Musings About Music In Film

Crimson Peak

crimsonpeak Crimson Peak, the latest genre pic from director Guillermo Del Toro, has already started to draw lines in the sand from critics, but what cannot be disputed is Fernando Velazquez' classical score. It starts off with some aesthetically beautiful but emotionally distant score for piano and strings, and continues like this, occasionally dipping into beautiful melodrama ('My Mother's Funeral) and overwrought beauty ('McMichael'). But around the halfway mark, it begins to change, and an altogether more disquieting feel takes over, after 'Ghost I'. Here Valezquez' score finally starts to grip you, almost like it's an intentional act - that Del Toro and the composer feel things are finally at their peak now that the genre element - in this case horror - has shown its beautiful face. It's a lovely score, with John Williams' Jane Eyre deep in its musical DNA, but it's perhaps a bit long on the album; for impact's sake I think it could do with losing about half an hour, but there's no denying how gorgeous this music is, and that Spain has become a wonderfully deep well to draw from for film scoring. -CB

Crimson Peak is out now digitally from Quartet Records, a CD will be forthcoming