The soundtrack starts in a rather unusual way: with a carnival tune. Nothing like this was in the 1963 film (with the possible exception of the score for Eleanor's introduction), and I don't remember a carnival being in the book, either. Just another indication that David Self has taken The Haunting, and us, in a new direction. "The Carousel," track one, is not an entirely happy tune, however. It has an underlying aggressiveness that renders it uncomfortable; I was reminded of Richard Bellis's score for It. And that track isn't the only one that recalls other horror films--track two, "Terror in Bed," is a vast improvement on the frightening, driving score of The Entity (not one of the better horror films, but I digress). Furthermore, at various points in the score, there is a spectral whisper that reminded me of Nicholas Pike's score for the miniseries The Shining and, more recently, of John Williams' theme for Darth Maul in the Phantom Menace soundtrack.

But none of this is to state that the Haunting soundtrack is derivative. I'm merely saying that it fits quite well into the horror score pantheon, but that it also is strikingly different from many other horror scores. Yes, at times, the score will raise the hair on the back of your neck (it certainly did with mine). Certainly--this score has the frightening qualities it needs, and it has them in spades. However, Goldsmith has also interwoven the film's requisite menacing themes with tunes of innocence and, at times, even sweeping sadness. If the film is half as good as the music that accompanies it, it will be fantastic. [11/08/00 note: The score wasn't half as good as the film; it was twice as good.] (Jul 20, 1999/Nov 8, 2000)