Synopsis:

To make the movie more accessible I added traditional orchestral music (from the soundtrack of 'Spellbound' by Miklós Rózsa), and removed most of the 'electronic tonalities'.

Intentions:

I admire the studio's bravery by going for 'electronic tonalities' instead of traditional orchestral music - but for me, it doesn't work. Worse, those strange sounds distract me. Only every now and then they work as sound effects in my opinion. So I got the idea that I might like this movie better with orchestral music.

Change List:

The love theme became associated with Altaira, but doesn't come to full bloom until she kisses captain Adams. The theremin-theme became the leitmotiv for Morbius' subconscious, growing in intensity as the story unfolds. Apart from that I tried to avoid adding too much music, and I did my best to make the transitions between the different music cues as smooth as possible. Cuts and Additions: CHANGE LIST Removed all 'electronic tonalities' (except were stated) Added music cues from the soundtrack of 'Spellbound' (1945) by Miklós Rózsa, performed by the Slovak Radio Symphony Orchestra, conducted by Alan Wilson (an Intrada release from 2007). For details, see music cue list below. The love theme became associated with Altaira, but doesn't come to full bloom until she kisses captain Adams. The theremin-theme became the leitmotiv for Morbius' subconscious, growing in intensity as the story unfolds. Replaced sound effects were necessary. During main titles replaced 'electronic tonalities by Louis and Bebe Barron' with 'music by Miklós Rózsa, music supervision and editing by Scott Crane, soundeffects by Louis and Bebe Barron'. During the 'Star Trek' scene (drop from light speed) aboard the spaceship I kept the original sound in (at a lower volume)* During the first images of Planet Altair I kept the original sound in (at a lower volume)* Added sound-effect of animal breathing during the two scenes when the 'monster' breaks into the spaceship. After all, one of the guards remarks that he hears some kind of breathing, which isn't audible in the original version of the movie (see the second fragment in the clips-video below). When Morbius shows Adams and the doctor the Krell machines, I kept the 'electronic tonalities' in (at a lower volume).* When the 'monster' finally appears, I kept the original sound in (at a lower volume)* Added sound effects of screaming when Morbius goes to his final confrontation with the 'monster' (did anyone say Wilhelm?) * The 'electronic tonalities' work fine here as sound effects. MUSIC CUE LIST It would be undoable to indicate every start and end time code of each fragment, so all titles listed below refer to (multiple) excerpts. So the same title doesn't necessarily mean the same excerpt(s). The tracks 'The Awaking' and 'Honeymoon at Brulov's' are respectively 16 and 10 minutes long (and actually consist of more titles), that's why they appear so often here (but each track offers widely varied material). 00:00:08: Main Title, Gambling Dream, Main Title -00:02:37 00:02:54: Train to Gabriel Valley -00:03:56 00:04:26: Honeymoon at Brulov's, Contance's Discovery -00:06:09 00:06:13: Gambling Dream -00:06:50 00:10:03: The Penn Station -00:11:21 00:12:06: Honeymoon at Brulov's, The Awakening, Honeymoon at Brulov's -00:16:13 00:20:31: The Awakening, Defeat -00:21:30 00:21:49: The Awakening, The Picnic, The Awakening -00:26:06 00:26:10: Honeymoon at Brulov's, The Empire Hotel, Green Manors, Main Title -00:27:26 00:28:54: Defeat, The Awakening -00:30:16 00:33:03: First Meeting, Main Title, Green Manors -00:35:24 00:35:48: Constance and Brulov, The Awakening -00:38:00 00:39:07: The Awakening -00:41:05 00:42:11: Main Title -00:42:27 00:42:44: First Meeting -00:43:29 00:44:02: The Awakening, Honeymoon at Brulov's, First Meeting, The Letter -00:48:21 00:48:48: Train to Gabriel Valley, Honeymoon at Brulov's, Train to Gabriel Valley -00:49:29 00:49:57: Dream Interpretation -00:51:33 00:52:46: Honeymoon at Brulov's, Dream Interpretation -00:56:26 00:59:23: Honeymoon at Brulov's, Defeat, The Burned Hand -01:02:25 01:04:44: Ski Run, First Meeting -01:05:41 01:05:44: Honeymoon at Brulov's, The Penn Station -01:07:07 01:08:12: Defeat, The Awakening, First Meeting -01:10:14 01:11:00: Constance and Brulov -01:11:33 01:12:36: First Meeting -01:12:51 01:12:55: Ski Run -01:13:07 01:15:26: Honeymoon at Brulov's, Ski Run -01:18:24 01:20:49: Honeymoon at Brulov's -01:21:55 00:59:47: Honeymoon at Brulov's, Defeat, The Burned Hand -01:02:26 01:04:44: First Meeting, Honeymoon at Brulov's, The Penn Station -01:07:07 01:08:12: Defeat, The Awakening, First Meeting -01:10:14 01:11:00: Constance and Brulov -01:11:33 01:12:36: First Meeting 01:12:51 01:12:55: Ski Run -01:13:07 01:15:26: Honeymoon at Brulov's, Ski Run -01:18:24 01:20:16: Honeymoon at Brulov's -01:21:54 01:23:01: Constance and Brulov, Honeymoon at Brulov's -01:24:15 01:27:32: First Meeting -01:27:48 01:28:49: Ski Run, Railway Carriage, Honeymoon at Brulov's, Railway Carriage, Ski Run -01:30:58 01:31:38: The Revolver, Honeymoon at Brulov's, Ski Run -01:35:36 01:35:55: The Revolver -01:36:13 01:36:25: Defeat, Dream Interpretation, Defeat, End title, Main Title, End Title - Short -01:38:26

Additional Notes:

The soundtrack for 'Spellbound' (1945) by Miklós Rózsa has all the ingredients I need (adventure, suspense, romance, terror and comedy), and it features the theremin to underscore scenes dealing with the subconscious. This, and the fact that the theremin became almost synonymous with sci-fi in the fifties, made 'Spellbound' the perfect match.

Other Sources:

The soundtrack-album of 'Spellbound' (1945) by Miklós Rózsa, performed by the Slovak Radio Symphony Orchestra, conducted by Alan Wilson (an Intrada release from 2007).

Special Thanks:

Very special thanks to @addiesin for advice on software to remove most of the 'electronic tonalities'. Without his help, this project would probably have bombed.