Poltergeist Original Motion Picture Soundtrack 2x LP GLOW IN THE DARK mondo
  $   47

 


$ 47 Sold For
Dec 17, 2013 Sold Date
Dec 10, 2013 Start Date
$   20 Start price
4   Number Of Bids
  USA Country Of Seller
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Description

Record is brand new and has never been played. THIS IS ON GLOW IN THE DARK VINYL. VERY LIMITED.

Jerry Goldsmith's soundtrack for Steven Spielberg's Poltergeist formed a significant part of the 1982 film's conceptual strength. A clause in Spielberg's contract as director of E.T. had prevented him from formally directing any other films during the life of the project, despite the concurrent filming of Poltergeist. Though Spielberg conceived and meticulously managed the film, a partnership with veteran horror director Tobe Hooper assuaged studio concerns about his heavy involvement. Goldsmith's prior success scoring The Omen trilogy further reinforced the horror credentials established by Hooper's involvement. In spite of losing to John William's score for E.T. in that year's Academy Awards, Goldsmith's brilliant work on Poltergeist was an undeniable high point in the Los Angeles-born conductor and composer's career which had already included wide acclaim for his avant-garde soundtrack to the Planet of the Apes. Known for the intensity of his thematic exposition, Goldsmith designed the Poltergeist soundtrack to elaborately ground the film between the promise of suburban repose and the malevolent unknown. Beginning in innocence with a classic rendition of the "Star-Spangled Banner," the soundtrack parallels the film's intrusion of angry ghosts into the California home of the film's protagonists with dreadful strings and eerie keys. Goldsmith then switches to airier strings and an ethereal flute to denote the family's fumbling after their daughter, Carol Anne, is abducted. Utilizing frenzied horn blasts and a sudden lapse into atonalism, the composer ominously signifies the emergence of the Beast. Goldsmith, seemingly effortless, concludes the frantic drama of "Escape from Suburbia" in stark contrast with the sweet and child-like tones of "Carol Anne's Theme," elegantly illustrating the dignity and range that his orchestral scores for horror modeled within the genre.
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