Doubling is also an aspect of Deep Red’s soundtrack. Argento originally commissioned jazz composer Giorgio Gaslini, who had done the scores for Five Days of Milan (including a Kubrick/Carlos styled rendition of The Thieving Magpie on synthesiser) and Door into Darkness. In the event, however, Argento encouraged Goblin to reinterpret Gaslini’s work, with the result being a soundtrack which was more Goblin/Argento than Gaslini.
The dominant features of the soundtrack are its intensity and its indifference, or its anempathetic quality, particularly when compared to Morricone’s soundtracks for the Animal trilogy: The musical cues, whether the one which plays over the credits, or over Helga’s murder, or to Marc’s visits to the haunted house, do not reflect these characters’ consciousness, nor any consciousness we are invited to share. Rather, they are intense and exciting, in a distanced way: Aesthetised murder, be it of a man or a woman – gender is irrelevant in pure figural terms – is exciting, even if we may feel revulsion towards its real world, unaestheticised, counterpart. Murder as one of the fine arts is one thing, banal unartistic, real murder another.
[As I paste this, there is the image of Marc and Carlo doing a piano duet, sometimes doubling one another, sometimes departing;..]