This chapter surveys three distinct periods of film music in which the Dies Irae appears with great regularity. Starting with the silent film era, the chapter begins with an in-depth analysis of Gottfried Huppertz’s score for Metropolis before turning to look at the film scores of Dimitri Tiomkin, a composer that occupies a transitional node between the silent and sound film eras. His use of the Dies Irae appears in a large number of films, including two different wartime documentaries as well as a minor film noir masterpiece, Red Light. Lastly, the chapter examines the Dies Irae in vampire films, looking at both American and British monster films, focusing on the extensive catalogue of Hammer horror films devoted to vampires. These three clusters show the diachronic progression of how the melody gets deployed in film: initially, the melody appears in explicitly religious contexts, while the Tiomkin scores include it when sacredness is implied in the story; by the time of the Hammer films, the melody is nearly always present as a way to highlight the anti-religious nature of the monstrous vampire.