Alexander Grodzinski

Ich habe das Buch im Januar bei Amazon vorbestellt. Mittlerweile gibt Amazon eine Lieferzeit von sechs bis sieben Monaten an. Mal sehen, ob und wann ich es bekomme.

Intrada announces the premiere release of James Newton Howard's 1990 score to Columbia Pictures' Flatliners. It's a score that has deserved a release for the past 35 years and one of the last major Howard scores to have never been released in any format. It's a massive work, composed for large orchestra and chorus. Befitting the hyperreal style of the film, the composer tackles big ideas like spirituality and religion head on, with a score as grand as the themes suggest. As Howard recalls, “Some memories I have were having a 90-piece orchestra for the first time to do whatever I wanted and bringing in all kinds of different electronics and sampled stuff, including a specific ‘monkey chant’ from Bali. The main idea for me was trying to musically express redemption—a theme that blooms into its big version heard in 'Flatliners End Titles.'" It was also Howard's first time writing for large choir. This Flatliners release features nearly 80 minutes of music (including 18 minutes of demos and alternates) and arrives just in time for the film's 35th anniversary. The album was produced by Stéphane Humez and mastered by Maxime Marion with liner notes by Kaya Savas. The film is a psychological sci-fi thriller directed by Joel Schumacher and follows a group of ambitious medical students—played by Kiefer Sutherland, Julia Roberts, Kevin Bacon, William Baldwin and Oliver Platt—who conduct a dangerous experiment to explore what happens after death. They deliberately stop each other’s hearts for short periods of time, experiencing near-death visions before being revived. However, their experiments soon spiral out of control as they begin to face terrifying manifestations of their past sins, blurring the line between life, death and guilt. 01. Flatliners Main Title (1:59) 02. Pre Lab (1:36) 03. Nelson & Labraccio (0:50) 04. The Lab (1:08) 05. Nelson Preps (2:45) 06. Nelson Flatlines (2:31) 07. Drive To Deli (1:09) 08. Nelson’s Flashback (1:37) 09. Joe’s Death (1:56) 10. The Alley (3:40) 11. Trick Or Treat (1:26) 12. Labraccio Goes Under (4:42) 13. Billy Attacks In Apartment (1:17) 14. Rachel Reflects (0:51) 15. Rachel’s Death (2:29) 16. Rachel’s Revival (2:16) 17. Billy & Screwdriver (1:59) 18. Schoolyard (3:03) 19. Rachel & Dad In Class (1:23) 20. Nelson In Truck (1:18) 21. Billy Attacks In Truck (1:27) 22. Davey Comforts Rachel (0:47) 23. Graveyard (1:52) 24. Rachel Goes Home (3:05) 25. Nelson Calls Rachel (1:58) 26. Nelson Running To Lab (0:53) 27. Nelson Goes Under (1:36) 28. Boys Arrive At Lab (1:02) 29. Revival Attempts (2:16) 30. Nelson & Billy (1:22) 31. Flatliners End Titles (5:38) Total Score Time: 61:44 THE EXTRAS 32. Flatliners Main Title (Demo Version) (2:02) 33. Nelson Flatlines (Demo Version) (2:57) 34. Drive To Deli (Demo Version) (1:24) 35. Rachel’s Death (Demo Version) (1:09) 36. Nelson Calls Rachel (Demo Version) (1:27) 37. Boys Arrive At Lab (Alternate) (1:02) 38. Flatliners End Titles (Demo Version) (3:15) 39. Flatliners End Titles (Alternate) (4:32) Total Extras Time: 17:46 Total Album Time: 79:31

Ist eben Geschmackssache Allgemein mag ich die früheren Carpenter-Scores lieber, im Bereich Halloween ist sein HALLOWEEN III - SEASON OF THE WITCH mein liebster Score. Aber ich finde schon, dass seine neuen Halloween-Scores auf der einen Seite genau seinen alten Stil bedienen, aber auf der anderen Seite durchaus modern wirken, ohne zu sehr in puren Krach zu verfallen. Gerade beim Hören des expandierten Albums zu HALLOWEEN (2018), welches unter anderem auch durch viele ruhigere Tracks ergänzt wurde, finde ich die Stimmung und die Atmosphäre, die die Musik verbreitet, schon sehr „eerie" und teilweise sogar etwas melancholisch. Musikalisch muss man Carpenters Minimalismus eben mögen, aber ich finde, dass genau dieser Minimalismus der Musik zugute kommt, weil sie so eben nicht Gefahr läuft, in heutige Klangmuster zu verfallen. Da ist man im Horrorbereich meist eben eher auf Lautstärke bedacht und fährt alles auf, was man so hat, egal, ob orchestraler oder elektronischer Score. Und selbst die Klangflächen und langgezogenen Töne heben sich bei Carpenter deutlich ab von dem, was man sonst so an „droning" und Sound Design in heutigen Scores zu hören bekommt. Wie bei allen Carpenter-Scores seit Mitte der 90er sind seine neuen HALLOWEEN-Scores natürlich auch mit Rock-Elementen durchsetzt, Daniel Davis spielt ja auch Gitarre. Aber anders als bei dem Blues-Rock von ESCAPE FROM L.A., dem Country-Rock von VAMPIRES oder dem Hard-Rock von GHOSTS OF MARS wird die Gitarre hier oftmals auch als Klangfarbe eingesetzt oder als „Stinger", was Carpenter ja auch gerne macht. Wie gesagt, muss man mögen und ich finde auch nicht alle seine neuen Sachen gelungen (seinen Score für das FIRESTARTER-Remake fand ich eher dröge), aber mich packt sein Stil nach wie vor.

Carpenter produziert mit seiner Frau Sandy King eine Horror-Anthology-Serie namens "John Carpenter presents". Soll wohl sowas wie American Horror Story werden. Wobei sich Carpenters Part wohl mal wieder eher auf das Entgegennehmen des Schecks und das Hergeben seines Namens beschränkt Wobei: Es ist die Rede davon, dass Carpenter Einfluss hat auf die Geschichten und den Stil. Na ja, mal sehen.

Kam nun gestern an. Optisch schon hübsch aufgemacht mit dem Hologramm auf der Box. Ich habe die Scores nun länger nicht gehört, kam bisher aber auch nur zum Hören des ersten Albums. Aber ja, finde ich bis jetzt immer noch gut Carpenter hat mit der Hilfe von Cody und Daniel seinen Sound modernisiert, ohne seine musikalischen Markenzeichen zu verlieren.

Apropos Jack White: Auch Bernd Meinunger ist gestorben. Er war fast 50 Jahre lang der Texter für Ralph Siegel, hat aber auch für unzählige andere Künstler Texte geschrieben, unter anderem Peter Maffay, Drafi Deutscher, Nino de Angelo und Roland Kaiser. In den 90ern wirkte er unter Pseudonym auch an dem Eurodance-Projekt E-Rotic mit.

Brigham Young University Film Music Archive Production. All proceeds from this limited edition compact disc go towards the acquisition, preservation of film music elements and public future releases. Produced by David O. Selznick in 1937, A STAR IS BORN is the story, remade many times, of a young girl with dreams of fame who falls in love with a star whose talent and popularity are on the wane. Max Steiner’s score beautifully accompanies the on-screen romance and heartbreak of this classic Technicolor drama. But the story of the score is a drama in itself and this CD, taken from the composer’s personal acetates which are preserved in the Max Steiner Collection at Brigham Young University, presents, in comprehensive fashion, multiple versions of cues that were written and re-written for the film. In large part, the discs were in excellent condition, while a few had obviously been played numerous times over the years. The package includes a 40 page book with an introduction by Steiner biographer Steven C. Smith and notes by Ray Faiola, who also restored the score and produced the CD master. Package design by Jim Titus. Produced with the cooperation of Warner Bros. Entertainment. 01. Main Title 1:46 02. Advice from Granny (replaced) 3:47 03. Advice from Granny (film version) 3:44 04. Farewell at Depot (replaced) 1:13 05. Arrival at Hollywood 1:55 06. Job Search (replaced) 2:04 07. Job Search (film version) 2:05 08. A Drink With Danny 1:12 09. Finally a Job 2:08 10. Impressionable Waitress (unused) 1:59 11. Contemplations Waltz (unused) 1:27 12. Good For Amusement Only (unused) 6:24 13. Driving Esther Home (partially unused) 2:41 14. The Enchanted Hour Preview 1:32 15. Trocadero Terrace 2:23 16. Boxing Arena Exit Music 1:01 17. Honeymoon Trailer 0:44 18. Gossip Column / The Maine Mansion 1:48 19. A Star is Born / Box Office Poison 2:22 20. Home From the Studio (replaced) 0:57 21. Home From the Studio (film version) 0:57 22. Dressing Table (replaced) 2:48 23. Dressing Table (film version) 2:22 24. Sign Here Mr. Lester (replaced) 1:33 25. Sign Here Mr. Lester (film version) 1:33 26. Academy Award Foxtrot (replaced) 1:14 27. Academy Award Foxtrot (film version) 1:13 28. Oliver Offers to Help (replaced) 1:28 29. Bailed Out / Vicki’s Sacrifice 2:34 30. Norman Commits Suicide 4:03 31. Funeral Mob 1:34 32. Mrs. Norman Maine / Finale 1:03 33. Trailer Score Part Two 1:44

Mutant is proud to announce a distribution partnership with Sparks & Shadows Records, an independent record label formed by Emmy and BAFTA Award-winning composer Bear McCreary. Last year, Mutant was the physical media home for McCreary’s debut rock record, The Singularity, a concept album featuring legendary rock talent including Slash, Serj Tankian (System of a Down), Corey Taylor (Slipknot), Rufus Wainwright, and many more. Mutant will now be the home and co-distributor of Sparks & Shadows’ back catalog on physical media, including McCreary’s scores for films, TV shows, and video games such as Black Sails, Da Vinci’s Demons, 10 Cloverfield Lane, Call of Duty, and much more. To celebrate this collaboration, Mutant is excited to premiere The Lord of the Rings: The Rings of Power (Season Two Complete Soundtrack Collection from the Amazon Original Series) This 10xCD box set features the complete episodic scores for all eight episodes of Season Two of the hit series, as well as the original soundtrack album. The limited-edition, numbered set also contains a 130-page booklet featuring liner notes by composer Bear McCreary. The Lord of the Rings: The Rings of Power (Season Two Complete Soundtrack Collection from the Amazon Original Series) is now available for pre-order at madebymutant.com

Neu von Quartet: Quartet Records, in collaboration with GDM and EMI General Music Publishing, presents a remastered reissue of BLUEBEARD (1972), in full stereo for the first time. It is one of the most bizarre-yet-beautiful Ennio Morricone scores composed during the busiest period of his career. The film is a weird co-production directed by Edward Dmytryck, produced by Alexander Saldkin, and starring Richard Burton, Rachel Welch, Virna Lisi, Nathalie Delon and Agostina Belli. The plot of the film is loosely based on a French folk tale about a nobleman whose last wife becomes curious when he tells her that she can enter any room in his castle except one. In that room, he keeps the corpses of all his previous wives, whom he has murdered. Ennio Morricone divided his score between the melancholic, the macabre and the parodic. One senses his intention to delve deeper into the psychology of the characters and to imbue the images with irony, moving from black comedy to bourgeois horror drama. The album of BLUEBEARD has been released several times on LP and CD since its first appearance in 1972 on the General Music label. In 2011, GDM CD Club released an expanded limited edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film, which quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Barbablù (Titoli) 4:04 Caccia 2:22 Preludio alla prima moglie 1:19 Una macabra scoperta 2:09 1928 2:56 Interludio alla seconda moglie 2:22 Barbablù romantico 3:31 Postludio alla terza moglie 2:45 Dedicato alla quarta 2:39 Il violinista 2:51 La quinta è in coma 2:26 Barbablù al crepuscolo 2:25 Povera sesta 2:46 Brutta fanfara 1:31 Requiem per la settima 3:14 Barbablù 2:23 Preludio alla prima moglie (#2) 0:45 Una macabra scoperta (#2) 3:25 1928 (#2) 2:50 Interludio alla seconda moglie (#2) 1:51 Barbablù romantico (#2) 4:14 Postludio alla terza moglie (#2) 2:31 La quinta è in coma (#2) 2:20 Barbablù al crepuscolo (#2) 2:34 Povera sesta (#2) 3:26 Barbablù romantico (#3) 4:11 Barbablù (Titoli – Versione Film) 2:58 Total Disc Time: 73:01 Quartet Records, in collaboration with GDM and EMI General Music Publishing, present a remastered reissue of the 1972 classic, bizarre and ironic Ennio Morricone cult score for LE TRIO INFERNAL (1972), a successful French dark comedy-drama, sadistic and erotic, directed by Francis Girod, starring Michel Piccoli, Romy Schneider and Mascha Gonska. The film is about an ambitious lawyer who devises a plan with his German mistress and her sister to deceive wealthy millionaires, marry them and then murder them, disposing of the bodies in sulfuric acid, thereby collecting the inheritance and insurance money. Ennio Morricone responds to the challenge posed by Le trio infernal with one of his most complex and contradictory scores, where lyricism is mixed with irony, beauty is subverted, and music is transformed into a narrative commentary laden with ambiguity. The album of LE TRIO INFERNAL has been released several times on LP and CD since its first appearance in 1974 on the Yuki label in France. In 2010, GDM CD Club released an expanded limited edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film, which quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Acido e Charme 3:52 Rag Nuziale (primo matrimonio) 3:27 Trio Infernale 6:03 Rag Nuziale (secondo matrimonio) 3:27 Acido e Charme (#2) 3:51 Sinfonietta – Requiem All’Acido Solforico 5:23 Rag Nuziale (ultimo matrimonio) 1:18 Trio Infernale (#2) 1:57 Acido e Charme (#3) 1:55 Rag Nuziale (primo matrimonio #2) 2:44 Trio Infernale (#3) 1:47 Acido e Charme (#4) 2:17 Rag Nuziale (ultimo matrimonio #2) 4:16 Trio Infernale (#4) 1:34 Acido e Charme (#5) 2:35 Trio Infernale (#5) 1:43 Rag Nuziale (secondo matrimonio #2) 2:24 Trio Infernale (#6) 4:52 Acido e Charme (#6) 2:48 Trio Infernale (#7) 3:51 Trio Infernale (#8) 2:29 Total Disc Time: 64:42 Quartet Records, in collaboration with GDM and Universal Music Publishing, presents a remastered reissue of one of Ennio Morricone’s most celebrated collaborations with Mauro Bolognini (ARABELLA, L’ASSOLUTO NATURALE, METELLO), the 1975 drama PER LE ANTICHE SCALE, starring Marcello Mastroianni, Barbara Bouchet, Lucia Bosé, Marthe Keller and Françoise Fabian. The film is set in fascist Italy in the 1930s and takes place in a Tuscan mental hospital. There, Dr. Bonaccorsi (Mastroianni), a charismatic, progressive and contradictory psychiatrist, works with mentally ill patients while simultaneously maintaining romantic relationships with three women: a nurse, a colleague’s wife and the hospital secretary. The decadent and labyrinthine atmosphere of the asylum acts as a metaphor for the state of Italian society at the time. Morricone’s score combines melancholic passages with atonal and dissonant moments, reflecting the clash between the lyricism of the human soul—the patients, their dreams, their poetic delusions—and the oppressiveness of the system—the treatments, the medical language, the hierarchy in the asylum. PER LE ANTICHE SCALE was originally released on an Italian 45RPM featuring only two cues from the score. It wasn’t until 1997 that RCA released on CD the mock-up album prepared by the composer in 1975, which was ultimately canceled. In 2007, GDM released an expanded edition with the complete score recorded by Morricone in a 74-minute edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Per le antiche scale (Preludio) 3:25 Passato remoto 7:02 I Interludio 2:18 Sospiri e Rantoli 6:56 II Interludio 2:59 Rimani 5:36 Interludio 2:59 Seconda invasione 2:31 Postludio 3:19 Follia e morte 7:56 Rimanenze 6:07 Per le antiche scale (#2) 3:00 Carnevale 6:23 Sospiri e Rantoli (#2) 2:39 Postludio (#2) 1:26 Follia e morte (#2) 6:06 Per le antiche scale (#3) 2:57 Total Disc Time: 79:19 Quartet Records, in collaboration with GDM, Universal Music Publishing and EMI General Music Publishing, presents a remastered reissue of the beautiful, nostalgic Ennio Morricone score for the 1981 romantic drama LA DISUBBIDIENZA, directed by Aldo Lado, starring Stefania Sandrelli, Jacques Perrin and Mario Adorf. Based on the novel by Alberto Moravia, the film is about a fourteen-year-old boy living in a bourgeois family with strong ties to fascism during the Republic of Salò, becoming involved in the partisan resistance, defying his parents’ authority. The appearance of two women will bring his adolescence to an end. Ennio Morricone composed an enchanting score for LA DISUBBIDIENZA, with one of its most melancholic and heartbreaking themes (“Morire e Viverti”) features the voice of Edda Dell’Orso. Also featured is a profound love theme and beautiful variations on it. Another nostalgic theme, written for solo oboe, defines the boy’s loneliness. It also includes the beautiful song “Dolci Parole,” which is one of the few times Edda has performed a song with lyrics. The score was released on LP in France in 1981 by General Music. In 1996, it made its first appearance on CD in Italy, with the same 10 tracks. In 2011, GDM CD Club released an expanded limited edition, removing two cues from the original vinyl and the first CD release, as they were neither composed for this film nor had anything to do with it. The new edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film, which quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Morire e viverti 5:13 Oboi sommersi 4:30 Al Teatro Goldoni 3:23 La Disubbidienza (source #1) 2:38 Morire e viverti (#2) 5:10 Repressione 2:02 Dolci parole (A. Stainton / E. Morricone) Vocal: Edda Dell’Orso 1:47 La Disubbidienza 4:17 Il colore dei suoi occhi 4:32 Ritorsione 1:11 Morire e viverti (#3) 5:11 La Disubbidienza (source #2) 2:49 Ritorsione (#2) 0:47 Dietro la tenda 5:07 Total Disc Time: 48:44

Kommt am 21. Oktober.

Snow Files of the Week: "Catalogued/Deny Everything/Blood on Paper" aus The X-Files, Episoden "Duane Barry" and "Ascension" (1994). Ein klassischer X-Files-Zweiteiler aus der zweiten Staffel der Serie. Und mit Duane Barry eine der markantesten Figures des X-Files-Universums, aufwühlend manisch gespielt von Steve Railsback. Barry wird seit langer Zeit in manchen Nächten von Aliens heimgesucht, die immer wieder Experimente an ihm durchführen. Als eine erneute Heimsuchung kurz bevor steht, dreht Barry durch und nimmt in einem Bürogebäude einige Geiseln. Die Polizeit hält ihn natürlich nur für einen gefährlichen Irren, aber Mulder ist an den Heimsuchungen interessiert. Mulder gelingt es, Barry zu überlisten und dieser wird angeschossen in ein Krankenhaus eingeliefert. Doch Barry spielt nur zum Schein mit, bricht aus dem Krankenhaus aus und entführt Scully, die er an seiner statt den Besuchern für ihre Experimente überlassen will. Er bringt sie nachts auf den Skyland Mountain, von wo aus er zum ersten Mal entführt wurde. Als Mulder eintrifft, bemerkt er nur noch ein helles Licht am Himmel und findet Barry alleine vor. Scully ist verschwunden. Mark Snow untermalt diese Doppelfolge mit sehr melancholisch-mystischen Klängen. Die kurzen Motive für den Raucher und die Verschwörer tauchen immer wieder auf, da diese natürlich auch ihre Finger im Spiel haben. Die Tracks stammen vom vierten Set X-Files-Musik von LLL. Das Set ist auf 2.000 Exemplare limitert. Viel Spaß beim Hören!

Neu von Dragon's Domain: Dragon’s Domain Records presents PSYCHO, featuring music composed by Bernard Herrmann (CITIZEN KANE, NORTH BY NORTHWEST, VERTIGO) for the 1960 horror classic directed by the legendary Alfred Hitchcock, written by Robert Bloch and Joseph Stefano, starring Anthony Perkins, Janet Leigh, Vera Miles, John Gavin, Martin Balsam, John McIntire and Simon Oakland. Released in 1960, PSYCHO focuses on an encounter between Marion Crane (Leigh) and Norman Bates (Perkins) and its aftermath, in which Arbogast, a private investigator (Balsam), Marion’s lover Sam (Gavin) and her sister Lila (Miles) investigate her disappearance. On the run after embezzling money from her former employer, Marion makes a fateful stop at the Bates motel, where she meets shy proprietor Norman and Marion’s fate is changed forever... Now considered one of Hitchcock’s best films and arguably his most influential work, PSYCHO was seen as a departure at the time from his previous film, NORTH BY NORTHWEST, as it was filmed in black-and-white, on a small budget, with the same crew Hitchcock used for his television series, ALFRED HITCHCOCK PRESENTS. The film was a massive success in its day, spawning three sequels, a remake, a made-for-television spin-off and a television series. Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio and in 1934 he began a 25-year career as a conductor and composer in radio, working for the CBS. In 1938, he scored the notorious infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI DRIVER and many hours of episodic television including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others. First released on vinyl in 1975 by Unicorn-Kanchana and later released in the early days of the compact disc format, this recording captured the first complete presentation of music from PSYCHO as performed by the National Philharmonic Orchestra and conducted by the composer himself in 1975. Dragon’s Domain Records is excited to bring PSYCHO back to the marketplace under license from Unicorn-Kanchana, newly remastered by James Nelson at Digital Outland and retaining the original album liner notes by Christopher Palmer. PSYCHO is a limited edition release. PSYCHO will begin shipping the week of October 28th, 2025. 01. Prelude (2:08) 02. The City / Marion / Marion and Sam (4:34) 03. Temptation (3:06) 04. Flight / The Patrol Car / The Car Lot / /The Package / The Rainstorm (8:43) 05. Hotel Room / The Window / The Parlor (4:01) 06. The Madhouse (2:14) 07. The Peephole (3:10) 08. The Bathroom / The Murder / The Body (2:07) 09. The Office / The Curtain / The Water / The Car / The Swamp (6:39) 10. The Search (A) / The Shadow / Phone Booth (2:23) 11. The Porch / The Stairs / The Knife (4:33) 12. The Search (B) / First Floor / Cabin 10 / Cabin 1 (6:09) 13. The Hill / The Bedroom / The Toys / The Cellar / Discovery (5:24) 14. Finale (5:45) BONUS TRACKS 15. The Hill / The Bedroom / The Toys / The Cellar / Knife (reprise) / Discovery (film edit) (1:49) PSYCHO: A NARRATIVE FOR STRING ORCHESTRA 16. Part 1: Prelude (2:08) 17. Part 2: The Madhouse / The Murder / The Water / The Swamp ( 6:23) 18. Part 3: The Stairs / The Knife / The Cellar / Finale (6:36) Total Time: 78:37 Dragon’s Domain Records proudly presents the third volume in a new ongoing series of music from classic horror films from the Golden Age, featuring two world premiere releases of music from THE GORGON and THE MANSTER. Released in 1964, was directed by Terence Fisher (CURSE OF FRANKENSTEIN, HORROR OF DRACULA, THE MUMMY), written by John Gilling and J. Llewellyn Devine, starring legendary actors Christopher Lee and Peter Cushing, along with Richard Pasco, Barbara Shelley, Michael Goodliffe, Patrick Troughton, Joseph O’Conor and Prudence Hyman. THE GORGON begins in 1910, in Vandorf, a seemingly idyllic German village which is harboring a horrific secret: Seven people have died after encountering a mysterious force that turns bodies into stone. When Bruno Heitz, a bohemian artist believed to have committed suicide by hanging himself is blamed for the murder of his pregnant girlfriend, his father challenges local officials who he suspects of conspiring to hide the truth. An esteemed academic, he sends for help from his good friend Professor Meister (Lee), who is tutoring his other son Paul (Pasco). That night, the elder Heitz is drawn to Borski Castle by a strange and haunting melody, sung by a shadowy figure who appears to have writhing snakes on her head instead of hair. Staggering back to his son’s studio, he desperately scribbles a note while slowly turning to stone... Paul arrives the following day to learn that his father has also passed away, allegedly from a heart attack. His questions are rebuffed by Dr. Namaroff (Cushing), a medical doctor who also runs the local asylum, though he does find a sympathetic ear in Carla (Shelley), who is Namaroff’s assistant. Later that night, Paul finds himself compelled to visit the castle. He merely gets a glimpse of a mysterious figure reflected in the garden pool before passing out and awakening five days later, only to learn that he has noticeably aged. Professor Meister arrives to help Paul who, after exhuming his father’s stone corpse, is determined to locate and kill the monster. Namaroff insists publicly that the killer is one of his escaped lunatics, but in private he confides to Carla what he truly believes, that the murderer is someone else, a person possessed by the spirit of one of the mythical Gorgon sisters who, when gazed upon, turn people to stone... Composer James Bernard was the man responsible for creating Hammer Studio’s unique sound, having begun scoring for the studio with THE QUATERMASS XPERIMENT. He had commenced his music studies later in life, after completing his service during the Second World War. Following his work on X THE UNKNOWN and QUATERMASS 2, Bernard scored Hammer’s first major horror film, THE CURSE OF FRANKENSTEIN. Each of these scores featured his trademark blend of harmonies and themes that often melodically spelled out the protagonists’ names. Unlike many composers, Bernard frequently orchestrated his own scores and THE GORGON represents one of his more romantic horror efforts, undoubtedly inspired by the film’s central female character. Released in 1959, THE MANSTER was directed by George P. Breakston and Kenneth G. Crane, written by William J. Sheldon and Breakston, starring Peter Dyneley, Jane Hylton, Tetsu Nakamura, Terri Zimmern, Norman Van Hawley, Jerry Itô, Toyoko Takechi, Kenzo Kuroki and Alan Tarlton. THE MANSTER tells the story of Larry Stanford (Dyneley), an international journalist based inTokyo. His latest assignment sends him to an isolated laboratory located near a volcanic mountain. His efforts to interview a reclusive scientist (Nakamura)yields what he perceives to be a new friendship, but in reality Stanford has been secretly injected with an experimental serum, becoming the latest guinea pig in a mad, genetic experiment... The doctor’s beautiful assistant (Zimmern) is tasked with seducing Stanford in an attempt to observe how the drug changes his personality. He soon becomes more aggressive, ignoring help from his friend and editor Ian (Van Hawley), who has also flown Larry’s wife (Hylton) in to help. Soon, the city of Tokyo finds itself in the grip of terror as several young women are brutally murdered, and a police inspector (Itô) suspects a link between Stanford and the killer. Unbeknownst to all, Larry has begun a physical transformation with the appearance of an eye on his right shoulder that grows into an animalistic head, later evolving into a second beastly body... The music for THE MANSTER was composed by Hirooki Ogawa. The composer was born in Tokyo, Japan. Among his most notable scores were for the GEKKÔ KAMEN and MOONLIGHT MASK television and theatrical series in the 1950s.Some of the films featuring his scoring work has been recently released in the U.S., including WATARI THE NINJA BOY (Daininjutsu eiga Watari) and NINJA SCOPE (Tobidasu Boken Eiga: Akakage). This third volume in Dragon’s Domain Records series of classic horror films has been mastered by James Nelson at Digital Outland, featuring exclusive liner notes by Starlog Magazine’s David Hirsch with Sam Scali on the music featured on the album. THE GOLDEN AGE OF HORROR VOL. 3 is a limited edition release and is expected to begin shipping the week of October 28th,2025. SPECIAL NOTE: These recordings were originally taken from analog masters and music & effects tracks and therefore certain limitations from the source tapes may be evident. We have tried to preserve as closely as possible, the quality of the original recordings. THE GORGON (1964) Music by James Bernard 01. Main Title (3:22) 02. Death in the Forest / Broken Finger / Woman of Stone / Bruno's Body / Inquest Conclusion / Village Thugs (2:33) 03. The Siren's Call /Turning to Stone (4:31) 04. Surviving Son Contemplates (2:22) 05. The Legend / Terrible Reflection (4:04) 06. Nightmare / It Was Only a Dream / Exhumation / Come Away With Me (3:35) 07. Take Me Away Now (3:01) 08. Meister Steals the File (2:33) 09. It's Too Late / It's the Full Moon / Paul Escapes / Back to the Castle (2:55) 10. She's Free & Finale (4:27) 11. The Gorgon (1964) Theatrical Trailer (2:42) THE MANSTER (1959) Music by Hirooki Ogawa 12. Murder in the Onsen / Main Title / Climbing Into the Mist (2:37) 13. Disposing Kenji's Body (1:47) 14. Stanford Arrives at the Lab / Suzuki Drugs Stanford / Preparing the Hypo / Injecting Stanford (2:44) 15. Tokyo Branch Office / Call From the Wife / Geisha House (2:31) 16. Saki Before Our Bath / An Evening with Tara (2:46) 17. The Girlfriend or Me/ Tara's Demands / Hand Transformation (4:05) 18. Something On His Shoulder / The Priest / Where Did You Get Those Prayer Beads? / Murderous Rampage (2:57) 19. Emiko / Eye On His Shoulder / Second Head (2:06) 20. Matthews Searches for Stanford / Manster vs. Police / Wife Discovers Manster (3:08) 21. Mansterhunt (2:00) 22. Searching Tara's House (1:16) 23. The Shipyard (2:23) 24. Suzuki Shoots Emiko (1:39) 25. Manster Stabs Suzuki / The Split / Man vs. Monster / Finale (4:11) 26. The Manster (1959) Theatrical Trailer (1:33) Total Time 74:05 Dragon’s Domain Records presents WHAT EVER HAPPENED TO AUNT ALICE?, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for the 1969 dark horror comedy directed by Lee H. Katzin, written by Theodore Apstein and Ursula Curtiss, starring Geraldine Page, Ruth Gordon, Rosemary Forsyth, Robert Fuller, Mildred Dunnock, Joan Huntington, Peter Brandon, Michael Barbera, Peter Bonerz, Richard Angarola, Claire Kelly and Valerie Allen. Released in 1969, WHAT EVER HAPPENED TO AUNT ALICE? was based on the novel ‘The Forbidden Garden’ by Ursula Curtiss. WHAT EVER HAPPENED TO AUNT ALICE? is the story of an aging Arizona widow named Claire Marrable (Page) left destitute after her husband, a prominent wealthy businessman, passes away leaving behind considerable debts. Penniless and desperate, Ms. Marrable retreats to Tucson where she cons elderly female housekeepers out of their life savings before murdering them and burying their bodies in her desert garden. Shortly after Mrs. Marrable hires petite Alice Dimmock (Gordon) as her next housekeeper (victim), the conniving black widow’s homicidal schemes begin to unravel... The original director of the picture, Bernard Girard, was fired from the project after shooting only half the film. Lee H. Katzin was then brought aboard to complete the movie receiving sole directorial credit. WHAT EVER HAPPENED TO AUNT ALICE? is the third installment in producer Robert Aldrich’s loose trilogy of psycho-biddy “Grand Guignol” films, horror thrillers featuring elderly women going crazy, following WHAT EVER HAPPENED TO BABY JANE? and HUSH…HUSH, SWEET CHARLOTTE. Born February, 1928 in the Bronx, Gerald Fried’s interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried’s in classical music and Kubrick’s in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathé. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where the young filmmaker first gained his reputation. After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU (1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN’S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the 1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film. These are just two of the many magnificent scores Fried wrote throughout his career. The composer passed away on February 17, 2023 at the age of 95. His work remains a testament to his talent and dedication to the art of composition and he is remembered as a key figure in the evolution of music for film and television. Dragon’s Domain Records presents the world premiere release of WHAT EVER HAPPENED TO AUNT ALICE?, featuring music composed by Gerald Fried. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written author and composer Brian Satterwhite. WHATEVER HAPPENED TO AUNT ALICE? is a limited edition release. WHATEVER HAPPENED TO AUNT ALICE is expected to begin shipping the week of October 28th, 2025. 01. Come With Me (1:40) (Sherlie Matthews) 02. Prologue: The Respectable Widow (3:51) 03. Prelude To Murder / Opening Titles (3:27) 04. Miss Tinsley Death (3:55) 05. A New Tree / Alice Dimmock Arrives (2:44) 06. Snooping Around / A Stormy Night (4:11) 07. Falling In Love (1:24) 08. The Dog (4:50) 09. Discovering The Truth / $46,000? / Comparing Handwriting (4:16) 10. I Don’t Want To Lose You (1:26) 11. Late Night Call (2:25) 12. Fight To The Death (3:17) 13. Stamp Collection / Pine Trees / End Titles (3:06) 14. Come With Me (Alternate Version) (2:58) (Sherlie Matthews) 15. Cocktail Party I (4:30) 16. Cocktail Party II (4:19) 17. Car Radio (Source) (5:14) 18. Dixieland (Source) (3:42) 19. Mon Pauvre Amour (Source) (3:41) (Lilyan Chauvin) 20. Mon Pauvre Amour - Instrumental (Source) (3:41) 21. Viens À Moi (Come With Me) (2:04) (Lilyan Chauvin) 22. Viens À Moi (Come With Me) (Instrumental Version) (2:05) 23. Quand Revient La Nuit (Source) (2:25) (Lilyan Chauvin) 24. C’est La Vie (Source) (2:10) (Lilyan Chauvin) Total Time: 78:22 Dragon’s Domain Records presents THE HILLS HAVE EYES, featuring music composed by Don Peake (THE PEOPLE UNDER THE STAIRS) for the 1977 horror film written and directed by Wes Craven (LAST HOUSE ON THE LEFT, A NIGHTMARE ON ELM STREET, SCREAM), starring Susan Lanier, Robert Houston, John Steadman, Janus Blythe, Peter Locke, Russ Grieve, Virginia Vincent, Dee Wallace, Brenda Marinoff, Martin Speer, James Whitworth, Lance Gordon, Michael Berryman and Cordy Clark as Mama. Released in 1977, THE HILLS HAVE EYES follows Big Bob Carter (Grieve), a retired detective, his wife Ethel (Vincent), their son, Bobby (Houston), daughters Lynne (Wallace) and Brenda (Lanier), Lynne’s husband, Doug (Speer) and their granddaughter as they travel together through the desert on their way to California. Stopping at an isolated gas station to refuel and rest, Fred, the owner (Steadman) advises Big Bob to stay on the main road. Being stubborn, Big Bob ignores his advice and takes a shortcut through a nuclear testing site. After wrecking the car, the family finds themselves stranded in the middle of nowhere. And they are not alone... Don Peake is a multi-talented musician who has worked as a guitarist, arranger, record producer, and film music composer. Starting his professional musical career as a guitarist in 1961, Peake's talent was recognized early when he toured as lead guitarist with the Everly Brothers at the age of 21, playing in the U.S. and Europe for two years. Peake returned to Los Angeles to establish himself as a recording musician, and played for many of the legendary performers under Phil Spector's production including The Righteous Brothers - "You've Lost That Loving Feeling," Ike and Tina Turner - "River Deep Mountain High," as well as recording with Mahalia Jackson, Billy Preston, Cannonball Adderly, Marvin Gaye, and Diana Ross. Peake became the first white guitarist to play with the Ray Charles Orchestra, touring with Charles, and recording with him for ten years. During that time, Peake studied guitar with Barney Kessel, Howard Roberts, and Joe Pass, three legendary guitarists. Peake became one of the premiere session guitarists in Los Angeles, recording for Jan and Dean, The Mamas and the Papas, Sonny and Cher, The Beach Boys, and many others. Don was inducted into an elite group of musicians led by drummer Hal Blaine known as "The Wrecking Crew." This amazing range of musical experience led Peake to composing music for film and commercials. He studied composition and orchestration extensively with Dr. Albert Harris, Academy Award winning composer Paul Glass, and conducting with Broadway's beloved Maestro Samuel Krachmalnick. His film scores include Wes Craven's cult classic WALK PROUD, MOVING VIOLATION, MODERN LOVE, and BREAKIN’, which earned him a Platinum Album. Don spent three and a half years scoring the popular Universal Television series KNIGHT RIDER. He also scored the American Playhouse production of THE MEETING, a film about the meeting between Martin Luther King and Malcolm X. Previously released on compact disc as a limited edition release by Hitchcock Records, Dragon’s Domain Records is excited to bring THE HILLS HAVE EYES back to the marketplace, with the music remastered by James Nelson at Digital Outland, reprising liner notes by the composer. THE HILLS HAVE EYES is a limited edition release. THE HILLS HAVE EYES is expected to begin shipping the week of October 28th, 2025 1. Opening Credits (2:07) 2. Stay On The Main Roads / Truck Explosion / Here They Come / Mutants Watch / Pretty Girl / Spider (2:58) 3. Bobby Runs After Beauty The Dog / Bobby Runs Back Down The Hill (3:42) 4. Oil Can Spout / Old Man Tells Story / Mutant Attacks Big Bob (3:28) 5. Bobby Hears A Noise / Nailing Big Bob To A Tree / Bobby Runs / Mutant Enters The RV (2:47) 6. Explosive Diversion / Big Bob’s Burned Corpse (2:10) 7. Stealing The Baby / Lynne Is Shot / RV Fight / Finding The Walkie-Talkie (2:46) 8. Dog Scare / Running Back Up The Hill / Finding The Camp / Mutants Run To RV / Ruby Steals The Baby (2:48) 9. Ruby Runs With Baby / The Rabbit / Brenda Sees Mutant / Dead Mom Decoy (2:11) 10. Gas Trap / The RV Explodes / Chasing The Baby / Rock Fight / The Rattlesnake (2:42) 11. End Credits (1:23) 12. Bobby Runs Back Down The Hill (Alternate) (0:35) 13. Bobby Runs (Alternate) (0:23) 14. Lynne Is Shot / RV Fight (Alternate) (1:22) 15. Chasing The Baby / Rock Fight (Alternate) (1:04) 16. Dog Scare / Running Back Up The Hill (Alternate) (0:55) 17. Wild Synth Wind (0:18) 18. Wild Axe Hits (0:10) 19. Percussion Suite 1 (0:40) 20. Percussion Suite 2 (1:02) Total Time: 36:24

Von Quartet: Quartet Records presents the soundtrack album composed by Pedro Osuna (ARGENTINA 1985, THE LEGEND HUNTERS) for the horror thriller CRAZY OLD LADY, produced by J.A. Bayona (A MONSTER CALLS, SOCIETY OF THE SNOW) and directed by Martín Mauregui. The film is a tour-de-force starring Carmen Maura and Daniel Hendler, about a man whose ex-girlfriend asks him to temporarily take care of her senile mother, Alicia. But Alicia won’t let him leave, turning a simple task into a nightmare from which he must escape. Pedro Osuna is a talented young Spanish composer who has already been part of Michael Giacchino and Hans Zimmer’s teams on several major productions. He surprised audiences with his music for ARGENTINA1985, and his new score for VIEJA LOCA is a declaration of love for the genre of classic horror film music, where echoes of Herrmann, Goldsmith and Christopher Young coexist in a personal style of writing and orchestration entirely the composer’s own. Osuna conducts a large orchestra recorded in Los Angeles. Without a doubt, it is one of the most pleasant surprises in recent film music. Vieja loca 1:52 El hechizo de César 0:51 El hombre más malo del mundo 1:24 Comienza el viaje 2:58 No se grita 1:08 Antígona 2:23 ¿Es verdad o mentira? 2:58 Bigotudo 0:54 Sueño convertido en pesadilla 2:07 La pesadilla llega 0:47 Esperanza 5:32 Campeona metropolitana 1:12 La visita 3:01 Franquito 3:38 La verdad 3:18 Mordeme 3:36 Final 8:02 Caja de música 1:11 Antígona (versión alternativa) 2:01 Vieja loca suite 8:53 Total Disc Time: 57:56 Quartet Records presents the soundtrack album composed by Víctor Reyes (LOVE GETS A ROOM, ESCAPE, DOWN A DARK HALL, the Emmy-winning THE NIGHT MANAGER) for the war drama film LA TREGUA, directed by Miguel Ángel Vivas and starring Miguel Herrán, Arón Piper, Javier Pereira and Fernando Valdivielso. Set during World War II, the story takes place in the frozen steppes of Kazakhstan, home to Spassk99, a Soviet gulag where the USSR crammed together the “enemies of the people.” Among them were two groups of Spaniards: Republican soldiers trained by the USSR who were condemned for wanting to leave Russia when the war in Spain ended, and volunteers from the Blue Division, captured after fighting alongside the Nazis in Leningrad. These enemies must put aside their ideologies and unite. Victor Reyes composed an intense, atmospheric, exciting vibrant, and dark score, written for orchestra and electronics, in a combination that is sometimes terrifying and sometimes hopeful, representing the inner voices of the characters. Capitán… Teniente 2:20 De uno en uno 2:23 Estrépitos de música 3:43 Vuestro lugar 1:49 Quédatelo 2:01 Alcohol 0:54 Una tregua 1:17 Todos españoles 2:24 Ella 2:52 Consejos de un comunista 1:30 Kazajistán, Invierno de 1941 4:08 Lo siento 1:04 Memoria 2:03 De aquí a Muros 3:44 Hablas Kazajo 2:09 Ciudadano soviético 1:51 Pater 1:30 Una brújula 1:34 Despedida 1:34

Intrada announces the 30th anniversary, two-CD set of Hans Zimmer's score for the 1995 political-action thriller Crimson Tide. Zimmer was truly flying high in his career by the mid-1990s. He had successfully made the jump from London to Hollywood and had just won an Academy Award® for his score for The Lion King (1994). His sound was going through an evolution during the late 1980s and early 1990s, and it was on Backdraft (1991) that Zimmer fully embraced meshing an orchestra with his trademark synthesizers. It was also the start of the “power anthem” for which Zimmer would become known. Crimson Tide marks the full maturing of this style that would continue to be heard most notably in The Rock (1996) and The Peacemaker (1997). Zimmer won a GRAMMY® for Best Instrumental Composition Written for a Motion Picture or for Television for Crimson Tide. The main theme of Crimson Tide is a signature power anthem that embodies heroism and bravura, and in this expanded presentation of the score one can fully appreciate how it’s used throughout the narrative. The score is a master class in tension building. Zimmer utilizes atmospheric sounds to build a sonic tomb around the characters. Sounds resembling sonar, metallic colors and puffing woodwinds create sustained tension that slowly rises. This new release features the complete 88-minute score, adding nearly a half hour of music to the program originally released on Hollywood Records. The extras include a demo of a short suite Zimmer and collaborator Steve Mazzaro prepared in 2014 to be performed live in concert. The Hollywood Pictures film is a tense military thriller directed by Tony Scott and starring Denzel Washington and Gene Hackman, taking place almost entirely aboard a U.S. nuclear submarine. When communications with command are cut off during a potential nuclear crisis with Russia, the seasoned captain (Hackman) and his principled executive officer (Washington) clash over whether to launch nuclear missiles based on incomplete orders. Their escalating power struggle becomes a battle of wills. Play all clips CD 1 THE SCORE 01. Main Title* – News Report (4:43) 02. Briefing And Goodbyes – Roll Tide (7:33) 03. Little Ducks§ (2:04) 04. Fire In The Galley* – Hunter Rebuffed* (4:35) 05. Boxing (0:52) 06. Real EAM (2:37) 07. This Is Not A Drill (5:49) 08. Classification (3:21) 09. First Engagement (3:23) 10. Mutiny/2nd Attack* – Bilge Bay§ (16:07) TOTAL CD 1 TIME: 51:04 CD 2 THE SCORE (CONTINUED) 01. Counter Mutiny (9:46) 02. 1SQ* – Crisis Averted (18:52) 03. Court Of Inquiry** – Resolution/End Titles§ (8:39) Total Score Time: 88:21 THE EXTRAS 04. Crimson Tide 2014 Concert Suite (Demo)** (4:41) 05. Fire in The Galley – Hunter Rebuffed (Film Version) (3:13) 06. Court Of Inquiry – Resolution/End Titles (Film Version) § (8:43) Total Extras Time: 16:37 TOTAL CD 2 TIME: 53:54 TOTAL ALBUM TIME: 104:58 *Contains Material Not Featured in Film **Not Featured in Film §Contains Hymn “Eternal Father, Strong To Save” Written by John Dykes and William Whiting (Public Domain)

LLLCD1680 Music by John Morris Limited Edition of 1000 Units Back by popular demand and in celebration of CLUE: THE MOVIE’s 40th Anniversary! La-La Land Records and Paramount Pictures present a limited edition re-issue of renowned composer John Morris’ (YOUNG FRANKENSTEIN, BLAZING SADDLES, SPACEBALLS, THE ELEPHANT MAN) original orchestral score to the beloved 1985 Paramount Pictures comedy CLUE: THE MOVIE, based on the famous board game and starring Tim Curry, Madeline Kahn, Christopher Lloyd, Eileen Brennan, Martin Mull and Michael McKean and written and directed by Jonathan Lynn. Having gathered a notable, devoted cult following since its initial theatrical release, CLUE: THE MOVIE sports a wonderful score by composer John Morris – one that deftly weaves wit, slapstick, mystery and suspense with a masterful touch. Previously out of print, our acclaimed CD score release of CLUE: THE MOVIE has been re-issued for anyone who may have missed out on all the murderous fun – limited to 1000 units. Produced by Dan Goldwasser and mastered from ½ inch, 3-track Paramount vault elements by Mike Matessino, this special limited edition re-issue features new art design by Goldwasser, along with a new note from director Jonathan Lynn. The liner notes are by film music writer Daniel Schweiger. The audio presentation is the same as our initial CD release. TRACK LISTING: 1. Main Title / Trees to Dogs 3:10 2. Mrs. White 0:44 3. Miss Scarlet* / Car In Progress 1:48 4. May I Present Mr. Boddy 1:48 5. I Suggest We All Leave / Fight, You Bastard / Hallway Screaming Next Door 1:15 6. Bag In Hall 2:44 7. The Cook Chase / Boddy’s Fall / We’ll Throw It Away** 0:51 8. Stranger At Front Door / Match Cutting* / People In Hall** 2:37 9. Mrs. Peacock And Plum / Death Bridge / Bridge, White & Wadsworth / Billiard Cue Grab / Go Together 1:53 10. I’ll Search The Kitchen / Desk, Fire, Weapons / Let’s Try The Conservatory / I’ve Had A Good Life 2:02 11. Door Pounding to Chandelier Fall 1:31 12. Gun, Cupboard, Doorbell / Cop Panics 1:12 13. Yvette Upstairs to Bell 1:31 14. Step by Step 2:08 15. Remember What Happened Next / Don’t You See? Look! 1:57 16. I’ll Get To That / Beatnik 1:13 17. Ending A: Your Fatal Mistake / I Shot Her / Cavalry** 2:32 18. Ending B: Yvette to We All Ran to Her / To Check That Mr. Boddy Was Dead / Who, Who, Who / Cavalry 1:34 19. Ending A Top to You Were / Peacock At Door 1:06 20. End Title* 3:02 BONUS CUES 21. Main Title (Alternate 1) 1:30 22. Miss Scarlet / Car in Progress (Alternate) 1:46 23. Main Title (Alternate 2) 1:31 24. Peacock at Door (Alternate) 0:31 25. Main Title (Alternate 3) 1:42 26. End Title (Shorter Version) 1:39 27. Main Title (Alternate 4) 1:48 TOTAL ALBUM TIME 47:58 *not used in film ** contains material not used in film This is a CD format release

LLLCD 1678 Music by Maurice Jarre Limited Edition of 1000 Units La-La Land Records and StudioCanal proudly present a 35th Anniversary reissue of Oscar®-winning composer Maurice Jarre’s (LAWRENCE OF ARABIA, WITNESS, TOP SECRET!) original motion picture score to the 1990 psychological thriller JACOB’S LADDER, starring Tim Robbins and Danny Aiello, and directed by Adrian Lyne. A reality and genre bender of a film with serious cult status, JACOB’S LADDER is a wild, thrilling and thoughtful trip that charts Tim Robbins’s Vietnam veteran title character on a perilous and unpredictable journey through his war-torn past and grief-stricken present. Composer Maurice Jarre tackles the challenge of scoring this unique film with inventive vigor, creating a fully immersive sonic experience that expertly melds electronics and orchestra in fascinating fashion. Haunting and enthralling, this is a notable work by a legendary artist. Produced by Neil S. Bulk and mastered by Doug Schwartz, this special limited edition 2-CD reissue features the original 1990 soundtrack album on Disc One, with the Score Presentation showcased on Disc Two. Limited to 1000 units, this release features new liner notes by writer Jeff Bond and new art design by Dan Goldwasser. TRACK LISTING: DISC 1 ORIGINAL SOUNDTRACK ALBUM 1. Jacob’s Ladder 4:18 2. High Fever 7:43 3. Descent To Inferno 8:20 4. Sarah 7:18 5. The Ladder 7:15 6. Sonny Boy (perf. Al Jolson) 3:06 TOTAL DISC 1 TIME 38:00 DISC 2 SCORE PRESENTATION 1. Copter’s In 1:20 2. Convulsions / Stomach Ache 2:14 3. Train Trauma 1:41 4. Baby Pictures 0:59 5. Burning Pictures 1:29 6. Who Are You? / No File / Doctor’s Dead 1:47 7. Not Human 0:40 8. Ice Cold 2:16 9. Fever’s Gone 2:47 10. Am I Dead? 2:07 11. I See ’Em Too / Car Attack 3:10 12. Funeral 0:57 13. Spilled Beer / Surveillance 1:10 14. We’ve Been Watching You 1:05 15. What X-Ray? 1:59 16. You Okay? 2:03 17. Walk Again 1:13 18. Memorabilia 2:24 19. The Mirror 1:09 20. Aggressive Tendencies 2:05 21. Antidote 0:59 22. Pleasant Dreams 2:24 23. Demons 0:56 24. Demons Are Gone 1:19 25. Floor Play 1:31 26. Transformation 1:46 27. Happy Memories 1:51 28. Gabe Leads The Way 2:17 29. Sonny Boy (End Credits) 2:08 TOTAL DISC 2 TIME 49:48 TOTAL ALBUM TIME 87:48 This is a CD format release.

Ersteres. Ist ausgebessert.

Snow Files of the Week: "Grow Up Superboy/Ferris Wheel" aus der Serie "Smallville" (2001). Die Serie lief zehn Staffeln lang, aber nach der sechsten Staffel verliess Snow die Serie und Louis Febre, der bis dahin Snows Music Editor war, übernahm das Komponieren für die restlichen Staffeln. Snow wollte einfach mehr Zeit für seine Familie haben, komponierte er zur gleichen Zeit doch die Musik für die Serie "Ghost Whisperer", sowie für diverse Filme noch dazwischen (wie den zweiten X-Files-Film 2008). Für "Smallville" komponierte Snow einen sehr melodiösen Score, der natürlich auch seine etwas düsteren Klangcollagen beinhaltet. Die Musik ist etwas wärmer als die der X-Akten beispielsweise. Ein Album wurde digital veröffentlicht, mit einem Querschnitt aller zehn Staffeln und beiden Komponisten. Kurze Zeit später veröffentlichte LLL ein Doppel-Album mit der Musik, das neben dem digitalen Album natürlich noch mehr Musik aus der Serie enthält. Die CD war auf 3.000 Stück limitiert und ist ausverkauft. Viel Spaß beim Hören!

Von Quartet: This Hybrid SACD can be played on any standard CD player.Mixed and Mastered in 32-bit / 96 kHz. Quartet Records, in collaboration with Fifth Continent Music Classics, presents a remastered reissue of the acclaimed 1991 recording of Bernard Herrmann’s classic score for Orson Welles’ CITIZEN KANE (1941), performed by the Australian Philharmonic Orchestra under the baton of Tony Bremner. Considered one of the best films in the history of cinema, if not the best, this immortal classic was the first film directed by Orson Welles, when he was only 26 years old, and it was also the first film score by Bernard Herrmann, who was 29 at the time. His unique sound and his understanding of the art of music in film immediately made him the “new kid on the block,” and his influence continues to this day. The score for CITIZEN KANE was never released, except for a terrific suite conducted by Charles Gerhardt in the 1970s for an album devoted to Herrmann, and another, very different suite, arranged and recorded by the composer himself for his series of albums with Decca. In 1991, producer John Lasher undertook a re-recording of the original score of the film, working directly from the original manuscripts. Although it is not the complete score (another later recording, also excellent, conducted by Joel McNeely and produced by Robert Townson for Varèse Sarabande, was more complete), it was celebrated for its fidelity, sound quality and rendition. It is an honor to bring it back to the market. The album has been remixed and remastered by Chris Malone on Super Audio CD at 32-bit/96 kHz from high-resolution sources transferred in two-channel stereo. This hybrid SA-CD can of course be played on any standard CD player, although those with an SACD system will be able to enjoy it in DSD. The lavish, 24-page booklet features an exclusive essay by Herrmann’s official biographer, Steven C. Smith, uncovering new aspects of the relationship between the composer and Orson Welles. Prelude 2:23 Susan In Night Club (Rain Sequence) 0:57 Thatcher Library (Litany): Ms. Reading & Snow Picture; Mother’s Sacrifice; Charlie Meets Thatcher 3:25 Galop 1:01 Dissolve To Thatcher; Second Ms.; Bernstein’s Narration 1:42 Kane’s News Office; Carter’s Exit; Chronicle Scherzo 3:01 Bernstein’s Presto 0:41 Kane’s Return; Valse Presentation 1:41 Sunset Narrative 2:20 Theme And Variations (Breakfast Montage) 3:20 Kane Meets Susan; Susan’s Room; Mother Memory 3:10 The Trip To Susan’s; Getty’s Departure; Kane Marries 2:10 Salaambo’s Aria 4:24 Leland’s Dismissal 1:01 Susan In Night Club (New Dawn Sequence) 0:54 Opera Montage 0:48 Xanadu; Jigsaw Puzzles (Perpetual Motion); Second Xanadu 3:52 Kane’s Picnic; Susan Leaves 2:02 El Rancho (Second Dawn Sequence) 0:39 The Glass Ball 1:24 Finale 2:27 Total Disc Time: 43:31 This Hybrid SACD can be played on any standard CD player.Mixed and Mastered in 32-bit / 96 kHz. Quartet Records, in collaboration with Fifth Continent Music Classics, presents a remastered reissue of the acclaimed 1991 recording of Bernard Herrmann’s classic score for Orson Welles’ THE MAGNIFICENT AMBERSONS (1942), performed by the Australian Philharmonic Orchestra under the baton of Tony Bremner. It was Herrmann’s second collaboration with Orson Welles, but the music was highly modified in the finished film (partly due to abrupt, last-minute re-editing), which meant that both artists were very disappointed. Much of Herrmann’s work does not appear in the film. Producer John Lasher was determined to rescue this cursed score from oblivion, and thanks to the recovery of the well-preserved original manuscripts, the score was re-recorded in its entirety as Herrmann had conceived it. The album was a revelation when it was released and a gift for any film music lover, and it is an honor to bring it back to the market. The album has been remixed and remastered by Chris Malone on Super Audio CD at 32-bit/96 kHz from high-resolution sources transferred in two-channel stereo. This hybrid SA-CD can of course be played on any standard CD player, although those with an SACD system will be able to enjoy it in DSD. The lavish 20-page booklet features an exclusive essay by Herrmann’s official biographer, Steven C. Smith, uncovering new aspects of the relationship between the composer and Orson Welles. Theme & Variations; George’s Homecoming 7:20 Snow Ride 3:05 The Door; Death & Youth 0:56 Toccata 1:12 Pleasure Trip 1:06 Prelude 1:30 First Nocturne 4:08 Garden Scene 1:14 Fantasia 2:07 Scene Pathetique 2:19 Waiting 1 and 2 1:31 Ostinato 1:52 First Letter Scene 3:25 Second Letter Scene; Romanza 2:12 Second Nocturne 3:22 Departure; Isabel’s Death 1:47 First Reverie; Second Reverie 2:40 The Walk Home 2:49 Garden Music 2:59 Elegy 1:23 End Title 2:23 Total Disc Time: 51:31 This Hybrid SACD can be played on any standard CD player.Mixed and Mastered in 32-bit / 96 kHz. Quartet Records, in collaboration with Fifth Continent Music Classics, presents a remastered reissue of the acclaimed 1978 recording of Hugo Friedhofer’s classic, Academy-Award-winning score for William Wyler’s THE BEST YEARS OF OUR LIVES (1946), performed by the London Philharmonic Orchestra under the baton of Maestro Frank Collura. Considered one of the best film scores ever composed, Hugo Friedhofer’s music was revolutionary at the time. Far from the prevailing influence in Hollywood in the 1940s with the sound brought by European composers, Friedhofer opted for music with a profound American influence, especially Aaron Copland. In addition to economy of means, he preferred an orchestral color palette closer to chamber music than to the grand symphonic sound that prevailed at the time. He was also economical in the amount of music he wrote for the film. Instead of wall-to-wall music, as was the norm in huge productions, he chose to write around 50 minutes for a three-hour film, which was tremendously effective and opened a new way forward where music could contribute a psychological factor beyond the merely descriptive. In the 1970s, producer John Lasher attempted to release the original score, which he considered his personal favorite, but the tapes had disappeared. A new recording using modern technology, in stereo, was the only solution. Tony Bremner reconstructed the score with Friedhofer’s approval, and the result was one of the best re-recordings ever made of a classic film score, which had the blessing of the composer and the entire film music industry. The album has been remixed and remastered by Chris Malone on Super Audio CD at 32-bit/96 kHz from high-resolution sources transferred in two-channel stereo. This hybrid SA-CD can of course be played on any standard CD player, although those with an SACD system will be able to enjoy it in DSD. The lavish 24-page booklet features detailed liner notes by film music writer John Takis, discussing the film and the score. Main Title 1:35 Homecoming 6:29 The Elevator; Boone City; Peggy 4:23 Fred & Peggy 2:31 The Nightmare 6:18 Fred Asleep 2:26 Neighbors; Wilma; Homer’s Anger 7:42 Homer Goes Upstairs 5:56 The Citation; Graveyard & Bomber 4:28 End Title & End Cast (Wilma) 2:04 Exit Music 1:59 Total Disc Time: 45:57

Ja, das meinte ich auch mit „holpriger Dramaturgie". Es ist sowieso schon etwas komisch, dass sich manche der Kinder nach dem Transfer in den Hybrid-Körper immer noch wie Kinder verhalten und manche nicht mehr. Wendy/Marcy beispielsweise verhält sich im Grunde sofort wie eine Erwachsene, beziehungsweise hat nicht dieses kindlich-alberne, was einige der anderen Kinder haben. Und selbst das kindlich-alberne verschwindet in den letzten beiden Folgen auch bei den anderen, aber von einer Minute auf die andere. Das ist eh auch das Problem der Serie, es gibt einfach viel zu viele Charaktere. Bis auf die Hauptfiguren lernt man die anderen eigentlich kaum kennen. So verpuffen eigentlich auch Tode von Figuren, weil man eh nicht wirklich weiß, wer das ist. Aber ja, diese Wandlung aller Kinder kommt schon etwas plötzlich. Bei Wendy ist es noch am ehesten nachvollziehbar, aber bei den anderen scheint einfach ein Schalter umgelegt worden zu sein und jetzt sind sie eben plötzlich sadistische Killer. Wobei Nibs ja schon vorher in einer Szene so eine gewalttätige Anwandlung hatte. Vielleicht soll das suggerieren, dass man zwar Erinnerungen löschen/manipulieren kann, aber die Natur, den Charakter eines Menschen nicht. Das Finale war ja auch eher mau, quasi eine Fortsetzung der vorherigen Folge. Lang aufgebaute Storyarcs einzelner Figuren verpuffen im Nichts oder haben gar keine Konsequenzen in der Handlung (wie das Deaktivieren der Peilsender der Kinder, die man dann trotzdem relativ schnell aufspürt). Und warum Wendy/Marcy quasi allmächtig ist, alle Systeme bei Prodigy manipulieren kann mit einem Wink, mit dem Xeno kommunizieren kann, wird auch nicht erklärt. Dafür wieder viel Blut und Gemetzel. Ist der Xeno eigentlich unverwundbar? So viele Soldaten haben schon auf den geschossen und keiner hat ihn getroffen? Zumindest ein Glückstreffer hätte mittlerweile dabei sein müssen. Gut, im Finale gibt es eine Szene, da reicht plötzlich ein gezielter Treffer aus, um den Xeno zu verjagen. Die letzte Szene des Finales ist ja auch eher zum Schmunzeln. Soll das mit Boy eine Jesus-Allegorie sein? Und es stehen zufälligerweise Indianer-Spielfiguren auf einem Tisch bei Prodigy herum. Weil es die auch bei Peter Pan gibt. Ein wenig inkonsequent und mutlos fand ich die Auflösung mit dem neuen Wirt des Tentakel-Auges. Boy möchte es ja in einem Menschen haben, um mit ihm zu kommunizieren. Aber das Tentakel-Auge war doch schon mal in einem Menschen. Und zwar im Techniker auf der Maginot. Und da hat es auch nicht gesprochen, sondern nur gekreischt. Funktioniert das also überhaupt? Insgesamt ist die Serie tatsächlich eher wie PROMETHEUS und COVENANT. Der Xeno ist im Grunde nur Beiwerk, der Fokus liegt auf ganz anderen Dingen. Und man lernt ja auch nichts Neues über den Xeno. Auch der Konflikt zwischen Prodigy und Weyland-Yutani kommt viel zu kurz. Auch das ist eher Beiwerk, was echt schade ist. Das wäre ein Ansatz für einen Sci-Fi-Spionage-Plot gewesen. Aber auch hier scheint es so, als hätte man die Geschichte mit Kindern in Hybrid-Körpern gehabt, verpackt in die Peter-Pan-Geschichte und dann einfach noch den Xeno dazu gepackt und das Ganze ALIEN genannt. Das Tentakel-Alien ist der eigentliche Star der Show und man hätte den Xeno gar nicht gebraucht, um im Grunde die gleiche Geschichte zu erzählen. Gut, Wendy hätte den Xeno dann nicht zu ihrem Schoßhund machen können, aber da das eh nicht erklärt wird, hätte der ganze Plot auch so funktioniert. Aber gut, eine zweite Staffel scheint ja schon sicher zu sein.

THE DEVIL AND BERNARD HERRMANN includes suites from THE DEVIL AND DANIEL WEBSTER, OBSESSION and the composer’s own WELLES RAISES KANE, a suite from CITIZEN KANE and THE MAGNIFICENT AMBERSONS, featuring the composer conducting the London Philharmonic Orchestra and the National Philharmonic Orchestra in recordings from 1967 and 1975. Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio and in 1934 he began a 25-year career as a conductor and composer in radio, working for the CBS. In 1938, he scored the notorious infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI DRIVER and many hours of episodic television including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others. These historic recordings were originally released on vinyl in the 1970’s and later on compact disc in the 1990’s. Citadel Records, a division of BSX Records, is proud to bring these recordings back into the marketplace, under license from Unicorn Records Limited with the music newly remastered by James Nelson at Digital Outland and retaining the original liner notes written by Christopher Palmer including the participation of the composer. THE DEVIL AND DANIEL WEBSTER 01. Mr. Scratch (5:18) 02. The Ballad of Springfield Mountain (4:38) 03. The Sleigh-Ride (2:02) 04. The Miser's Waltz (5:26) 05. Finale / Swing Your Partners (2:48) WELLES RAISES KANE 06. Overture (2:36) 07. Theme and Variations (5:10) 08. Ragtime / The Saturday Night Band Concert (1:44) 09. Meditation / Antimacassar (2:42) 10. Finale / Pursuit and Happiness (2:37) OBSESSION* 11. Main Title / Valse Lente / Kidnap (6:02) 12. Newsboy / The Tape / The Ferry (4:58) 13. The Tomb / Sandra (8:06) 14. The Church / Court's Confession / Bryn Mawr (9:26) 15. New Orleans / Wedding / Court, The Morning After (4:33) 16. The Plane / Court and La Salle's Struggle / Airport (6:00) Total Time: 74:05

So, nun auch Folge 7 gesehen. Ich weiß auch nicht so richtig, was ich davon halten soll. Es wirkte dramaturgisch sehr holprig. Als hätte man gemerkt, dass nur noch eine Folge kommt und nun viele Sachen einfach "passieren" müssen. Und ja, gleichzeitig fühlte es sich ausgewalzt an, wie ein Füller für das Finale. Als ich so darüber nachgedacht habe, trifft das eigentlich auf die ganze Staffel zu. Gefühlt ist in den ersten zwei, drei Folgen mehr passiert als in den darauf folgenden, die viele Dinge einfach nur nochmal wiederholt haben. Da kam nicht viel Neues dazu und was bereits erzählt/etabliert wurde, wurde einfach nochmal durchgekaut. Nach wie vor finde ich den Xenomorph von der Art her, wie er inszeniert wird, mal gelungener und mal weniger. Auch der Facehugger sah irgendwie eigenartig aus. Nicht richtig überzeugend, eher wie eine Sammlerfigur in Lebensgröße, die man für die Szenen benutzt hat. Sah irgendwie zu clean und nicht organisch gewachsen aus. Und der Moment, als der Facehugger den Wirt verlassen hatte und dieser ohne ihn auftaucht, war Slapstick Covenant'schen Ausmaßes. Ich denke da an die Szene in COVENANT, als zuerst eine Person auf einer Blutlache ausrutscht und kurz danach eine andere Person nochmal auf der gleichen Lache. Vermutlich sollte das in der Folge so sein, um die Spannung humoristisch aufzubrechen. Nun ja, mal sehen, was das Staffelfinale zu bieten hat.

Dann habe ich ja was, auf das ich mich freuen kann Bin gerade noch im Urlaub und werde Folge 7 erst nächste Woche sehen können.

Genau das ist eben die Frage. Wenn das Ding jemanden imitiert, beziehungsweise absorbiert, weiß die Imitation, dass sie eine ist? Sie verhält sich ja so wie das Original, aber ist das das imitierte Bewusstsein, welches sich einfach verhält wie immer oder ist es das Ding, das durch das Absorbieren weiß, wie sich das Original verhalten würde? Und tragen dann die Zellen des Dings alle Erinnerungen und Fähigkeiten jedes Lebewesens, das es bis dahin absorbiert hat, in sich? Was dafür spricht, ist, dass Blair als Imitation weiß, wie man ein Raumschiff baut. Das wusste der echte Blair sicher nicht. Das Prequel bringt auch einen weiteren interessanten Aspekt mit ins Spiel. Es bleiben anorganische Sachen zurück, wie Zahnfüllungen oder Herzschrittmacher. Weil das Ding eben nur organisches Material imitieren kann. Dieser Aspekt wird in Carpenters Film ja außen vor gelassen. Entweder hat dort keiner Implantate im Körper oder das Ding ist einfach gründlicher beim Aufräumen Ja, PROMETHEUS und COVENANT finde ich als Teil des Alien-Universums auch problematisch. Als eigenständige Filme sind sie aber ganz OK. Dieses Übererklären nimmt eben dem ersten ALIEN einen Teil seines Mysteriums und auch ein wenig diese Angst vor dem Unbekannten. Ähnlich wie beispielsweise Rob Zombies HALLOWEEN, der Michael Myers eine Hintergrundgeschichte gibt. Mal abgesehen davon, dass diese nun nicht sonderlich originell ist, nimmt sie der Figur auch hier diese Angst vor dem Unbekannten. Manche halten es ja für einen Schwachpunkt von Carpenters Film, dass der Killer eigentlich keine Motivation oder Motiv hat. Aber genau das macht ihn eben so gefährlich. Er ist unberechenbar und eigentlich nicht mehr menschlich. "Purely and simply evil", wie Doktor Loomis sagt. Er ist der personifizierte Boogeyman, der Schatten und er tut eben Böses. Und man kann ihm nicht entkommen. Das finde ich viel reizvoller als die White-Trash-Hintergrundgeschichte von Zombies Film.

In ALIEN sieht man nur, dass der Xeno bei Bret seinen zweiten Kiefer ausfährt und ihn verletzt. Bei Parker ebenso, nur ist Parkers Verletzung tödlich. Die Szene im Nest in der längeren Fassung sorgte ja auch für eine andere Theorie bezüglich der Eier. Die Königin wurde ja erst in ALIENS eingeführt, beim ersten Film wird ja eigentlich nicht erwähnt oder erklärt, woher die Eier kommen. In der Szene sind Bret und Dallas im Nest eingesponnen. Dallas lebt noch und fleht Ripley an, ihn zu töten. Aber warum? Ohne einen Facehugger an Bord dürfte Dallas nicht "schwanger" sein. Allerdings sieht es so aus, als würde sein Körper mit der Substanz aus dem Nest verschmelzen. Und bei Bret, der scheinbar tot ist, sieht es so aus, als würde sich sein Körper langsam in eines der Eier verwandeln. Wie das möglich sein soll, wird nicht erklärt und die Szene flog ja auch raus, weil sie an der Stelle den Film auch eher ausbremst. Aber es ist eine interessante Theorie, dass der Xeno nicht nur Wirte braucht, sondern quasi auch organisches Material, welches er mit dieser Substanz seinem Lebenszyklus hinzufügt. Bei THE THING ist es ähnlich wie bei ALIEN. Das Wesen hat eigentlich kein Motiv oder eine Mission. Es will einfach sein Fortbestehen sichern. Das ist natürlich auch eine gute Ausrede, damit man nicht viel erklären muss. Es soll einfach pures Terrorkino sein und das ist es in beiden Fällen ja auch. Deswegen meinte ich ja auch, dass manche Sachen einfach keine Vorgeschichte oder tiefere Bedeutung brauchen. In THE THING meint Blair nur, dass dieses Wesen vermutlich schon unzählige Lebensformen auf anderen Planeten imitiert und absorbiert hat. Und es jetzt das eben auch auf der Erde will. Vielleicht will es also auch einfach nur erobern. Man erfährt ja auch nie, wie das Wesen ursprünglich mal aussah. Es ist immer nur als Imitation oder Mischform von Lebewesen zu sehen, die es bereits imitiert hat. Es muss ja ein Bewusstsein haben, da es intelligent genug ist, ein Raumschiff zu fliegen und zu bauen. Wobei man auch hier diskutieren kann, ob es diese Fähigkeit nicht einfach von einer anderen Lebensform übernommen hat, die es imitiert hat. Carpenters Film ist im Gegensatz zur ersten Verfilmung aus den 50ern ja recht nahe an der literarischen Vorlage. Dort ist das Ding zu Beginn, als es aus dem Eis geholt wird, tatsächlich in seiner Ursprungsform, bevor es beginnt, die Menschen und Hunde zu imitieren. Der Film umgeht diese Enthüllung quasi dadurch, dass er eine zweite Forschungsstation einführt, die Norweger. In der Geschichte findet das amerikanische Team das Wesen und es spielt sich auch alles dort ab. Aber eben dieses "Nichtwissen" macht für mich hier den Reiz aus. Bei beidem, Vorlage und Film, geht es um Paranoia und im Grunde auch um den Verlust der Menschlichkeit. Das funktioniert eben auch, ohne dass man dem Ding ein tiefergehendes Motiv gibt. Es ist sozusagen nur der Katalysator dafür. Klar kann man sich fragen, ob das Ding tatsächlich ein Bewusstsein hat oder es nur auf Zellebene existiert. Film und Vorlage sprechen beide davon, dass jede Zelle dieses Dings wie ein eigenständiger Organismus funktioniert. Und deshalb auch eine Zelle davon ausreicht, um einen anderen Organismus zu infizieren. Es könnte also sein, dass dieses Ding beispielsweise einen Menschen imitiert und dabei eben nur sein Bewusstsein hat. Weil es selbst nur auf Zellebene existiert. Diese Imitation trägt dann allerdings den Drang in sich, sich weiter zu verbreiten. Was wiederum ja eigentlich eine bewusste Handlung ist, die aber nicht vom imitieren Bewusstsein kommen kann. Was für ein eigenes Bewusstsein des Dings spricht. Aber so in die Tiefe geht es gar nicht, weil es für das, was der Film sein will, auch keine wirkliche Rolle spielt. Ähnlich wie ALIEN. Dort ist das Unbekannte, woher das Wesen kommt, warum es tut, was es tut, doch eigentlich reizvoller und bedrohlicher als jede Erklärung.