The Car (1977) and The Shining (1980) Intro Music

[Thomas T. Jensen]

Funny thing is that the intro music to The Car (1977) by Elliot Silverstein
is the same as to The Shining (1980).
The music compartment was in the hands of Leonard Rosenman, who was
responsible for "Barry Lyndon" (1975), but in The Shining the music
compartment was in the hands of Wendy Carlos.
In both the intro music was an elaboration of "Symphonie Fantastique" by
Berlioz.
Coincidence?????

[kelpzoidzl]

Probably no coincidence. Curious.

The Car looks smashing. so I put it in my Netflix que.

There was something I saw recently that used the Theme.....but can't
remember. I think it was a recent trailer.

dc

[kelpzoidzl]

On Jan 19, 4:50 pm, "Thomas T. Jensen" <pict...@mail.dk> wrote:

I found a fellow on a review site writing this:

"What I find interesting is the theme to the movie “The Shining” by
Wendy Carlos. The score itself was based on Hector Berlioz’ Dies
Iraeand Symphonie Fantastique, Op. 14: Ronde du Sabbat. Its funny
because Die Irae is a Latin hymn that deals with the Day of Judgment
and the trumpet summoning the souls from God to deliver the good to
the gates of Heaven the bad to eternal flame. Essentially, in “The
Shining” it is exactly that, the conflict between good and evil which
is Danny and Jack Torrence. And in the end, Danny and his mom leave
the hotel and Jack becomes part of the inferno.

The fifth movement of the Symphonie Fantastique deals with a gathering
of hideous monsters and sorcerers who have come together for the
characters funeral. I guess in a way, the Overlook Hotel is this
gather of monsters, demons and witches......."

http://community.fearnet.com/_Soundtracks-The-Shining-1980/blog/417652/40602.html

dc

[Bill Reid]

The music in "The Shining" is indeed an ancient hymn "Dies Irae"
("Day of Wrath") about the Apocalyptic "judgement day". Is it
"coincidental" that it appeared in "The Shining"? Not really,
because
as I posted here years ago WALTER (pre-Wendy) Carlos used
"Dies Irae" as the basis for "his" proposed theme for "A Clockwork
Orange", mixed with synthesized clock-ticking effects and
Beethoven and Rossini cues. Kubrick rejected it, but it wound
up on an album I own called "Walter Carlos' Clockwork Orange"
which contained all the music he created for the movie that
wasn't used (such as his synthesized version of the "William
Tell" overture).

So it's not THAT surprising that he resurrected the
underlying theme for "The Shining"; never throw anything
away, right?

---
William Ernest Reid