The thing in October (part III).

Who is the most adapted writer of all time? William Shakespeare or Stephen King? I honestly don't know. It's kind of a rhetorical question (and a rather obvious way to signal that I don't have a better idea for an introductory paragraph). In any event, I'm going to be talking about Misery.

Novelist Paul Sheldon (James Caan) had hoped to go on a vacation. Unfortunately, he is waylaid by a car accident. He gets rescued by Annie Wilkes (Kathy Bates), his number-one fan. Slowly but surely, Paul realizes that Annie is a little...unhinged. This is one of the best King screen adaptations, skillfully directed by Rob Reiner, adapted by William Goldman and acted.

Misery marked the first score composed by Marc Shaiman. Though it's one of his few drama scores, it bears his sound.

"Number One Fan" starts with a melancholy solo piano playing the film's main theme, a three-note motif that Shaiman develops with strings and woodwinds, giving off a chamber-like feeling. About four minutes into the track, there's a brief passage of skittering strings, almost like a swarm of musical locusts.

"She Can't Be Dead" mixes it up with chimes, brooding strings and tympani, leading to a reprise of the chamber material. "Open House" is interesting that, alongside the Herrmannesque strings, the woodwind writing is somewhat reminiscient of Shaiman's comedy scores. This track also introduces a two-note motif representative of unease and gets passed throughout the orchestra over the rest of the score.

"Go To Your Room" is pretty much an action cue, characterized by swirling and chopping strings, horn hits, rolling piano and nervous winds. "Buster's Last Stand" starts with solo violin and incessant strings, then grows heavier with strings and chimes before returning to the lighthearted origins of the beginning. The end of the track builds to a conglomeration of strings, horns and weird-sounding chimes.

"Misery's Return" (the final fight between Paul and Annie) mixes together strings, piano and winds to create a calming (if tense) air before erupting with shrill horns, stomping piano, chopping strings and the winds of "Open House" (effective if a little distracting in this context). The end of the track revisits the main theme on strings.

Surprisingly, for a CD released by early 90s label Bay Cities, copies of Misery can still be found online, reasonably priced. It's worth the effort.