Wendy Carlos & Rachel Elkind - The Shining: Main Titles (The Shining: Complete Motion Picture Score By Wendy Carlos)
This track is Carlos’ synthesized adaptation of Hector Berlioz’s interpretation of the medieval Latin funeral dirge Dies Irae (“Day of Wrath”) for his Symphonie Fantastique.
Martha Mattox in The Cat and the Canary (1927, dir. Paul Leni)
“I have tried to create sets so stylized that they evince no reality…It is not extreme reality that the camera perceives, but the reality of the inner event, which is more profound, effective and moving than what we see through everyday eyes.”
-Paul Leni, Kinematograph (1924)
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Takashi Shimura as Watanabe, the bureaucrat doomed to die from cancer, in Ikiru (1952, dir. Akira Kurosawa)
“Occasionally I think of my death … then I think, how could I ever bear to take a final breath; while living a life like this, how could I leave it? There is, I feel, so much more for me to do — I keep feeling I have lived so little yet. Then I become thoughtful, but not sad. It was from such a feeling that Ikiru arose.”
-Kurosawa, quoted in Akira Kurosawa: Interviews
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Alida Valli as Maddalena Paradine, the accused murderess in The Paradine Case (1947, dir. Alfred Hitchcock)
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Jerry Goldsmith - The Omen: Suite For Choir And Orchestra
Rooftop view of the filming of Dr. Jekyll & Mr. Hyde (1931, dir. Rouben Mamoulian) & art director Hans Dreier’s studio recreation of the gas-lit streets of Victorian London.
Photo by Gordon Head
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Fredric March in production still from Dr. Jekyll & Mr. Hyde (1931, dir. Rouben Mamoulian)
Photo by Gordon Head.
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2001: A Space Odyssey (1968, dir. Stanley Kubrick)
Gyorgy Ligeti - Lux Aeterna, for a cappella chorus (16 voices)
2001: A Space Odyssey: Original Motion Picture Soundtrack
Dorothy Tree, Geraldine Dvorak, & Cornelia Thaw as Dracula’s brides in Dracula (1931, Tod Browning) (via)
“I was not alone.
In the moonlight opposite me were three young women, ladies by their dress and manner. I thought at the time that I must be dreaming, for though the moonlight was behind them, they threw no shadow on the floor.
They came close to me and looked at me for some time and then whispered together. All three had brilliant white teeth that shone like pearls against the ruby of their voluptuous lips. There was something about them that made me uneasy, some longing and at the same time some deadly fear. I felt in my heart a wicked, burning desire that they would kiss me with those red lips.
They whispered together, and then they all three laughed, such a silvery, musical laugh, but as hard as though the sound never could have come through the softness of human lips. It was like the intolerable, tingling sweetness of waterglasses when played on by a cunning hand. The fair girl shook her head coquettishly, and the other two urged her on.
One said: “Go on! You are first, and we shall follow; yours is the right to begin.”
The other added: “He is young and strong; there are kisses for us all.”
-Bram Stoker, Dracula (1897)
Kronos Quartet - Dr. Van Helsing & Dracula (composed by Philip Glass, from Philip Glass: Dracula, his score for 1931’s Dracula)
The Fall of the House of Usher (1928, dir. James Sibley Watson and Melville Webber)
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Lalo Schifrin - Danube Incident
Originally composed for the 1960s-70s Mission: Impossible TV series, but probably best known for being sampled in Portishead’s Sour Times
Ricardo Cortez in production still from D.W. Griffith’s Faustian tale The Sorrows of Satan (1926), which was based on Marie Corelli’s 1895 novel (via)
Marlene Dietrich in The Scarlet Empress (1934, dir. Josef von Sternberg)
