Humphrey Searle

It creates the impression that Hill House is a place where the ordinary rules of perception have become unreliable.

And if the building itself seems to be distorting the way we see the world, how can we be certain that we're interpreting anything correctly? The score by Humphrey Searle is another important part of the film's identity, but I think the sound design deserves just as much attention.

The noises in Hill House aren't always presented as conventional musical cues.

Sometimes they're parts of the environment, sounds that seem to emerge from the building itself.

So, um, yeah, I actually, yeah, let's, uh, let's talk about some of the actual analysis here.

So Humphrey Searle, he's a composer and a Franz Liszt specialist, which I find kind of funny that that's a job.

I love

it.

He found Grubelé, that song that you were listening to, to be compatible with Liszt's late experimental manner.

His favorite assessment became a major case, or his favorable assessment became a major part of the case for taking Brown seriously.

So Humphrey Searle's like, yeah, this sounds like Franz.

So people really dug in on that one.