After a bit of a hiatus, Mr. Tim Ferrante, audiophile and monsterologist extraordinaire, is back with a "new" batch of soundtrack reviews. Tim has graciously offered MONSTER MAGAZINE WORLD the opportunity to reprint his movie score reviews that have appeared previously in THE PHANTOM OF THE MOVIES' VIDEOSCOPE magazine. Thanks, and welcome back, Tim!
(This review originally appeared in The Phantom of the Movies’ VideoScope magazine.)
SHE DEMONS / THE ASTOUNDING SHE-MONSTER (1958/1957) Music
composed by Nicholas Carras/Guenther (Gene) Kauer. 53 tracks, 58 mins.
Monstrous Movie Music MMM-1971
$19.95
Since 1996 the Monstrous
Movie Music label has preserved compositions for some of the least acknowledged
film music composers. In keeping with its self-imposed mission is its recent
double-feature soundtrack: Nicholas Carras’ She Demons and Guenther Kauer’s The Astounding She-Monster. She
Demons was co-written and directed by Richard Cunha, a filmmaker whose 1958
release slate included three other small budget thrillers for Astor Pictures.
It’s widely agreed that the Carras touch was a prominent reason the film is
viewable at all – aside from Irish McCalla’s very blonde presence. The composer
kept audiences interested with a rousing and rhythmic main title loaded with
jungle drum beats and jazzy brass. As David Schecter writes in the CD’s 20 page
booklet, “(it) provides more excitement than you will find in every scene of
the movie put together.” The cue surfaces again in a modified form during an
exotic dance of the grass-skirted girl gaggle of She Demons. It’s
unquestionably a standout amongst Carras’ expertly handled suspense, shock and
mysterioso treatments. Contrasting his tropical horror sounds is Guenther
Kauer’s striking approach to The
Astounding She-Monster, a 62 minute must-see gem written, produced and
directed by Ronald Ashcroft and featuring Kenne Duncan, both Ed Wood alums.
Again referencing Schecter’s invaluable booklet, Kauer’s $2500 fee was largely
spent overseas. He enlisted associates in Germany to contract an orchestra
and have his music performed and recorded there. Thanks to a favorable currency
exchange rate, Kauer’s score is interpreted by a whopping 45 musicians who
provide a bursting performance of the composer’s edgy and plucking trumpet
blast warnings for the film’s curvaceous outer space invader. She-Monster’s score is far too
sophisticated for such a film; remarkably being recorded without the
availability of the movie for which it would accompany. Many of its scenes were
shot without sync sound, leaving Kauer to provide the sensory jolts which might
explain why he wrote 33 minutes of music. It’s unlike anything you’ve
experienced, an observation that also applies to the movie itself. Although,
it’s his hair-raising main title for The
Cape Canaveral Monsters (1960) that has forever been this reviewer’s all-time
fave composition. Perhaps it will one day appear on the Monstrous Movie Music
release roster. That would be…astounding.
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