Randall D. Larson: Music from the House of Hammer: Music in the Hammer Horror Films, 1950–1980
464 THE JOURNAL OF FILM MUSIC Randall D. Larson: Music from the House of Hammer: Music in the Hammer Horror Films, 1950–1980. London: Scarecrow Press, Inc., 1996 [xvi, 193 p. ISBN: 0810829754. $38.00] Illustrations, bibliography, filmography, discography, index. rebecca fÜLÖP rguably responsible for CineFan, and Fantasy magazines, The book begins with an reinventing the horror film Larson currently writes articles introduction by Hammer’s most Agenre as well as British for cinescape.com.2 While much prolific and influential composer, cinema in the late 1950s with films of his work has focused on Robert James Bernard, whose humble such as The Curse of Frankenstein, Bloch (the author of the novel on account of his own career and The Mummy, and The Horror of which Psycho was based), Larson concise explanation of how a film Dracula, Hammer Film Studies is also keenly interested in the is scored serves as an admirable carries a curiously paradoxical intersection of music and horror, introduction. Bernard’s perhaps distinction: although its films as evidenced not only by Music from overly generous pronouncement of were deplored by the majority of the House of Hammer but also by his Larson’s “profounder knowledge critics when they were releases earlier book, Musique Fantastique: and expertise” (p. xiii) does and even today are often dismissed A Survey of Film Music in the Fantastic a disservice to what follows, as B-movies, Hammer has been Cinema. however, as Larson’s broadly credited with ‘usher[ing] out the Music from the House of Hammer, based survey of the music from trashy garbage of the fifties and written for Scarecrow Press’s the Hammer horror films rarely [lending] a legitimacy to horror.”1 Filmmakers series, seems to have attempts to be profound.
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