- Composed by Marco Beltrami
- Varese Sarabande CD Club / 2011 / 63:28
Wes Craven’s Scream was an unexpected smash hit in 1996, revitalising the horror genre and inspiring a new generation of self-knowing teen slasher films. Its USP was that the characters – being killed off one-by-one by a serial killer – knew all the horror movie cliches and tried to avoid them. It’s a pretty witty, enjoyable film, but the 350 knock-offs it inspired aren’t, particularly. The most famous person in it, Drew Barrymore, wasn’t in it for very long and various young actors got their big break; another who falls into that category is composer Marco Beltrami, who had scored three ultra-low-budget films and a couple of tv shows at the time but was given the gig on the basis of a demo he wrote for a scene early in the film.
Ironically, he reveals in this album’s liner notes that he wasn’t and isn’t a fan of horror films and tries to avoid watching them – ironic because he has written music for a lot of them in the 15 years that followed Scream and, indeed, only Christopher Young is as likely to get a call when somebody’s looking for a composer for a film in this genre. Beltrami has gone on to become one of Hollywood’s top composers – in lots of genres – writing innovative, interesting music for a wide range of films. It is interesting now, in 2011, to go back to the score that launched it all for him, released as part of Varese Sarabande’s CD Club, the first release since a very brief album shared with music for the film’s first sequel, this time presenting his complete score for the film.
Of the score’s different ideas, the most famous is the beautiful theme for Sidney, the character played by Neve Campbell. It has a haunting nature, it works perfectly in the film and greatly helped to give the score a real identity of its own. Apart from that theme, melody isn’t really at the fore, with the score alternating between fairly straightforward orchestral action music and some more rock-based elements. Some of the action material is terrific, Beltrami skilfully masking the fact that budgetary restrictions meant he had a relatively small orchestra to work with and providing some very exciting music in what would become his signature action style in cues such as the very lengthy “The Cue from Hell” and “They’re Crazy”, which cover over twenty minutes between them near the front and end of the album respectively.
I’m not so convinced by the rock elements, which are a little limp in comparison and take up a reasonable chunk of the album’s running time. It’s great to finally have a proper release of Scream after all this time, but in truth it is less likely to be considered one of Beltrami’s finest scores than it is to be considered one of his most important, based on the impact it had on the rest of his career. There are certainly some wonderful aspects to it, it’s fascinating to hear the early development of ideas which would become trademarks of the composer, and indeed it’s impressive to hear the scale of music he was able to write on such a small budget. ***