![]() “Red Right Hand” first resounds as brief background music over a wide, sweeping shot of Woodsboro. It’s a perfect marriage of complimentary terror, advancing the whole to new levels of depth, meaning and fear. Like the films, “Red Right Hand” evolves, physically and diegetically, even landing as the concluding element of the initial trilogy of films. With a beat that resonates like the quick, piercing thrust of a knife and lyrics that rumble like the distant thunder announcing a downpour fast approaching, the careful placement of the song throughout the series both announces and ensures the weight of its sometimes broad tonal shifts. Reinterpreted by Nick Cave and Mick Harvey for their 1994 album Let Love in, “Red Right Hand” became the anthem of a mysterious presence, a force like a gathering storm whose terrifying machinations will ultimately lead to cataclysmic ruination for any soul unlucky enough to cross their shadowy path. ![]() ![]() While it only plays for what amounts to a handful of minutes over the course of five films, Nick Cave & The Bad Seeds’ “Red Right Hand” is as instrumental to the atmosphere of the Scream franchise as the looming threat of those who hide behind the trademark white mask caught in its silent howl.įirst coined by 17th century poet John Milton in his 1667 epic Paradise Lost, the phrase “red right hand” was initially used to denote the wrath fueled vengefulness of God. The resulting franchise encompassed a host of familiar tropes of both the slasher and “whodunit” variety, comprising ringing phones accompanied by mysterious callers, self-aware and snarky young adults and rules to survive by that, perhaps by design, often don’t hold all that true in the end.īut just as important as any recurring narrative beat or cameoing survivor is a song. Scream rewired the horror audience in 1996, exploring anew the connective tissue that bridged the history of the genre with its future patrons and purveyors.
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