Salutations, all! I’m sure you’ve all happily welcomed in the new year with plenty of celebrations (I know I did), and as promised, the film score blog makes a comeback in 2018 with a new format and a re-invigorated writer.
So, what’s new? Well, for a start, I won’t be posting as regularly as in the past. Shame, I know, but I have a little something called a degree to finish, plus balancing a part time job and various other commitments. So, posts will be monthly instead of weekly, on the first weekend of each month, and maybe absence will make the heart grow fonder.
Second, I’m shaking up my formats with a new (but not so new) type of post. Yes, like every other millennial writer ever, I’m introducing Top Ten Lists! (yay). I grew tired of methodically reviewing soundtrack albums which always ended up in very long posts that took hours to write, and I’m pretty sure you readers have too. So, this new format will help me to write shorter posts, and hopefully break into newer material. Subjects of these top tens will be varied but always related to soundtracks in one form or another, which leaves room for a bit of expansion – Top Ten Film Composers, Top Ten Pop Music Compilation Soundtracks, Top Ten Classical Music Pieces Used in Film…who knows?
But I’m not ditching the old formula completely – every now and then a major soundtrack-related event will occur in my life (like Distant Worlds this last November), and I’ll be sure to blog about those (trying to keep it short, I promise!). Also, if an album comes out that I’ve been dying to review, it may well feature on this blog at some point (I’m looking at you, The Last Jedi…). There won’t be any regularity to these posts, they’ll just come if and when.
Hope that all makes sense! To kick things off the right way, I’ll start with a Top Ten I’ve been wanting to do for a while – my Top Ten Film Themes! These are the ten melodies and ideas that have stuck with me and left a mark on my emotional psyche. To clarify, a theme is the performance of a melodic or rhythmic idea associated with a particular character, place, or event, called a motif. Motifs have been used in film as a following of Wagnerian opera and Romantic music, but are not limited to film – they’re also in TV, video games, and other media. For this Top Ten list, I drew up a huge list of my favourite themes from film, and whittled it down as best I could. To help, only one theme from a series could make the list. But I couldn’t manage to get down to ten so here is a list of “honourable mentions” (in chronological order of film) that couldn’t be left out entirely:
Honourable Mentions:
- The Tara theme from Gone with the Wind (Max Steiner) – one of the earliest truly great film scores is centred around this simple yet highly original motif; romantic, dramatic, and catchy, this set the gold standard for all Hollywood film scores.
- The “Christ” theme from Ben-Hur (Miklós Rózsa) – the definitive theme from the definitive Hollywood epic; Rózsa’s composition is both uplifiting and awe-inspiring, a truly worthy attempt to encompass the majestic glory of the love of Jesus Christ.
- The ‘Main Title’ of The Magnificent Seven (Elmer Bernstein) – from the first percussion hits it was destined for stardom; an iconic, rip-roaring, exciting action theme that has helped define the sound of the Wild West for decades.
- The ‘Main Title’ of To Kill a Mockingbird (Elmer Bernstein) – a sweetly innocent and melodically complex tune that captures the essence of childhood filtered through a Golden Age Americana perspective, beautiful, haunting, and timeless.
- ‘Somewhere in my Memory’ from Home Alone (John Williams) – A classic Christmas film with the archetypal John Williams music-from-a-child’s-perspective sound; this composition wears its heart on its sleeve, shameless in its emotional manipulation.
- Zorro’s theme from The Mask of Zorro (James Horner) – this was a film of my childhood, and this was one of the first action hero melodies I loved; a gorgeously romantic and sweeping melody for a dashing vigilante and man of the people.
- The “God” theme from The Prince of Egypt (Hans Zimmer) – The Ten Commandments were tough to beat, but Zimmer produced a simple, ethereal, and memorable melodic hook for the wonder and power of God that has stood the test of time.
- ‘Leaving Hogwarts’ from Harry Potter (John Williams) – Williams’ child perspective again, this time full of hope for the future, made emotionally weighty by the knowledge of the past; a melody that cuts to the emotional core
- ‘A Small Measure of Peace’ from The Last Samurai (Hans Zimmer) – Zimmer’s theme for the redeemed war veteran Nathan Algren receives its most noble, soft-spoken, and cathartic performance in this 8 minute conclusion to the historical epic.
- ‘Rise’ from The Dark Knight Rises (Hans Zimmer) – The last 6 minutes of this track provide a melancholic yet fitting memorial to the Dark Knight, featuring the now iconic minor third rising brass and percussive rhythms of Christian Bale’s Batman.
So off we go! Here are my top ten film motifs, in ascending order:
10. The ‘Main Title’ from Back to the Future (Alan Silvestri) – Kicking things off is this nostalgia bomb from my childhood of watching the trilogy on VHS. Combining two separate thematic phrases, this epic, John Williams-esque track contains all the excitement and adventure from the film, employing a large orchestra. The A phrase, heard about 30 seconds in, uses an unusual minor inflection to emphasise the mystery and danger of the narrative, yet still has uplifting brass and strings. Meanwhile, the B phrase fanfare, heard about 50 seconds in, is a more heroic statement on the resolve of the protagonists. The orchestrations throughout are impressive (with perhaps a tad too much rolling cymbal – listen out for it!). Ultimately though, what lands this theme within the top 10 is my excellent memories of the film associated with it. Great Scott!
9. Hiccup’s theme as heard in ‘Test Drive’ from How to Train Your Dragon (John Powell) – A more recent but just as corkingly excellent theme from John Powell, embracing his fully orchestral side and utilising his talent for simple yet effective composition. His theme for the protagonist Hiccup (which also serves as the main theme), is a two phrase construct with a secondary accompanying melody. The A phrase melodic line speaks to the noble conscience of Hiccup, while the B phrase is the essence of his determination and resolve. Meanwhile the secondary melody adds the energy and flair the young Viking possesses. ‘Test Drive’ contains the most emotionally stirring performances of Hiccup’s theme, initially full of celebration and pride, and later the B phrase is set within a breathtaking action sequence that never fails to excite. Top notch!
8. ‘Star Trek Main Theme’ from Star Trek Into Darkness (Michael Giacchino) – Michael Giacchino is pegged as my generation’s John Williams, and he has never undersold us on that high calling. But for Star Trek he really outdid himself. Growing up I listened to the bombastic main themes of Williams and others, wondering if I would ever hear one for my generation, and then we got one! This track’s concert arrangement gives us an intro that builds layers up to an amazing, explosive first rendition of the theme, whose melodic line on strings and brass and choral backing speaks to the space-bound adventure and peril that so heavily featured in these films. Percussive rhythms, languid string sections, a timpani solo, and even a gentle callback to the original TV series theme all lead to a climactic and epic rhythmic finish. Live long, and prosper!
7. The “Journey’s End” theme as heard in ‘The Grey Havens’ from Return of the King (Howard Shore) – How could I not include The Lord of the Rings on this list, it being the no. 1 most popular trilogy of scores of the general public? This theme never fails to send shivers down my spine; it represents the conclusion of an epic journey undertaken for a noble cause. It is first heard at the end of ‘The Black Gate Opens’, carried by brass and choir during an emotionally weighty scene, and appears at the conclusion of ‘The Grey Havens’ after the famous Fellowship and Shire themes have had their last say, in a composition that speaks to peace and purpose at the conclusion of great strife. Though it’s not the most iconic theme of the trilogy, there’s something about its simple construct and performance on strings with a choir that gets me right in my heart and brings tears.
6. ‘Chevaliers de Sangreal’ from The Da Vinci Code (Hans Zimmer) – This film allowed Hollywood’s most commercial successful composer to really explore his classical side, and we were treated to a masterclass on modern orchestral composition and the building of layers towards a climax. Based on a simple chord progression ostinato of strings playing arpeggios, melodic lines were gradually added one after another on different instruments: first brass, then strings, then woodwind, then contrapuntal strings, then even more strings in a higher register, with percussive accents, then a choir, finally climaxing with a cymbal crash and tolling bells. All this carries the sentiment of an epic quest for truth and justice with aplomb and style. This was the first piece of film score I ever properly analysed; as such, it holds a special place in my heart.
5. The “Crate” theme as heard in ‘Building the Crate’ from Chicken Run (Harry Gregson-Williams & John Powell) – When these two were paired back in 2000 for the modern stop-motion classic Chicken Run, the stars aligned. We were treated to an exciting, emotional, adventurous, hilarious, and above all fun soundtrack that perfectly complemented the film. And this theme, underscoring the chicken’s effort to build a plane to fly to freedom, is one of the most infectiously catchy themes I have ever heard. Marvellous in its simplicity, truly excellently orchestrated for brass and strings, and played at breakneck speed with some pounding rhythms on and off the beat; you just can’t help bobbing your head along! Throw in some well-placed kazoos, woodwind glissandos, tolling bells, and timpani accents, and you have a recipe for excellence!
4. The “Wonder” theme as heard in ‘Escape / Chase / Saying Goodbye’ from E.T. The Extra Terrestrial (John Williams) – Okay, this one is cheating a bit, but within these 15 minutes of music you have everything great about this seminal John Williams score; the tension and anticipation of ‘Escape’, to the flighty strings and brass of ‘Chase’, and on to the hugely emotional and tear-jerking finale ‘Saying Goodbye’. Film score snobs know this composition was the result of Spielberg allowing Williams to through-compose the ending as a whole, and then editing the film around the music, resulting in a perfect synthesis of film imagery and underscore. The theme I refer to is the 10 note phrase heard throughout this composition, and as the bold fanfare that closes the piece. Its Lydian Supertonic construct is full of awe and wonder. Such a masterpiece; a triumph.
3. Schindler’s theme as heard in ‘I Could Have Done More’ from Schindler’s List (John Williams) – Here we are, the most emotionally weighty film score I have ever experienced. This particular track, ‘I Could Have Done More’, is excellent for its introduction and performance of the B-phrase from the ‘Remembrances’ theme, from which Schindler’s theme launches into its most beautiful and heartbreaking performance. Something about this melody and chord sequence, once again so simple, encapsulates all the listener could ever want to express as pure, tragic sadness. When you listen to it, you can’t imagine tragedy and loss sounding any different. The last minute transcends even the heights of emotion already attained through its contrapuntal violin solo and melody. An utter, utter masterpiece; an awesomely beautiful composition.
2. Simba’s theme as heard in ‘Remember Who You Are’ from The Lion King (Hans Zimmer) – The childhood film of all childhood films, that first moved me to tears as a young boy. This striking composition on the Legacy Collection soundtrack moves from anxious tension, to soulful contemplation, to African-inspired chanting and percussive rhythms. When we settle down, 4 minutes 45 seconds in, we hear a brief excerpt from Mufasa’s death scene, which sets us up perfectly for the powerful flute and choral rendition of Simba’s theme that never fails to give me shivers. Moving through a majestic and awe-inspiring rendition of Mufasa’s theme, we settle back on Simba’s theme, played with new resolve and purpose, before sending off with more optimistic African chanting and percussion. A wonderful theme for a wonderfully emotional and potent narrative.
1. The “Force” theme as heard in ‘Light of the Force’ from Return of the Jedi (John Williams) – Of course Star Wars had to be here! But instead of the Main Title, Duel of the Fates, the Imperial March, or any other character theme, I’ve gone with the one motif that has tied all current Star Wars media together – the iconic “Force” theme. Endlessly adaptable as action set-piece or emotional climax, with more airtime than any other motif, the theme has woven its way into the core identity of what Star Wars is, and remains one of the most impressive leitmotifs in film score history. This track presents the grandest performance of the full theme, and then one of the most emotionally potent renditions afterwards, with a musically interesting variation that encompasses both lamentation and remembrance. I thank you, Williams; truly you are the best of the best!
So there it is, my Top Ten Film Themes. Tune in next month for another Top Ten, or who knows what else. God bless!
Scores of Scores 