I'm afraid the general consensus was that the film was great, but that we would have preferred to see it with the original music. The sound-balance wasn't very carefully handled, meaning that the music was slightly too loud for the film the whole way through, and frequently drowned out bits of dialogue. And although it was funny and post-modern for five minutes to hear tracks like Michael Jackson's 'Thriller' while the vampires were attacking Vincent Price's house, complete with his own spooky voice-over, on the whole the joke wore thin pretty quickly. We agreed afterwards that we'd have preferred to hear the original gramophone records which he listens to during that sequence (in order to drown out the voices of the vampires calling him by name), as they probably added a lovely period atmosphere to the film which we didn't get to experience.
I'd also hoped to come away from the film with some idea of how one inserts new music into a film which already had its own original music, but without removing the dialogue. It's obviously easy to do for films from the '20s which didn't have any soundtrack in the first place, but I thought that most films with soundtracks were released with the dialogue and the music inextricably mixed together as part of the same recording, so I don't really understand how you can strip the music out while still keeping the voices. Anyway, I'm afraid I am still none the wiser on that front. All I can tell you is that the film was played from a DVD (I know, 'cos we saw the title menu at the beginning and end), and all the music we heard came from these two chaps sitting off to one side with laptops and a keyboard. Maybe this particular DVD somehow has the option of turning off the music? I don't know.
Anyway, music aside, Vincent Price was everything you would expect, and I can certainly see how the film had an influence on later zombie films like those of George A. Romero. In fact, having recently seen 28 Days Later, I could see quite a few shared topoi - e.g. general scenes of Price's character moving about in deserted urban spaces; a scene of him going into a supermarket and pushing trolleys aside to get in; and a church sign reading 'The End Has Come', which reminded me of the words 'The End Is Extremely Fucking Nigh' daubed on the wall of the church in 28 Days Later. It follows the book reasonably faithfully, but also establishes a legacy for Charlton Heston's The Omega Man in the ways that it deviates from the novel. Two things which they certainly share are a) the main character getting hunted down and killed in a rather Christ-like fashion, rather than imprisoned and committing suicide and b) the possibility of a happy ending of sorts, in that although the main character is dead, he has already passed on a proper cure for the disease to others before this happens. I haven't seen the Will Smith version, so can't comment on what happens there.
The film is set in America, and nearly convinced as such, but a scene set on the steps of the Colosseo Quadrato gave away the real location in Italy. I wished I'd known that when I went in, in fact, so that I could have looked out for other iconic buildings from around Rome, but I only realised while I was watching (and confirmed it afterwards from t'internet). Now that I've seen the film, I can also report that the Gothic mansion depicted on the publicity poster for it is rather misleading, since no such building features at any point during the film. It's far from the only movie poster from this era to feature generic images which have nothing much to do with the film, of course, but it's interesting to see in this case what particular image was chosen. It seems pretty clear to me that the poster was trying to evoke the Roger Corman-style Gothic horror numbers that Price was most famous for in order to get bums on seats. It suggests that contemporary audiences were being assumed to have pretty conservative tastes, given that in fact the whole point about Matheson's story was that it broke away from the Gothic legacy, and tried to update vampire mythology by making it more modern and scientific.
Anyway, a lovely evening out - but as I say, we came away resolved to get the DVD and see it in its original format for ourselves. Live re-scoring may be good for silent films, but it would have to be absolutely brilliant to make it worthwhile for films which already have their own original soundtrack - and this really wasn't.
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