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Re: Christopher Young: Dream Lover (The Christopher Young Odyssey Part Four) [EDITED]
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• Posted by: Soundtracker94
• Date: Wednesday, June 29, 2022, at 2:22 p.m.
• IP Address:
• In Response to: Christopher Young: Dream Lover (The Christophe... (Robert Taylor)
Message Edited: Wednesday, June 29, 2022, at 2:24 p.m.

> Jennifer 8

> But the album still feels overlong, even though it’s only in the mid-40
> minutes, because a good chunk of the music is meandering and atmospheric,
> with light piano tinkling and electronic dread building. Those sections
> unfortunately feel downright anonymous, which is a shame because the
> highlights of the album are so outstanding that this could have been a
> minor classic.

> Score: ***1/2

Jennifer 8 is essentially a dry-run for the VASTLY superior Copycat three years later. That main theme is quite nice but agree that too much of the score just kinda meanders around without much development or anything of interest. Remember watching the film several years ago and it was alright, not something I regret seeing but nothing that really stuck with me.

> The Dark Half

> “The Dark Half” is one of the best premises Stephen King has ever come up
> with – one reflective of the “death” of his pen name Richard Bachman (who
> still manages to release a book about once a decade 30 years later). But
> the book’s execution is shit, and the movie makes those problems even more
> explicit. Once again, a very good director (George Romero) miscast his
> lead actor (Timothy Hutton), which simply broke the movie.

> Still there are a few very good scenes, particularly the prologue where
> surgeons are operating on a brain… and suddenly an eye opens on the
> brain
mid-surgery. It’s doesn’t make it a must-watch, but moments like
> that lift it up to the mid-tier of King adaptations (which are mostly bad,
> to be fair).

An incredibly flawed (highlight on incredibly) film but one that I still enjoyed and keep wanting to add to my horror/Stephen King movie collection. Also agree that most King adaptations (especially the horror ones) are bad, yet I find them entertaining none the less. Apparently his dramatic writing is far easier to translate to film than his horror work. tongue

> The rest of the music is made up of grand suspense music, excellent
> execution of his musique concrete techniques that don’t grate on me as
> they sometimes do, and lots of creepy suspense work. If he would have only
> used that incredible theme to its fullest potential, this could have been
> a five-star work.

> Score: ****

The Dark Half wasn't the first Young score I heard, but it was the first Young CD I bought. Have always really enjoyed the entirety of the score and still hold it as a personally favorite.

> Dream Lover

> What the fuck is this movie?

> “Dream Lover” is ostensibly a neo-noir erotic thriller where James Spader
> is seduced by Madchen Amick, who then tears his life apart. But Young’s
> music is insane, to the point where I assumed the film must be a
> comedy. I looked up the final scene on YouTube, where Spader savagely
> strangles Amick to death, and it’s definitely not a comedy.

.... I might have to check this film out.

> So why does it sound like one?

> The opening titular track is not as light as the rest of the score,
> carrying over the cooing choir from “The Dark Half” and placing it in a
> more electronic thriller atmosphere.

> But directly after that, the score seems to completely fall off a cliff
> tonally. The next cue is a comedic waltz, one which serves more as the
> main thematic material for the music than anything in the title track. And
> while it’s okay for a track or two, Young revisits it so often that it
> becomes old fast.

> Then the original song comes on, which I genuinely thought was an old
> vaudeville number placed on album until I realized they were name checking
> the film’s characters and storyline. How this musical number (I assume it
> must be in the film) fits in with the aforementioned ending is baffling to
> me.

> The music style continues to zig and zag from there, even managing to
> utilize Musique Concrete to make a sorta horror cue (though the waltz
> circus music is there too) with “Flying.” And then the final cue “Sweet
> Dreams” calls back all the way to that first cue… as if none of the middle
> section existed.

> I honestly don’t know what to make of “Dream Lover.” Each section of music
> is well executed, but Good God is it bananas weird. I suspect you will be
> driven as crazy as I was while listening.

> Score: **

.... I might have to check this album out as well. Sounds like it might either drive me nuts or hit that sweet spot that Goldenthal's Titus does. Either way, I'm extremely curious thanks to your description!

> Murder in the First

> Still, this is a masterpiece-level score. It’s essential listening for
> score fans, and is so good it makes me want to watch the movie just to see
> how it’s used within it.

> Score: *****

Beautiful, beautiful score that I stumbled upon years ago and went 'wait... THIS is from the guy that did all those horror scores I like?!??'. The film is also really good though definitely a 'manipulating your emotions' affair, though done well. James Spader and Kevin Bacon are great.


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