A month of haunting melodies, sonic scares

Few things fit October better than Halloween and horror movies –; but the key to any good film in either of these genres is the right use of music.

Films such as “Psycho,” “The Exorcist” and “Halloween” deservedly receive attention for the way music heightens the tension and scares. There are, however, lesser-discussed musical moments for the season of fright.

‘The Passion of Joan of Arc’ (1928)

This French silent film isn’t a horror film in any traditional sense. No scares or disfigured creatures stalk the heroine. Just humanity’s devils. But it is a terrifying examination of the dangers of religious fanaticism. And the camera’s focus almost exclusively on the characters’ faces allows the expressions of hatred and despair to invade your head and stay there –; making it an arrestingly beautiful and disturbing film.

Many scores have accompanied the film in its 80-plus years, but if you watch it now the soundtrack is composer Richard Einhorn’s “Voices of Light.” His music is as haunting as the film, especially with the sounds of an enormous choir and ominous strings. What really makes the pairing work is the libretto, the lyrics of which mainly derive from the writings of medieval female mystics. Combining the gorgeous and ethereal voice with the image of Joan’s struggle makes the film a more harrowing experience.

‘The Innocents’ (1961)

Any time young English children sing in a movie, you know the situation is about to become horrendous. This is particularly true in this underrated film adaptation of Henry James’ “The Turn of the Screw.” “The Innocents” transforms a simple children’s song into the movie’s sonic theme.The film opens with a lone child’s voice singing “O Willow Waly,” written by Georges Auric and Paul Dehn for the film. A charming –; albeit incredibly eerie –; children’s song, until you pay attention to the lyrics: “We lay my love and I beneath the weeping willow./A broken heart have I. Oh willow I die, oh willow I die.” The melody keeps popping up throughout the film and, by the end, takes on the most sinister of connotations.

‘It’s the Great Pumpkin, Charlie Brown’ (1966)

Jazz was still looking for mainstream acceptance when Vince Guaraldi broke through with his compositions for the classic, “A Charlie Brown Christmas,” in 1965. He stayed in that lane for the next year’s follow-up, adding “The Great Pumpkin Waltz” to his oeuvre of standards.

The song has that great jazz shuffle and some of Guaraldi’s nimblest piano work, incorporating some autumnal melancholy with the woodwind instruments.

A perfect encapsulation of the season in less than three minutes.

‘The Omen’ (1976)

This Richard Donner classic is responsible for what must surely be one of the strangest songs to ever receive an Academy Award nomination for “Best Original Song.” That song –; “Ave Satani” –; is perhaps the most terrifying use of Gregorian chant you’re ever likely to hear, particularly with the tinkling keys and booming horns behind it.

Composer Jerry Goldsmith actually crafted the song to be the inverse (or anti, if you will) of a typical Catholic Latin Mass. To wit, all references to Christ are replaced with Satan. As someone who has always found Gregorian chant to be a bit creepy, this song expounds that fear to the breaking point.

‘The Shining’ (1980)

The score to Stanley Kubrick’s horror mainstay, by Wendy Carlos and Rachel Elkind, doesn’t need any help to raise your hackles. Those vocal trills and tuba theme do more than enough to make the hair stand up on the back of your neck. And yet, I’ve always found the inclusion of Al Bowlly’s early jazz standard, “Midnight, the Stars and You,” to be the most ingenious musical touch.

The song is the only reprieve from the aforementioned score. But this lovely, romantic tune soundtracks the moment when Jack Nicholson’s Jack Torrance decides his wife and son need some “correcting.” The far off, echo-y tone gives the song a haunting quality and firmly cements the notion Jack’s mind is finally gone.

That a swing-era jazz tune can create such uneasiness in the midst of an already intense film is nothing short of remarkable and shows just what power music has in the cinematic world.

Clarke Reader’s column on how music connects to our lives appears every other week. A community editor with Colorado Community Media, he will be listening to “Monster Mash” for another two weeks. Check out his music blog at calmacil20.blogspot.com. And let him know some of your favorite scary soundtracks at creader@coloradocommunitymedia.com.