{"id":29337,"date":"2023-06-27T09:45:52","date_gmt":"2023-06-27T07:45:52","guid":{"rendered":"http:\/\/jameshorner-filmmusic.com\/rescued-from-oblivion-deadly-blessing\/"},"modified":"2023-06-27T09:53:28","modified_gmt":"2023-06-27T07:53:28","slug":"rescued-from-oblivion-deadly-blessing","status":"publish","type":"post","link":"https:\/\/jameshorner-filmmusic.com\/fr\/rescued-from-oblivion-deadly-blessing\/","title":{"rendered":"DEADLY BLESSING SORT ENFIN DU SILENCE\u00a0!"},"content":{"rendered":"

\n\tIntrada nous fait la surprise de sortir une partition inédite jusqu’ici, celle de DEADLY BLESSING (LA FERME DE LA TERREUR en Vf), film de Wes Craven de 1981 mis en musique par James Horner six mois après avoir enregistré The Hand (LA MAIN DU CAUCHEMAR) pour Oliver Stone.<\/span>\n<\/p>\n

\n\tLoin des futurs succès du réalisateur que seront A NIGHTMARE ON ELM STREET (Les griffes de la nuit) et bien sûr SCREAM (idem) et ses suites, Deadly Blessing marque la première apparition à l’écran de Sharon Stone dans un rôle parlant. La future star de Basic Instinct (id.) interprète le rôle de Lana Marcus, l’amie d’une jeune veuve qui a perdu son époux dans de mystérieuses circonstances. Elle devient témoin d’évènements mystérieux avant de soupçonner les voisins, la plupart d’entre eux étant issus d’une communauté atypique, les Hittites, qui refusent toute modernité, y voyant la manifestation du démon.<\/span>\n<\/p>\n

\n\tAvec ce film, la production espère surfer sur le succès de films d’horreur encore frais dans les mémoires tels que THE EXORCIST (L’EXORCISTE) et THE OMEN (LA MALÉDICTION). Elle se tourne vers le réalisateur de THE LAST HOUSE ON THE LEFT (la dernière maison sur la gauche) sorti en 1972 et qui fit grand bruit car jugé effrayant et horrible. Hélas, DEADLY BLESSING s’avère un film de transition dans la carrière de Craven, qui finira par rencontrer le succès quelques années plus tard avec son croque-mitaine fétiche, Freddy Krueger.<\/span>\n<\/p>\n

\n\tSi la production de Deadly Blessing souhaite une musique à la Jerry Goldsmith, elle n’a pas les moyens de l’embaucher. Aussi quand James Horner commence à travailler sur le film, il ne peut que constater la passion que vouent les producteurs à la partition Oscarisée de son aîné : THE OMEN. La marge de manoeuvre est réduite et James Horner se voit obligé de répondre à la demande des producteurs. Pour cela il rassemble un orchestre de 73 musiciens (dont 38 cordes) et 24 choristes. Si la musique du film fait effectivement écho à celle de The Omen, elle ne reste pas moins entièrement marquée du sceau du compositeur alors âgé de 27 ans. Certes, il y a des chants en latin pour évoquer un hymne satanique (« Morte » remplaçant les « Ave Satani » avec la même fonction annonciatrice), recourant à la texture grave du chœur mixte et ornementant le tout à la Stravinsky. Pour autant, la musique de James Horner ne peut se résumer à cet aspect, le compositeur n’hésitant pas à recourir à des morceaux atonaux et dissonants mais sans jamais négliger le lyrisme qui lui est propre, notamment avec les nombreux passages à la flûte qui ponctuent la partition.<\/span>\n<\/p>\n

\n\tLe film sortit le 14 août 1981, jour du 28ème<\/sup> anniversaire du compositeur. Le film ne reçut pas une bonne presse et le succès ne fut pas au rendez-vous, aussi James Horner préféra tourner la page. Il eut beau préparer une sélection d’une trentaine de minutes de sa musique, il fit le choix de reléguer une éventuelle sortie commerciale et celle-ci finit sur les étagères jusqu’à ce que onze pistes issues de la partition réapparaissent mystérieusement au milieu des années 90 sur un enregistrement pirate rapidement épuisé.<\/span>\n<\/p>\n

\n\tIntrada propose aujourd’hui l’intégralité de la partition de DEADLY BLESSING enregistrée sur trois jours fin avril 1981 au CBS Radford à Studio City (le futur Todd-AO Scoring Stage). La musique est répartie sur 21 morceaux. Sont également incluses les versions alternatives de deux morceaux, une piste de travail sur laquelle on entend des percussions qui seront utilisées pour la musique de la scène du serpent dans le bain et, en 25ème<\/sup> position, la musique de la bande-annonce du film composée par l’illustre John Beal. L’album a été produit, édité et masterisé par Douglass Fake, qui a pu avoir accès aux dernières bandes stéréo ayant survécu. Si l’outrage du temps peut se faire entendre ici ou là, elles sont complètes, y compris avec les pistes séparées utilisées pour certains morceaux complexes. Le texte de Tim Grieving est impeccable.<\/span>\n<\/p>\n

\n\tDEADLY BLESSING, avec ses effets orchestraux et choraux, ce mélange de beauté capable de muter en horreur en quelques mesures, annonce d’autres partitions de James Horner, notamment SOMETHING WICKED THIS WAY COMES en 1983. Les passages de tension aux cordes font penser aux moments de suspense de STAR TREK II : THE WARTH OF KAHN (Star Trek II : la colère de Kahn) qui sortira en 1982. On peut également citer cet effet instrumental qui évoque un glissando de mouette et que l’on retrouvera dans le final de 48 HRS. (48 HEURES) également en 1982. Découvrir la musique romantique de DEADLY BLESSING notamment exposée au début du CD, évoque la quiétude pastorale de THE SPITFIRE GRILL (La seconde chance) ou celle de DEEP IMPACT (Id.). Il est de plus en plus rare de pouvoir découvrir une partition inédite du Maestro. Même si le film est aujourd’hui oublié, cette édition remarquable de DEADLY BLESSING revêt ses plus beaux atours et vient rappeler combien la cohésion de l’œuvre de James Horner reste un de ses plus beaux atouts. Bravo Intrada !<\/span>\n<\/p>\n

\n\t\"\"\n<\/p>\n

\n\tTRACK LIST:
\n\t01. Main Title (From Deadly Blessing) (2:23)
\n\t02. Incubus Painted On Wall (1:08)
\n\t03. Martha And Jim (1:57)
\n\t04. Unwelcome Visitor (2:03)
\n\t05. Jim’s Death With Tractor (3:19)
\n\t06. Brief Funeral (1:12)
\n\t07. Kids In The Barn\/Pluck It Out (2:29)
\n\t08. Gluntz’s Demise (5:06)
\n\t09. This Century Is More Peaceful (1:12)
\n\t10. Lana In The Barn (4:37)
\n\t11. Gluntz Hangs Around (1:14)
\n\t12. Snake In The Bath (Original) (4:45)
\n\t13. John Gets A Licking (1:06)
\n\t14. Lana’s Dream (1:05)
\n\t15. Wind Blows In Martha’s Room (0:47)
\n\t16. Trouble In The Convertible (1:59) 
\n\t17. Sour Milk (0:40)
\n\t18. Surprise In The Grave (4:12)
\n\t19. Martha And Faith Wrestle (2:02)
\n\t20. Faith Leaps Out (4:10)
\n\t21. The Incubus Rises And End Credits
\n\t      (From Deadly Blessing) (4:16)
\n\tTotal Score Time: 52:28<\/span>\n<\/p>\n

\n\tThe Extras
\n\t22. Snake Stinger (0:11)
\n\t23. Snake In The Bath (Revised) (4:22)
\n\t24. End Credits (From Deadly Blessing)
\n\t      – Alternate (1:44)
\n\t25. Deadly Blessing – Trailer (John Beal) (2:17)
\n\tTotal Extras Time: 8:42
\n\tTotal CD Time: 61:19<\/span>\n<\/p>\n

\n\tACHETER DEADLY BLESSING<\/strong><\/a><\/span>\n<\/div>\n
\n\t\"\"<\/a><\/span>\n<\/div>\n
\n\tRemerciements à Roger Feigelson<\/span>\n<\/div>\n
\n\t\"\"<\/a>  <\/span>\n<\/div>\n
\n\t \n<\/div>\n
\n\tSince you are here, know that our association James Horner Film Music is currenly deeply involved in four important projects created in collaboration with the composer's estate:<\/span>\n<\/div>\n
\n\tThe writing and publication of the definitve biography on the composer and his career<\/span>\n<\/div>\n
\n\tThe production of a documentary with brand new and exclusive footage<\/span>\n<\/div>\n
\n\tThe creation of a CD album with unpublished works<\/span>\n<\/div>\n
\n\tThe planning and organisation of a series of concerts<\/span>\n<\/div>\n
\n\tBut we won't be able to accomplish these projects without you. Help us preserve and promote the legacy and life of James Horner. Join our adventurous journey today on our Patreon page<\/a>.<\/span>\n<\/div>\n
\n\tThank you!<\/span>\n<\/div>\n
\n\t \n<\/div>\n
\n\t\"\"<\/a>\n<\/div>\n
\n\t \n<\/div>\n
\n
\n\t\t\"\"<\/a><\/span>\n\t<\/div>\n
\n
\n\t\t\t\"\"<\/a><\/span>\n\t\t<\/div>\n<\/p><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Intrada nous fait la surprise de sortir une partition inédite jusqu’ici, celle de DEADLY BLESSING (LA FERME DE LA TERREUR 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