Terror with a certain drama and tenderness
Joseph Bishara The Prodigy
Rating: (3 / 5)
Sony Classical Published on: 08/02/2019
TT: 42:41
If there is a name, lately, very closely related with horror film music it has to be Joseph Bishara. Since his relationship with James Wan horror developed, his name has been very closely united with most of the titles released by Blumhouse Pictures. That is nothing to scoff at; we are talking about the very distinctive sound of “Insidious” series, “The Conjuring” universe among some others like “The Other Side of the Door”, “The Vatican Tapes” or “The Worthy”. One thing I am sure of is that the man knows his horror.
In addition, although his style is not my cup of tea, is very easy to realize that his music has been developing and incorporating much more elements than just being a pure atonal horror ambient sound. Bishara has been incorporating, little by little, many drama elements that give his music much more depth. And with it, certain elements that help to be able to enjoy his music apart from picture. I am not implying this score is a joy to listen to. Nicholas McCarthy’s “The Prodigy”, while perhaps not something to wholeheartedly recommend on its own merits as music to listen to, is an effective score for the film featuring some recognizable themes that tie into the characters actions on screen. Like it or not, Bishara’s 70’s influenced horror scores tend to give us that very uncomfortable feeling.
The biggest issue here, as with similar scores, is that in the confines of the film, these soundtracks work very well. They enhance the scenes without the audience even being aware. But other than that, the soundtrack is largely a bit on the ambient side with tracks blurring easily into one another and few of them really sticking in the memory. Even we can find his very well-known shrieking burst of orchestral chaos that made us jump on the “Insidious” scores in cues like “glass fragments” or “took my hand”. With the high-pitched strings making themselves known, heightening and heightening the tension. Thus, setting the tone for the rest of the score, with a sense of dread that rarely leaves us as it progresses.
Similar to his previous work, this is not a score you will be humming after listening to it. Except that, he has composed a, kind of, nursery rhyme that becomes part of the score. Even with characters humming it during the film. That theme becomes a tender part (and heart) of the music. Stating it since its beginning in “Journey of Trust”, and later woven throughout every other scene in the film. One thing the music clearly avoids is not to lead you into a false sense of safety. Tension is already there since its first second, but the ambient and drone do not bash you over the head enough to make you aware of it. That nursery melody that becomes the main theme of the score, slowly evolves as we delve deeper into the despair of the characters involved. Giving a much mature and developed feeling after listening to the score.
We just have to pay attention to a cue like “The Prodigy”, which returns to a sense of calmness after some minutes of tension. A piece of music that plays, probably, for the mother, indicating us that she still sees some good within her son. With the soft piano (though the occasional quick key) continues until the end, where we understand that this is not going to end pleasantly. There are many examples like that, in which Bishara tries to bring us back down after a terrifying sequence. With music leaned heavily on the strings to bring us out of any comfortable state we were previously in. He builds the level of apprehension expertly, releasing it when necessary, but never letting it be forgotten. Adding to the tension is a dark orchestral scoring with horns and clarinet that help add to the tension when required.
A mature score from a composer who knew he did not require to use the short sharp bursts of music to scare the listener. He has selected the perfectly dark town to threaten and make us aware of the impending doom coming for these characters. Bishara could had just rehashed one of his previous scores, but he has adapted and evolved to produce a haunting score that sets it a bit apart from his previous work.
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