Think back to one of your favourite films, and most often than not, they will have a significant musical theme behind them. It probably has no basis as to the reason why you like the film, but music in the movies can add layers of depth to something more than you might imagine.
Arguably, the most widely recognised movie score composer is John Williams. For over six decades, he has been creating motion picture soundtracks that have served as inspiration to many who have followed. Winning five Academy Awards, he is a master at his craft. Most people will at some point have heard at least one of Williams’ legendary themes. Mainly due to the scores that he regularly makes for the movies of Steven Spielberg. Famed for his orchestral compositions, he has created some of the most popular movie themes to date.
Williams first came to mainstream prominence with the score for 1975’s shark horror ‘Jaws’. The main theme comprising of two rising cello notes to give incredible suspense, then adding horns and violins in a quick pace to form a feeling of menace. This piece has been constantly used for just about anything related to sharks in the media ever since.
Two years later, he gave the world easily one of the most recognised movie themes ever, that of George Lucas’ ‘Star Wars’. The main title bursts with horns and gravitas, giving it an epic feel on proportion with the film itself. We then have calm violin sections giving a mental picture of a vast starry sky. Horns and drums break in to give a feeling of impending doom, before switching into a march resonant finale. And, of course in the films sequel ‘The Empire Strikes Back’, he gave us the superbly powerful and harsh theme of ‘The Imperial March’.
1981 saw Williams’ yet again create something memorable, that of his score for ‘Raiders of the Lost Ark’. ‘The Raiders March’ is an upbeat theme with a feeling of adventure, excitement and bravado comprising mostly of numerous horns and brash cymbals.
In 1993 he composed the score to one of my favourite films growing up as a child, ‘Jurassic Park’. The beautiful opening to ‘Welcome to Jurassic Park’, before it gives way to flutes, violins and horns, alluding to a sense of wonder and discovery, still makes me smile to this day when I hear it. Because just hearing it takes me back to being a kid, and I can relive the memories of a film that struck me so much.
John Williams has completed numerous works of note that is simply too much to write about. Without doubt, the themes that he has produced have become icons in film history, just as much as the films have that they are in.
Of course, throughout cinematic history, many other great themes have been created.
Take for instance, Elmer Bernstein’s instantly recognisable main theme from 1963’s ‘The Great Escape’. It is such a memorable piece that everyone practically knows it. Forming a feeling of a military march, the tune encapsulates the mood of those in the film. It’s upbeat, jolly tone coincides with the prisoners’ inspiration, determination and sense of optimism in their efforts to escape from a German World War II Prisoner of War camp. The theme has become synonymous with people coming together to fight against an overriding aggressor.
Argentine composer Lalo Schifrin produced magnificent themes throughout the sixties and seventies. In particular the cool guitar and horn laden main theme for the 1968 Steve McQueen cop thriller ‘Bullitt’. And in 1973, he scored ‘Enter the Dragon’, the film which established Bruce Lee as a worldwide phenomenon. But who sadly died shortly before the film’s release. The Hong Kong hustle and bustle nature, along with its martial arts elements are recreated superbly in the ‘Main Theme’, whilst this contrasts with the beautifully simplistic and esoteric theme of ‘Sampans’, which gradually evolves in to a relaxing funk.
More recently, the elegantly dreamlike quality of ‘Prologue’ from Carter Burwell’s ‘In Bruges’ score has become a personal favourite. Along with ‘Welcome to Lunar Industries’ from Clint Mansell’s wonderful score to 2009 film ‘Moon’. It’s somewhat enchantingly hypnotic piano opening ideally suits the films premise of character Sam Bell’s isolation on the desolate landscape of the moon. In stark contrast to this, ‘Dream is Collapsing’ from Hans Zimmer’s soundtrack to 2010’s ‘Inception’ couldn’t be anymore different, with all its gusto, pomp and sense of drama on a vast scale.
What I’ve spoken of so far are general themes that have been created for 
movies, however movie scores can also consist of incidental themes. What I mean by this is that the music is timed specifically with actions on screen to emphasise certain moments, which you don’t have in a normal melodic theme. To illustrate this point, I shall analyse the musical cues in a scene from the 2005 movie ‘Batman Begins’. The score for the film is a collaboration between Hans Zimmer and James Newton Howard.
The scene I shall be using to demonstrate is roughly halfway through the film. Batman is inside psychiatric hospital Arkham Asylum, after having rescued Rachel Dawes from the clutches of Scarecrow, but not before he has poisoned her with a hallucinogen. Sgt. Gordon and his shady partner Flass arrive on the scene, where Gordon chooses to enter the building and confront Batman one-on-one. Batman explains to Gordon the situation, and as this is occurring, a SWAT team arrives to try to apprehend Batman. He tells Gordon to take Rachel outside whilst he finds a means of escape from the building.
Watch the scene here with your speakers turned up…
The opening of the scene comprises of a slow, steady, pounding sequence of drums. The moment Gordon steps though the door, an extra vibrating beat is added to this sequence as well as a hollow chime, creating a tension filled ambience as he walks down the corridor. This continues as the SWAT team arrives.
Suddenly, as Gordon climbs the stairs, he is hoisted upwards by Batman. The music drastically surges into pounding drums and horns as the SWAT team advances. The fast pace adds to the sense of urgency as the SWAT team begin climbing up the stairs towards Batman’s location.
We then switch outside to Flass, who on hearing a noise, slowly turns around. Note at this moment a very distinct rising horn melody is heard. We move back inside as the horn melody occurs a few more times along with drums throughout the talk between Batman and Gordon.
At the end of the talk, the music fades out and is replaced by a momentarily obscure sound. We go back outside, and suddenly the music explodes back in to life when the incoming bats attack Flass and the surrounding police. Switch inside again, and the music creates a sense of mystery and unease as the SWAT team look around in an unsure manner. The bats break the windows and immediately a heroic horn theme plays. This is the main Batman theme.
As the bats scatter and Gordon leaves with Rachel, the theme continues along with the constant noise of the bats. But the camera returns to Batman, and at this moment we hear a large, brash chorus of the main theme as he waits patiently before throwing the high frequency emitter downstairs.
He then jumps down, and as he is falling, there is a small horn note when he opens his cape and a large one immediately when he lands on the ground. As Batman enters the corridor, the music builds up a crescendo, before calming down as he breaks his way through the cell to outside before the music finally fades out towards the end of the scene.
I urge you to watch the scene again and take note of just how much of the actions I’ve described above are emphasised on screen by different musical cues, and how that serves to elevate the scene as a whole. If you took the music out, the scene would lose many of the heroic motifs it is trying to convey. It serves a great purpose.
I find it a shame that film scores are not more universally recognised, as there has been some absolutely terrific pieces of music made over the years. If a film manages to grab me with its music, I am likely to enjoy the film. I am a big fan of movie scores because when I listen to them, they bring back memories of the wonderful films they come from.
In a world popularised by manufactured pop artists, it is great to see true music that actually serves an artistic purpose and can convey various emotions. I hope from reading this, you will attain some appreciation of this music that requires such great attention to detail to portray to you, the viewer, the style and genre of the film.
To finish, a quick game. Click on the 3 following links and immediately close your eyes and listen to the theme. I guarantee you will recognise the film which it is from in about 5 seconds. This is the power film music has.
A Reel View on Film 