In the Mouth of Madness (1995)
The arcane and esoteric works of author H P Lovecraft have often inspired horror directors. Sadly many of the films that have been made in homage to the Cthulhu Mythos have failed to capture its nightmarish mix of madness and mythology. John Carpenter's In the Mouth of Madness is not directly based on any of Lovecraft's specific works but screenwriter Michael De Luca draws his inspiration from many of this recurring ideas and concepts. He then adds a further homage to British writer Nigel Kneale, adding themes that are prevalent in his Quatermass series. Where others have failed, Carpenter successfully crafts a film that alludes to the baroque and eldritch qualities of the Cthulhu Mythos.
Classic Movie Themes: Halloween
Halloween (1978) is both a genre and cinematic milestone. It made stars of Jamie Lee Curtis and director John Carpenter as well as kickstarting the slasher genre that dominated the box office for the next 15 years. Unlike many of the inferior imitations that followed in its wake, Halloween is not a gorefest but a far more suspenseful and unsettling film. It’s shocks and sinister atmosphere are the result of sumptuous panavision cinematography by Dean Cundey and inventive editing by Tommy Wallace and Charles Bornstein. Another invaluable asset to the film’s effectiveness is John Carpenter minimalistic synth and piano score which perfectly embellishes the film with an air of menace. After 33 years and various re-arrangements in subsequent sequels, the original Halloween Theme is still as effective today as it was when the film was first released.
Classic Movie Themes: Assault on Precinct 13
Assault on Precinct 13 was John Carpenter's second feature film. The movies score was composed and recorded by Carpenter himself on a synthesizer over a period of three days. It features a minimalist style comprising of just four distinct music cues, which are used sparingly throughout the movie. The pulsating beats and elongated eerie notes combine with a mournful main melody. This lean, pared back approach suits the narrative perfectly and reflects the tonal trend of cinema at the time. There are hints of Morricone (who Carpenter later worked with on The Thing) and Lalo Schifrin in the soundtrack.