Denny Jaeger - The Hunger: Original Motion Picture Soundtrack
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Music CD Cover
Artist: Denny JaegerComposer: Michel Rubini
Composer: Michel Rubini
Edition: Music CD
Audio: English (Original Language); Polish (Original Language)
Format: Soundtrack
CD Release Date: 1990-10-25
Music Label: Varese Sarabande
Soundtracks:
- Trio in E-Flat, Op. 100 [Excerpt]
- Beach House
- Suite #1 for Solo Cello in G-Major, Prelidium (Excerpt, First Moveme)
- Waiting Room/Flashbacks
- Sarah's Panic
- Arisen
- Partita No. 3 in E-Major, Gavotte en Rondeau [Excerpt]
- Lakme [Excerpt]
- Sarah's Transformation
- Final Death
- Trio in E-Flat, Op. 100 [Excerpt]
Free Music Notes for The Hunger: Original Motion Picture Soundtrack
Free Music Review: The Film in Sound
Hit: 5 Stars
I do not buy soundtracks, and this is of course the exception. Although as might be gathered from the rather mixed reviews below, something would appear to be amiss. In truth, I think this should more be thought of as an aural version of the film itself, than as a faithful soundtrack of the music in the film.
This soundtrack accompanies one of the most sumptuous and gorgeous vampire movies ever made, based on a book by Whitley Streiber (who went on to start the "Communion" phenomenon), and with the only lapse of judgement in the awful movie poster reproduced for the cover of this disc. In general, the movie very elegantly and adeptly juxtaposes calm elegance and brutal violence, and that's exactly what the soundtrack does as well, switching alternately from some of the most beautiful, austere and lush classical music to viciously jagged orchestral/electronic music.
There is indeed music in the film not included on this disc, most obviously Bauhaus' "Bela Lugosi's Dead" (which kicks the movie off in an amazing way), and the exquisitely moving middle movement of Ravel's piano trilogy, Gaspard de la Nuit, otherwise known as Le Gibet, or the Gallows. And in fact, the disc itself opens and closes on excerpted versions of Schubert's Trio in E-Flat, Opus 100, where the first excerpt is not even in the movie if memory serves, or certainly at least not at the beginning of the movie, where it is on the disc. For those those familiar with the Schubert trio, you may note how the performers have actually deleted a couple of measures from the original piece. Also (and this is telling) it's worth noting that there is a piece by Rubini and Jaeger on the soundtrack that is not in the movie, though none of the other reviewers mention this. (The Rubini/Jaeger pieces probably read as "noise" or "sound effects" in the movie, and so don't register as parts of the soundtrack per se. I know I didn't think of them as such) So it should be clear that this is music that has been very much adapted to a good cause in the movie (as well as in the soundtrack), and not something purely faithful to the whole of the music itself.
I bought this album originally, long ago, because the Schubert excerpt is one of the most beautiful and affecting bits of music I have ever heard. I didn't know there would be vicious orchestral/electronic music, some of the first I ever heard, even, and very legitimately modern. What I bought instead of a soundtrack was an experience, and one that might well have earned some kind of Classical Record of the Year Award, if pastiche had a category. And this is how I've continued to listen to it over the years, with the violent contrasts of beauty and "ugliness" (though Jaeger and Rubini's score is, of course, beautiful in its own monstrous way) being crucial to the whole experience.
It's tantalizing to point out that there are a number of threes in this disc--a trio, Ravel's trilogy, Bach's partita #3. The numerology isn't perfectly intact (the Lakme duet, as a seduction, is not a menage a trois), but indeed, it is a trio of characters who form the centerpiece of this film. And ultimately, while the film itself tracks from hunting and murder (accompanied by Bauhaus) to Schubert at the end, for the soundtrack, opening and closing on the same piece (the second excerpt is longer and contains slightly more material) makes for an extremely satisfying musical journey in itself.
I suspect that it was licensing that prevented (and probably will always prevent?) "Bela Lugosi's Dead" from ever appearing on the soundtrack, and it can indeed be one of the most sorely felt absences of the soundtrack, but I think the film's makers turned that lemon into lemonade, and crafted a genuinely compelling piece of artistry itself. Yes, not having Bauhaus and Le Gibet /does/ feel like a loss on this disc, but aside from the fact that the "logic" of the disc itself usually wins me over to it anyway, the movie is also very much about loss, and that which becomes absent. I doubt it was deliberate, but the emotional "pull" of not hearing pieces that you remember from the film very deftly reprises a central theme in the film, and makes this soundtrack work even more effectively.
Ultimately, this is a very artistically assembled piece of work. Yes, the modern pieces are as antithetical to the classical pieces as can be--old/modern, graceful/harsh, even beautiful/ugly, these are all things that the movie plays up centrally, and which the soundtrack very, very faithfully captures. And that may mean this disc is not for those who want only one half of the dyad. I say this as a very real caution for those thinking this is lovely classical music all the way through--it's not even whole pieces, and even the excerpts are edited, but even that--how appropriate for a film about decay and vampires.
Like Anne Rice's "Interview with a Vampire," I suspect that this disc has the same kind of "vampiric" power of seduction her book did. One of my all-time favorite classical albums.
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