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| Ottman |
House of Wax: (John Ottman) There really seemed to
be only two reasons why the 2005 teenager-aimed horror flick
House of
Wax was produced. Either the filmmakers and the studio determined
that young audiences raised in the
Scream generation still hadn't
seen enough of the typical mass killings of dumb youths in ridiculous
circumstances. Or, the entire film was an excuse to take advantage of
"actress" Paris Hilton's notoriety by showing her in a steamy sex scene
and having her run around in skimpy underwear before becoming yet
another victim of the usual slasher movie demise. Without a doubt, this
remake of
House of Wax is an insult to the classic 1953 Vincent
Price thriller, and the film's name was yanked from the esteemed
Hollywood legend simply for the purposes of selling this deviant
abomination. Essentially, the plot of the remade
House of Wax
involves a group of kids that finds themselves side-tracked on their way
to a football game and ends up in a small town that is a creepy time
capsule of the 1960's. The town's landscape is dominated by a museum
that only contains wax sculptures and is itself also made of wax.
Predictable and tired, the progression of killings yields obvious
survivors for a potential sequel, though the intelligence behind this
particular entry in the teen slasher/thriller genre was met with such
disregard from critics (and some audiences) that the concept was
thankfully re-buried and forgotten. Producer Joel Silver had worked
twice before with composer John Ottman, and with Silver's inclination to
adorn the film with a massively gothic score despite limited fiscal
resources, the choice of Ottman for the task was not surprising. The
composer continued to make a career out of horror and occasional action,
writing in a realm of perpetual musical darkness that once again steered
the composer away from his elusive, imaginary first romance score. Not
only does Ottman embrace lower budget horror films of suspect quality,
but he seems to genuinely enjoy working on them. As heard in
Hide and
Seek earlier in the same year, Ottman delightfully concocts themes
of innocent structure and instrumentation and mutates them throughout
his scores into the menacing demeanor necessary for the genre. No
exception is
House of Wax, though the manipulation of themes and
rhythms in this venture isn't as tightly woven as in other Ottman
thrillers.
As always, the trademark personality inherent in
Ottman's writing is present in
House of Wax, with wacky
instrumentatal effects, decent thematic integrity, and hints of false
innocence throughout. His main theme, performed in the opening by
celesta, piano, violin, and restrained "la-la" choral mixing whips
itself into a frenzy in its 8-note movements. Representing the town,
this theme isn't one of Ottman's strongest, especially in this context,
but it is adapted into larger sections of the orchestra for consistent
dramatic effect later in the score. The more interesting theme is the
one with which Ottman obviously had his most fun; the over-the-top
gothic characteristics of the ritual theme (heard twice with a
relentless snare rhythm, deep vocal effects, and staggered series of
orchestral hits) is exactly what you'd expect to rise from the best
realized action sequences of an Ottman horror score. Unfortunately, many
of the other horror passages resort to typical cliches in the "shock
methodology" of film scoring, and much of the meat in
House of
Wax steps back into the shadows of Ottman's more non-descript
writing for the genre. One notable exception is the melting of the
museum itself in "Bringing Down the House," ending with an outstanding
45 seconds of tonal melodrama starting at 4:20 into that climactic cue.
It's difficult, as with many similar Ottman scores, not to appreciate
the subtle cues more that those of massive volume. An echoing woodwind
effect in "Story of the Town" reminds of the technique used by Jerry
Goldsmith in
Total Recall, and "Brotherly Love" offers a
straight-forward and ultimately more ominous performance of the ritual
theme than the prior, full-blown version. Ottman also provides his own
solo performance of the religiously-inclined organ as the final track on
the album, the instrument providing satisfying bass throughout the
score. The downfall of Ottman's work here, however, is that it fails to
achieve the rhythmic structure that often binds his best efforts. Short
blasts of devilishly accessible music will remind of
The Usual
Suspects but lack the same flow of consistent rhythmic development
(which the film's narrative may not have allowed), causing much of the
score's filler material to meander in
Gothika territory. Neither
the album nor the film is the best representation of Ottman's work for
House of Wax, however, with several cues in context drowned out
by ambient sound effects and the album featuring less than half of the
recorded composition. Dedicated Ottman enthusiasts will be enticed by
the spirit of this score, but its reach likely won't extend much
farther.
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| Bias Check: |
For John Ottman reviews at Filmtracks, the average editorial rating is 3.17
(in 35 reviews)
and the average viewer rating is 3.05
(in 21,438 votes). The maximum rating is 5 stars.
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