If director Robert Zemeckis took just a couple of cues from suspense master Alfred Hitchcock in formulating this highly effective ghost story, composer Alan Silvestri wisely followed suit, conjuring an edgy, dramatic score... more » that's reminiscent of longtime Hitchcock collaborator Bernard Herrmann. The composer quickly sets the tone with a brief main title that's at once romantic and chilling, musically foreshadowing events with masterly restraint. Though perhaps not as grandly melodramatic or musically daring as Herrmann (few have been), he's created a score that, like the film, finds much of its dramatic power through the use of space and subtle shading. Like his predecessor, Silvestri is less interested here in memorable melody or shocking effects, instead using the power of shifting orchestral colors (tellingly, Silvestri also orchestrated here, an increasing rarity on modern film scores) and elegantly simple, repetitive motifs to build a brooding, mature atmosphere of suspense and danger. It may be music for a dark and rainy night, but fans of the horror soundtrack should find it a delicate, macabre delight. --Jerry McCulley« less
If director Robert Zemeckis took just a couple of cues from suspense master Alfred Hitchcock in formulating this highly effective ghost story, composer Alan Silvestri wisely followed suit, conjuring an edgy, dramatic score that's reminiscent of longtime Hitchcock collaborator Bernard Herrmann. The composer quickly sets the tone with a brief main title that's at once romantic and chilling, musically foreshadowing events with masterly restraint. Though perhaps not as grandly melodramatic or musically daring as Herrmann (few have been), he's created a score that, like the film, finds much of its dramatic power through the use of space and subtle shading. Like his predecessor, Silvestri is less interested here in memorable melody or shocking effects, instead using the power of shifting orchestral colors (tellingly, Silvestri also orchestrated here, an increasing rarity on modern film scores) and elegantly simple, repetitive motifs to build a brooding, mature atmosphere of suspense and danger. It may be music for a dark and rainy night, but fans of the horror soundtrack should find it a delicate, macabre delight. --Jerry McCulley
"Silvestri matches Bernard Herrmann on this score"
J. Lovins | Missouri-USA | 08/05/2000
(5 out of 5 stars)
"Varese Sarabande presents a very scary, haunting and disturbing score from Alan Silvestri - "WHAT LIES BENEATH", with fantastic orchestration by the composer himself. Silvestri who gave us such film music - "THE AMAZING DOBERMANS" (1976) - "ROMANCING THE STONE" (1984) - "BACK TO THE FUTURE" (1985) - "PREATOR" (1987) - "WHO FRAMED ROGER RABBITT" (1988) - "THE ABYSS" (1989) - "TALES FROM THE CRYPT" (1989) - FATHER OF THE BRIDE" (1991) - "THE BODYGUARD" (1992) - "GRUMPY OLD MEN" (1993) - "JUDGE DREDD" (1995) Silvestri's writing style is completely versatile.Some stand outs - "FORBIDDEN FRUIT" (5:33) track five - "THE GETAWAY" (2:44) track seven - "REUNITED" (3:53) track eight - "END CREDITS" (6:33) track nine, all of which give off this feeling of suspense, erie and horror - all at the same time, very effective. Only a few composers could create that effect, Bernard Herrmann immediately comes to mind. Several tracks on the album have a slight touch of Herrmann's "Psycho", who could forget that one!Recommend to any listener who loves to be "scared", believe this album fits the bill - "WHAT LIES BENEATH" - so turn out the lights, you won't be disappointed, or will you!Total Time: 29:58 on 9 Tracks/ Varese Sarabande - 302 066 172 2 (2000)"
What Lies Beneath is a thiller, along with movie.
Jamie Sanderson | Georgetown, S.C. USA | 07/30/2000
(4 out of 5 stars)
"This soundtrack that accompanies the movie "What Lies Beneath" is not overdone, and adds to the mystic nature of the film.The music takes you in, holds you and never lets go.So good, in fact, I bought another for the family."
One of Silvestri's Best
Brian Mark | Cambridge, MA USA | 08/01/2000
(5 out of 5 stars)
"Film Composer Alan Silvestri (Forrest Gump, Back to the Future) has successfully portrayed the spiritual dimensions of the other side in the score to "What Lies Beneath". Silvestri is mostly known for action and dramatic scores, yet with this successful motion picture thriller, Silvestri is at his best composing dark suspenseful music to such a film. The "Main Title" track is beatifully crafted in melody and orchestration, as evident due to the role of the woodwinds. The track "Ouiji Board" is also beautifully written, since it is dark, slow, and pianisimo from the beginning. These sample views of his tracks are just a small replica of the whole score, which is definetly worth the time. The Hollywood Industry is making a comeback in horror feature films, and I believe Silvestri is contributing his heart and talent with this score. I recommend anyone interested in horror scores to purchase this CD!"
The best Silvestri score yet!
Newman | Olympia, WA United States | 12/28/2001
(5 out of 5 stars)
"I loved this soundtrack when I heard it from the film that I wanted it so badly. I received this soundtrack for Christmas and it still continues to give me shivers. I first heard the music from the film on the Zemekis/Silvestri album, and I liked it, but I didn't know what kind of a film it was. To me it just seemed like a thriller, and not a horror thriller. The film took forever to come from the library, and when I watched it, I had goosebumps the whole way, and literally screamed from some scenes. Half of what made the film so good was the soundtrack. But I just wish that they had more music, because it is extremely short. But I shouldn't complain, because before the Deluxe Edition of The Omen came out, I really enjoyed the first version. Don't waste time on buying this album, because if you like scores that make you jump, or are spine-tingling, then you'll love this soundtrack. Silvestri kind of had a bit of Bernard Herrmann spirit in him for this score."
Waaaaaaaaaay too short!!!
Varese Fan | Sunny FL | 12/19/2001
(2 out of 5 stars)
"WHAT LIES BENEATH is my favorite Alan Silvestri score, and one of my favorite scores in general. I will give the score, itself, five stars. It's the album that I have a problem with. It has waaaaaaaaay too much music missing from it. This is due to the L.A. re-use fees, and I commend Varese Sarabande for putting money into the making of this album. However, I still wish that the complete score could be available. It's good for when you have a half hour to listen to music, but if you are on a long trip or are sitting and waiting for somebody/something for an hour or more, there is not nearly enough material to keep you occupied. As short as it is, it is a good sum-up of this wonderful score.Not many people may mind the short length, given that it is one of those repetitive scores that can be summed up in 30 minutes. However, I never mind a score being repetitive. I would love to have every single note of this score some day. It would make a good Varese Sarabande Deluxe Edition, but that seems unlikely. The fees are very high, so I shouldn't hold my breath.(...) let's just get down to the score itself. It is a wonderful score. I would definitely recommend it for Alan Silvestri fans, as well as horror/suspense fans. Robert Zemeckis did what he thought Hitchcock would do in the digital age, while Alan Silvestri played the Bernard Herrmann of the new millenium. This score is very reminiscent of PSYCHO (especially "Forbidden Fruit" and the beginning of "You Know"). Herrmann fans might also notice that "The Getaway" is sort of an homage to "The Prelude" from PSYCHO. "The Getaway" is one cue that makes this album worth getting. "Reunited" is almost as good. "Ouija Board" and "You Know" are enough to give your goosebumps goosebumps. If you are not a fan of Silvestri's horror/suspense scores, but would rather go for something more emmotional, then this is perfect for you as well, as I am sure you will be moved by "Panic Attack", "I Opened The Door", and some of "End Credits".I would love to have given it five stars, but like I said, the length is just insufficient. The score itself, however, deserves an unlimited number of stars. I say, you should still get it, but don't depend on it to kill a few hours."