorror

classicsonemoretime.Andthistimeincolor!ThankGod,thesteamwentoutofthecompanybefore they too were making MONTY PYTHON MEETS FRANKENSTEIN. But unlike Universal,althoughtheytriedtomake“better”films,theyfailedbecausetheylosttheknackofmakingthethingstheyweregoodat.Theworldofmoviesmayseemtostandstill,whatwithROCKYVandNIGHTMAREONELM

STREET, but it doesn’t. Other companies were getting in the act, squeezing Hammer out—American International and their bevy of brilliant Poemoviesmade by Roger Corman andscoredbythemarvelousLesBaxter.Andjustaroundthecorner,otherswerepushingthehorrorbargeontoamurkyseaofbizarrerieandtotalfantasy.TheybeganasSlashermovies,butalotofthemwereincrediblywellmadeuntilthevideomarketplacecausedtoomanytobemade,andtheoutcomeispoorermoviesthanevenHammerwouldhavedreamedof.Nevertheless,itwasapitythatthenameofHammerwascastasidesocheaply.Ihearthata

newmanagementflagmightbehoistedonthebattlementsofCastleDracula.Ihopeso,becausetheBritishfilmindustryislikeapeaonabarehill—onerattleandthatsingletonpeawillrollawayandbelostforever.Lifegoeson,saystheclichescratchedinthesandwhilethetideiscomingin.Intheeighties,

Idecidedtobecomeaproducer/writer.TherewerethoseunkindpeoplewhosaidIdidit inorder tobe sureofbeingcommissioned to score themovie.This, Iwouldhasten to add, iscompletelytrue.Ihaveyettogetinvolvedintheproductionofahorrorfilm,mainlybecausegoodideasin

thisgenrearetoughtofind.WemaylookonBramStokerandMaryWollstonecraftShelleyasoldfuddy-duddies,butaskyourselves,willweeverseethelikesoftheirgeniusagain?

—HarryRobertsonLondon,Sept.1,1993

ACOMPOSER’SFILMOGRAPHY

MUSICCREDITSBYTITLE

RECYCLEDMUSIC

The followingHammer films have includedmusical cues reused fromearlier scores.TheremayhavebeenmoreinstancesofreusedmusicinHammerfilms,butthisisallthathasbeendocumentedbyPRS/ASCAPsources.

KEY:TITLE/YEAR/ComposerAdditionalmusicby(details/ifknown)

STOLENFACE(1952-MalcolmArnold)JohnRussellParnell

36HOURS(1954-IvorSlaney)MalcolmArnold

THEABOMINABLESHOWMANOFTHEHIMALAYAS(1957-HumphreySearle)EdwinAstleyWilliamAlwyn

CURSEOFTHEWEREWOLF(1960-BenjaminFrankel)LeonardSalzedo(cuefromREVENGEOFFRANKENSTEIN)

SWORDOFSHERWOODFOREST(1960-AlunHoddinott)StanleyBlack

PARANOIAC(1963-ElisabethLutyens)DouglasGamley

CURSEOFTHEMUMMY’STOMB(1964-CarloMartelli)FranzReizenstein(maintitlefromTHEMUMMYinflashbacksequence)

QUATERMASSANDTHEPIT(1967-TristramCary)CarloMartelli (cues from Lippert’sWITCHCRAFT used as end title, replacing deleted Carymusic)

SLAVEGIRLS(1968-CarloMartelli)

RaulKraushaar

HAMMERFILMMUSICDISCOGRAPHY

Despite its wealth of outstanding music, none of the Hammer scores found release onsoundtrack albums during the studio’s feature film production. In fact, to date, an originalsoundtrackrecordingfromaHammerscoreremainsvirtuallyunavailable.Due inpart to theexpense of record production and the limited sales potential of symphonic soundtrackrecordings,Hammerneverpursuedsoundtrackreleasesof theirmusic.“Tokeep theoriginalsessions cheap, theywere all recordedmono,” saidHarryRobertson. “From themid ’60s,most recording companies would only be interested in stereo. This would mean having torerecordthewholelotoncemore.Also,thereweresomanyHammermoviesthattheirsheernumberreducedtheirworthandtendedtomakecompaniesshyoffthewholeidea,especiallyifareallybigmoviescorewasn’tsellingbeans.”ThefirstHammermusictobeheardonLPwas,appropriately,twoselectionsfromHORROR

OF DRACULA rerecorded by the Dick Jacobs Orchestra for Coral Records’ Themes FromHorror Movies. Unfortunately, the 1970 release featured sophomorically humorous dialogbetweentracks,designedtoappealtothekiddiemarket,whichmarredthelistenabilityoftheLP for music lovers. Subsequent reissues on LP and CD by the Varese Sarabande labeleliminatedtheannoyingdialogandmadeforanexcellentcompilationofhorrorfilmmusicofthe1940sand1950s.ExcerptsandpopversionsofHammer’sDRACULAandotherthemesappearedsporadically

through the early 1970s, but itwasn’t until 1974 that anLP devoted toHammer filmmusicappeared.HammerPresentsDRACULA,ontheBritishStudio-2label,wasastorytellerrecordwithChristopherLee narrating an originalDracula story, scored by JamesBernard’smusicfromvariousDraculaandFrankensteinfilms.Side2,however,featuredexcellentrerecordingsof outstanding Hammer scores by Bernard, McCabe, Robertson, and Whitaker. A similarrecording the following year had Peter Cushing narrating THE LEGEND OF THE 7 GOLDENVAMPIRES over Bernard’s music, but had no purely musical segments apart from a briefmarchlikeintroductioncomposedespeciallyfortherecordbyJamesBernard.In1989,SilvaScreenRecordsreleasedanoriginalcompactdiscofHammerhorrormusic,

faithfully arranged by Philip Martell and with the involvement of the original composers.Plannedas thefirstofaseriesofHammerscorerecordings, theCDprovidedrich,dynamicrenditionsofsomeofHammer’sbestfilmmusicandatlastgaveHammermusicfansafeastfortheears.

HammerFilmMusiconRecordandCompactDiscKEY:FilmThemes/SuitesFilmTitle(Composer)

Details/RecordLabel/releasedate

BridesofDracula(MalcolmWilliamson)Song“DraculaCha-Cha-Cha”,writtenandperformedbyRodMcKuen,onCoralRecords45-rpmsingle,mid-1960s.

CaptainKronos:VampireHunter(LaurieJohnson)2cuesrerecordedbyLaurieJohnson/LondonStudioSymphonyon:TheFirstMenInTheMoon&OtherThemes.Unicom/KanchanaLP(DKP9001)UK,1981.Starlog/VareseSarabandeLP(SV-95002)US,1981.

CreaturestheWorldForgot(MarioNascimbene)LegendLP(Legend3)Italy,1986(1sideonly)Samp8cueson:OneMillionYearsB.C.[etal.]LegendCD(CD13)Italy,1994.Originalsoundtrackrecording.1excerpton:MarioNascimbene:L’ImprontadelSuonoKangarooLP(ZPLKT34209)Italy,1983;3-recordset.

TheDevilRidesOut(JamesBernard)Rocksong,writtenbyIainHinesandGlynHavard,“inspired”byfilm,on:Spark45-single(SRL-1012)UK,1968.PerformedbyIcarus.

DoctorJekyllandSisterHyde(DavidWhitaker)Suiteon:HammerPresentsDracula(cond.byPhilipMartell)Studio2LP(TWOA5001)UK:1974.CapitolLP(11340)US:1975.SameSuiteon:50YearsofClassicHorrorFilmmusicSilvaScreenCD(MUSICFILM017)UK,1990.DraculaHasRisenFromTheGrave(JamesBernard)5:24minsuiteon:MusicfromtheHammerFilms(PhilharmoniaOrchestra/NeilRichardson)SilvaScreenCD(FILMCD066)UK,1989.SilvaAmericaCD(SIL1026)US,1993(asDracula,ClassicFilmScoresfromHammer).1cue,includingsoundeffects,on:MusiquedeFilmsd’HorreuretdeCatastrophes/GeoffLoveOrchestraMFPLP(2M04696966)French,1970s.Samecueon:GreatScienceFictionFilmMusicPOOLP(LP104)US:1978.[bootlegrecord]

Dracula,PrinceofDarkness(JamesBernard)Suiteon:MusicfromtheHammerFilms(PhilharmoniaOrchestra/NeilRichardson)SilvaScreenCD(FILMCD066)UK,1989.SilvaAmericaCD(SIL1026)US,1993(asDracula,ClassicFilmScoresfromHammer).

FearintheNight(JohnMcCabe)

Suiteon:HammerPresentsDracula(cond.byPhilipMartell)Studio2(TWOA5001)UK:1974.Capitol(11340)US:1975.SameSuiteon:50YearsofClassicHorrorFilmmusicSilvaScreenCD(MUSICFILM017)UK,1990.

TheHammerHouseofHorrors(RogerWebb)ThemeonChips45-rpmsingle(CHI104)UK,1980).

HandsoftheRipper(ChristopherGunning)10:33min.suiteon:MusicfromtheHammerFilms(PhilharmoniaOrchestra/NeilRichardson)SilvaScreenCD(FILMCD066)UK,1989.SilvaAmericaCD(SIL1026)US,1993(asDracula,ClassicFilmScoresfromHammer).

HorrorofDracula(JamesBernard)2cueson:ThemesfromHorrorMovies(TheDickJacobsOrchestra)CoralRecordsLP(CRL757240)[incl.narrationandsoundeffects]Reissuedas:ThemesfromClassicS.F.,Fantasy&HorrorFilmsVareseSarabandeLP(VC81077)US,1978.[nonarration]MCALP(410.064)France,1978.MCALP(VIM7264)Japan,1978.VareseSarabandeCD(VSD-5407)US,1993.[nonarration]MCALP(410.064)(Frenchreissue.MCALP(VIM7264)Japanesereissue.12:34-minutesuiteon:MusicfromtheHammerFilms(PhilharmoniaOrchestra/NeilRichardson)SilvaScreenCD(FILMCD066)UK,1989.SilvaAmericaCD(SIL1026)US,1993(asDracula,ClassicFilmScoresfromHammer).

KissoftheVampire(JamesBernard)1cue,includingsoundeffects,on:MusiquedeFilmsd’HorreuretdeCatastrophes/GeoffLoveOrchestraMFPLP(2M04696966)French,1970s.Samecueon:GreatScienceFictionFilmMusicPOOLP(LP104)US:1978.[bootlegrecord]

TheLegendofthe7GoldenVampires(JamesBernard)WarnerBrosLP(K56085)UK,1975.Storytelleralbum,narratedbyPeterCushingw/musicfromthefilmunderdialog.AlsoincludesnewopeningmusicbyBernard.

TheLostContinent(GerardSchurmann)2originalsoundtrackcueson:MusicforFilms:GerardSchurmannCloudNineCD(CNS5005)UK,1993.LustForaVampire(HarryRobinson)

LoveTheme,“StrangeLove”,on:EMI45-single(DB8750)UK,1971.SungbyTracy.

TheMummy(FranzReizenstein)Humoroussong“inspiredbyfilm”,byBobMcFadden,on:Coral45-single(Q72-378)US.

OneMillionYearsB.C.(MarioNascimbene)IntermezzoLP(IM005)Italy,1985.Originalsoundtrackrecording.7cueson:OneMillionYearsB.C.[etal.]LegendCD(CD13)Italy,1994.Originalsoundtrackrecording.1excerpton:MarioNascimbene:L’ImprontadelSuonoKangarooLP(ZPLKT34209)Italy,1983;3-recordset.

PhantomoftheOpera(EdwinAstley)Film’soperaticaria,sungbyHeatherSears,on:Coral45-single(CRL-9-62334)US,1962.

ScarsofDracula(JamesBernard)1cueon:GreatFantasyFilmMusicPOOLP(LP106)US,1979.Bootlegrelease.

She(JamesBernard)Suiteon:HammerPresentsDracula(cond.byPhilipMartell)Studio2LP(TWOA5001)UK:1974.CapitolLP(11340)US:1975.SameSuiteon:50YearsofClassicHorrorFilmmusicSilvaScreenCD(MUSICFILM017)UK,1990.

StraightOn’TillMorning(RolandShaw)Themesong,sungbyAnnieRoss,on:Columbia45-single(BS-8912)UK,1972.

TastetheBloodofDracula(JamesBernard)17-min.suiteon:MusicfromtheHammerFilms(PhilharmoniaOrchestra/NeilRichardson)SilvaScreenCD(FILMCD066)UK,1989.SilvaAmericaCD(SIL1026)US,1993(asDracula,ClassicFilmScoresfromHammer).

TwinsofEvil(HarryRobinson)Theme,withlyricsaddedbyproducerHarryFine,on:DJMRecords45-single(DJS-254)UK,1971.RockversionbygroupEssjay.Themesong,performedbytheMikeBattOrchestra,on:GreatHorrorFilmThemes/GreatActionFilmThemesGSFRecordsLP(GSF1002)US,1983.Bootlegrelease.

VampireCircus(DavidWhitaker)9-min.suiteon:MusicfromtheHammerFilms(PhilharmoniaOrchestra/NeilRichardson)SilvaScreenCD(FILMCD066)UK,1989.SilvaAmericaCD(SIL1026)US,1993(asDracula,ClassicFilmScoresfromHammer).Same9-min.Suiteon:VampireCircus:TheEssentialVampireThemeCollectionSilvaAmericaCD(SSD1020)US,1993.

TheVampireLovers(HarryRobinson)Suiteon:HammerPresentsDracula(cond.byPhilipMartell)Studio2LP(TWOA5001)UK:1974.CapitolLP(11340)US:1975.SameSuiteon:50YearsofClassicHorrorFilmmusicSilvaScreenCD(MUSICFILM017)UK,1990.

TheVengeanceofShe(MarioNascimbene)1excerpton:MarioNascimbene:L’ImprontadelSuonoKangarooLP(ZPLKT34209)Italy,1983;3-recordset.

WhenDinosaursRuledtheEarth(MarioNascimbene)LegendLP(Legend3)Italy,1986(1sideonly)originalsoundtrackrecording.Samp8cueson:LegendCD(CD13)Italy,1994.

HammerFilmMusicCollectionsKEY:LPorCDTitle(ComposerorPerformer)Label(number)Country,Yearofrecordingrelease.Contentsorotherdata.

50YearsofClassicHorrorFilmmusicSilvaScreenCD(MUSICFILM017)UK,1990.Content:Includes4suitesfromHammerfilmscores,rerecordedbyPhilipMartell,fromHammerPresentsDraculaalongwithexcerptsfromotherBritishandAmericanhorrorfilmscores.

HammerHorror:ARockTributetotheStudiothatDrippedBlood(Warfare[group])FM-RevolverRecordsLP(unklabelnumber)UK,1990.SilvaScreenCD(FILMCD131)UK,1993.SilvaAmericaCD(SIL1027)US,1993.Rockalbumfeaturingrock-izedrenditionsofBernard’s“DraculaTheme”and“FuneralinCarpathia”alongwithoriginalrock-horrormusic.

HammerPresentsDracula(cond.byPhilipMartell)Studio2LP(TWOA5001)UK:1974.

CapitolLP(11340)US:1975.Side 1: NewDracula story narrated by Christopher Lee scored withmusic fromDracula& Frankenstein films by JamesBernard.Side2:Suitesfrom:FearInTheNight(McCabe),She(Bernard),TheVampireLovers(Robinson),Dr.Jekyll&SisterHyde(Whitaker).Seealso:50YearsofClassicHorrorFilmmusic.

MusicFromtheHammerFilms(ThePhilharmoniaOrchestra/NeilRichardson)SilvaScreenCD(FILMCD066)UK,1989.SilvaAmericaCD(SIL1026)US,1993(asDracula,ClassicFilmScoresfromHammer).Contents: Suites fromDracula/Dracula, Prince ofDarkness (Bernard),Hands of theRipper (Gunning),DraculaHasRisenFrom theGrave (Bernard),VampireCircus (Whitaker),Taste theBloodofDracula (Bernard).Excellent stereo rerecordingsmadewithparticipationofthecomposers.

Index

The index that appeared in the print version of this title was intentionally removed from the eBook. Please use the searchfunctiononyoureReadingdevicefor termsof interest.Foryourreference, the termsthatappear in theprint indexare listedbelow

AbbottandCostelloMeetFrankensteinAbductors,TheAbominableSnowmanoftheHimalayas,TheAddams,CharlesAddams,DawnAirport1975Aldrich,RobertAlexandertheGreatAlpineRoundaboutAlwyn,WilliamAndrews,BarryAppointmentWithVenusAridLandsArnold,MalcolmAstley,Edward,see:Astley,EdwinAstley,EdwinAstley,Ted,see:Astley,EdwinAsylumAtTheEarth’sCoreAuric,GeorgesAvengers,The[tv]

Babbit,MiltonBach,JohannSebastianBadgersGreenBakaleinikoff,MischaBankhead,TallulahBanks,DonBanks,SimonBarabbasBarbano,NicholasBaron,DavidBarrett,RayBarry,JohnBartok,BelaBates,RalphBatmanReturnsBattleoftheBulgeBax,ArnoldBaxter,LesBean,HughBeastMustDie,TheBeatles,TheBedfordIncident,TheBennett,RichardRodneyBernard,JamesBernstein,ElmerBerova,Olinka

Black,CillaBlack,StanleyBlake,HowardBlindTerrorBloch,RobertBlondeBait,see:WomenWithoutMenBloodFromTheMummy’sTombBloodOrangeBlueLagoon,The(1949)BreakintheCircleBrecht,BertoltBriant,ShaneBridesofDraculaBridgeontheRiverKwaiBrigandofDhandaharBritten,BenjaminBrymer,JackBrynner,YulBudd,RoyBunnyLakeIsMissingBurkeandHareBurnWitch,BurnBushell,AnthonyButtercupChain,The

Cacavas,JohnCampOnBloodIsland,TheCaps,JohnCaptainCleggCaptainKronos,VampireHunterCarey,MacdonaldCarlson,VeronicaCarreras,SirJamesCarreras,MichaelCarson,JohnCary,TristramCashOnDemandCastle,WilliamCatacombsChaffey,DonChallengeforRobinHood,ACircusofHorrorsClare,DianaClarettaClaritaClark,EdwardCleanSweepClemens,BrianCohen,LarryCohen,RaymondCollins,AnthonyColouris,GeorgeConeofSilenceCorbett,GlennCorman,RogerCorwithen,DoreenCountDraculaandHisVampireBride,see:SatanicRitesofDracula,TheCountessDracula

Court,HazelCousteau,JacquesCrawlingEye,TheCreaturesTheWorldForgotCreepingUnknown,The,see:QuatermassXperiment,TheCrescendoCrimsonBlade,The,see:ScarletBlade,TheCrozier,EricCurseofFrankenstein,TheCurseoftheDemonCurseoftheMummy’sTombCurseoftheWerewolfCushing,Peter

Dallapiccola,LuigiDamnTheDefiant!Damned,TheDangerListDangerMan[tv]Daniel,JenniferDannyTheDragonDanzinger,EddieDanzinger,HarryDarkPlacesDavies,RupertDavis,BetteDeSouza,EdwardDeadlyBees,TheDeathShipDeathWishIIDecisionAgainstTimeDehn,PaulDemonsOfTheMindDenberg,SusanDeutsch,MaxDevilGirlFromMarsDevilRidesOut,TheDevilShipPirates,TheDevil’sBride,The,see:DevilRidesOut,TheDevil’sOwn,The,see:Witches,TheDie!Die!MyDarling,see:FanaticDiffring,AntonDigby,TheBiggestDogInTheWorldDoctorFaustusDr.JekyllandSisterHydeDr.NoDr.StrangeloveDr.SynAliasTheScarecrowDr.Terror’sHouseofHorrorsDoctorWhoDodds,MarcusDominiqueDominiqueIsDeadDon’tRaiseTheBridge,LowerTheRiverDouglas,JoDown,LesleyAnnDracula[1958]see:HorrorofDraculaDraculaA.D.1972

Draculaandthe7GoldenVampiresDraculaHasRisenFromTheGraveDracula,PrinceofDarknessDubois,Annette

EarthDiesScreaming,TheEisler,HansEles,SandorElfman,DannyEllis,DonElms,AlbertEnemyFromSpace,seeQuatermassIIEssjayEvans,CliffordEvilofFrankenstein,TheExpressoBongo

FacetheMusicFanaticFearInTheNightFennell,AlbertFerrara,FrancoField,ShirleyAnneFileOfTheGoldenGoose,TheFine,HarryFirstMenInTheMoon,TheFisher,TerenceFiveMillionYearsToEarth,see:QuatermassAndThePitFlaniganBoy,TheFontaine,JoanneFootstepsInTheFogForbiddenPlanetForster,E.M.Four-SidedTriangleFrancis,FreddieFrankel,BenjaminFrankenstein&TheMonsterfromHellFrankensteinCreatedWomanFrankensteinMustBeDestroyedFrenchConnection,TheFrench,SarahFurneaux,Yvonne

GamblerandtheLady,TheGamley,DouglasGeeson,JudyGhoul,TheGiantBehemoth,TheGibson,AlanGielgud,VanGilbertHarding:SpeakingofTerrorGilling,JohnGlassCage,TheGlass,PaulGlass,PhilipGodsend,TheGoldenberg,BillyGoldsmith,Jerry

GoodbyeGeminiGoossens,LeonGorgon,TheGough,MichaelGrainer,RonGrayson,EuniceGrayson,GodfreyGreen,NigelGreene,RichardGuest,ValGuinness,AlecGunning,ChristopherGwynn,Michael

Haggard,H.RiderHammerHouseofHorror,The[tv]HammerHouseofMysteryandSuspense,The[tv]HammerheadHandsoftheRipperHardDay’sNight,AHardy,RobertHarrison,JoanHarryhausen,RayHartley,RichardHaunting,TheHawaiiFive-0[tv]Hawk,TheSlayerHedley,JackHelp!Heneker,DavidHepburn,KathrynHeroesofTelemark,TheHerrmann,BernardHinds,AnthonyHitchcock,AlfredHobson’sChoiceHoddinott,AlunHollander,BenoitHollies,TheHollingsworth,JohnHolst,GustavHolst,ImogenHolt,SethHope,BobHorrorExpressHorrorHotelHorrorofDraculaHorrorofFrankensteinHorrorOfItAll,TheHorrorsOfTheBlackMuseumHotchkiss,JohnHotelImperial[tv]HoundoftheBaskervilles,TheHouseattheEndoftheWorldHouseInNightmareParkHouseofDraculaHouseofFright,see:TwoFacesofDr.Jekyll,TheHoward,Ronald

Howells,HenryHowells,HerbertHughes,GaryHunchbackofNotreDame,The[1976]Hunt,MartitaHysteria

IOnlyArskedImportanceofBeingEarnest,TheInColdBloodInlandWithStuartInnoftheSixthHappinessInvitationToTheDanceIrmaLaDouceIronPetticoat,TheIslandoftheSunIslandRescueItStartedAtMidnightIt!It’sAliveAgainIt’sAliveIII:IslandOfTheAlive

JacktheRipper(1958)Jackson,FredaJacob,W.W.Jacobs,DickJaneEyre[tv]Janson,HorstJasonandtheArgonautsJeffries,LionelJohnson,LaurieJohnson,MichaelJohnsontownMonster,TheJones,FreddieJones,KennethV.Jones,PaulJones,PhilJones,QuincyJosephs,WilfredJourneyIntoTheUnknown[tv]Joyce,YoothaJungleMarinersJurassicPark

Karloff,BorisKaye,NormanKeir,AndrewKelly,GraceKingKongKissOfTheVampireKnef,HildegardKojak[tv]Korngold,ErichWolfgangKoyaanisqatsiKraushaar,RaulKubrick,Stanley

LadyCarolineLamb

LadyInACageLadyVanishes,TheLadyWiththeLamp,TheLadykillers,TheLandi,MarlaLatimer,MichaelLeGallienne,DorianLedZeppelinLee,ChristopherLegendofthe7GoldenVampiresLegendOfTheWerewolfLeigh,SuzannaLeon,ValerieLerner,AlanLewis,JerryLindup,DavidLiszt,FranzLittlePrince,TheLittman,BillLoewe,JayLom,HerbertLongArm,TheLosey,JosephLostContinent,TheLustForAVampireLutyens,ElisabethLutyens,SirEdwinLyonsinParis,The

MadameBovary[tv]MakeMeAnOfferManAboutTheHouseManInTheSkyManWhoCouldCheatDeath,TheManfredMannManiacMankowitz,WolfMarie,ArnoldMartell,PhilipMartelli,CarloMaskofDustMasksofDeath,TheMason,JamesMathieson,MuirMatthews,FrancisMatthews,KerwinMaurier,DaphneduMcCabe,JohnMcGoohan,PatrickMenofSherlockForest,TheMilner,ArthurMishimaMollinson,DebbieMontaur,YvonneMontyPythonMoonZeroTwoMorell,AndreMorgan,Terence

Morricone,EnnioMouseThatRoared,TheMozart,WolfgangAmadeusMummy,TheMummy’sShroud,TheMunro,CarolineMurderAtSite3MurderByProxyMurderOnTheOrientExpressMurray,DonMysteriousIsland

Nanny,TheNascimbene,MarioNelson-Keys,AnthonyNicholasandAlexandraNickson,A.E.H.Nieman,AlfredNightCreature,see:CaptainCleggNightGallery[tv]NightoftheDemonNightoftheIguanaNightmareOnElmStreetNorman,MontyNotInVainNothingButTheNight

O’Mara,KateOblongBox,TheOldDarkHouse,TheOldDraculaOldham,AndrewOneMillionYearsB.C.Overlord

Page,JimmyPanchoVillaParanoiacParker,CliftonParnell,JohnRussellPasco,RichardPassportToChina,see:VisaToCantonPastell,GeorgePatterson,PaulPearce,JacquelinePeel,DavidPetrassi,GeoffredoPhantomOfTheOpera(1962)PiratesofBloodRiver,ThePitt,IngridPlagueoftheZombiesPoe,EdgarAllanPorter,EricPoston,TomPowers,StephaniePravda,GeorgePrehistoricWomen,see:SlaveGirlsPrevin,Andre

PreyPsychoPsychopath,The

QuatermassandthePitQuatermassIIQuatermassXperiment,The

Rambert,MarieRasputin,TheMadMonkRawsthorne,AlanReed,OliverRees,AngharadReizenstein,FranzReptile,TheReturnofMr.Moto,TheRevengeofFrankenstein,TheRevengeoftheCreatureRobertson,HarryRobinson,Harry,see:Robertson,HarryRockyHorrorPictureShow,TheRockyV.RollingStones,TheRomanticEnglishwoman,TheRonay,EdinaRunWild,RunFree

Saint,The[tv]Saint-Saens,CamilleSalzedo,LeonardSangster,JimmySasdy,PeterSatanicRitesofDracula,TheSavalas,TellyScarletBlade,TheScarsofDraculaSchoenberg,ArnoldSchurmann,GerardScott,JohnScreamandScreamAgainScreamofFear,see:TasteofFearSearle,FrancisSearle,HumphreySears,HeatherSeawifeSecretAgent[tv]SecretofBloodIsland,TheSeeNoEvilSeiber,MatyasSeidel,Waldemar7BrothersMeetDracula,The,see:Legendofthe7GoldenVampiresSevenDaysToNoonSeventhVeil,The7thVoyageOfSinbad,TheSharp,DonShaw,RolandSheShelley,Barbara

Shelley,MaryWollstonecraftShenson,WalterShepherd,CybilShindig[tv]SinkTheBismark!Skull,TheSlaney,IvorSlaveGirlsSolomonandShebaSpacewaysSpencer,FrankStarWarsSteelBayonet,TheSteele,PippaSteele,TommyStein,ErwinSteiner,MaxStoker,BramStolenFaceStonegroundStoryofRobinHood,TheStraightOnTillMorningStrangerCameHome,TheStranglersofBombayStrasberg,SusanStrauss,RichardStravinsky,IgorSwordAndTheRose,TheSwordandtheSorcerer,TheSwordofSherwoodForestSykes,PeterSylvester,William

TalesFromTheCryptTalesoftheUnexpectedTarzan’sGreatestAdventureTasteofFearTasteTheBloodofDraculaTaylor,KendallTenSecondsToHellTerrorTerroroftheTongs,TheTestOfViolenceThat’sYourFuneralTheseAreTheDamned,see:Damned,The39Steps,The(1959)36HoursThorburn,JuneThrillerThriller[tv]TimberGetters,TheToTheDevil...ADaughterTodd,AnnToguri,DavidTomThumbTomlinson,EricTonnageOxygenTorme,Mel

TortureGardenToscanini,ArturoTreasureIslandTreasureofSantaTeresa,TheTully,MontgomeryTwinsofEvilTwoFacesOfDrJekyll,The

UglyDuckling,TheUncanny,TheUnderSuspicionUrquhart,Robert

VampiraVampireCircusVampireLovers,TheVaultofHorror,TheVeil,TheVengeanceofShe,TheVickers,MichaelVikingQueen,TheVisaToCanton

Wagner,RichardWalton,SirWilliamWarGodsoftheDeepWard,SimonWarriorsOfAtlantisWatchIt,SailorWebb,RogerWebster,JohnWesternApproachesWheatley,DennisWhenDinosaursRuledTheEarthWhenTheWhalesCameWhitaker,DavidWilcox,HerbertWilliam,NoelWilliams,ElmoWilliams,JohnWilliamson,MalcolmWillis,DonaldC.Wilmer,DouglasWingsofDangerWitchcraftWitches,TheWomanWhoWouldn’tDie,TheWomenWithoutMen

XTheUnknown

Yesterday’sEnemyYoung,Aida

ABOUTTHEAUTHOR

RANDALLD.LARSONistheauthorofnumerousbooksonfilmmusic,filmnovelizations,and horror literature, including Musique Fantastique: A Survey of Film Music in theFantasticCinema (Scarecrow).TheformereditorandpublisherofCinemaScore:TheFilmMusicJournal(1980-1987)andanumberofothersmall-pressfilmandfantasypublications,Larsonisalsoalong-timemusicwriterforCinefantastiqueandSoundtrack!TheCollectorsQuarterly.He haswritten on filmmusic topics formagazines such asStarlog, Film ScoreMonthly,MidnightMarquee,andTheSocietyforthePreservationofFilmMusic’sTheCueSheet.Employed as a fire department emergency communications supervisor, Larson has also

written numerous articles for fire service and public saftey communicationsmagazines. Helives in San Jose,California,with hiswife and two daughters.Writingmainly in his sparetime,Larsonoccasionallysleepsandeats.