What is it about the end of the year that brings out “listmania” in people? Perhaps it is a general feeling that as the calendar is about to turn over, it becomes time to reflect on the past in ways that one ordinarily wouldn’t do.
That said, I thought I’d take a stab at my own list. Since most people will be doing a “Top 10 Stories of 2005” or something similar, I thought I’d try something a little different with “The Top 10 Movie Soundtracks of All Time.”
This list will not include any the dozens of wonderful MGM musicals or excellent movie adaptations of Broadway shows. That could be another list. Instead, this list will include what I believe the Academy calls “Original Scores.”
Let the games begin…
10. RAIDERS OF THE LOST ARK - JOHN WILLIAMS
This is the first of three appearances of John Williams on this list and for good reason. Williams is a brilliant composer whose body of work would be astonishing for its volume alone. Already a well established commodity in Hollywood by the time Raiders came out, Williams allowed himself to have some fun with the score as it’s sprightly marches with playful counterpoint demonstrates. Not his best work but, like most of his film scores, it adds substantially to the totality of the movie.
9. GETTYSBURG – RANDY EDELMAN
This score by Randy Edelman, another prolific composer, is noted for the grandeur and emotionally charged overture that has been used many times in sports programming. The two pivotal moments in the movie – the bayonet charge of the 2nd Maine down Little Round Top and Pickett’s Charge – always bring tears to my eyes thanks to Edelman’s majestic accompaniment.
8. THE GREAT ESCAPE - ELMER BERNSTEIN
No list would be complete without a mention of Bernstein, another familiar Hollywood composer. His films have run the gamut from Ghostbusters to The Bridge at Remagen to Leonard Part Six.. It was a toss up to include TGE or The Magnificent Seven but the scoring of Steve McQueen’s motorcycle ride through the German countryside tipped the balance in favor of this one.
7. SILVERADO - BRUCE BROUGHTON
Broughton is known more for his TV work than film credits. But his majestic score for the movie credited with reviving the American western cannot be overlooked. The theme is hypnotic.
6. BEN HUR - MIKLOS ROZSA
The Hungarian immigrant’ scores enriched dozens of movies in the 40’s and 50’s. His unobstrusive style attracted director William Wyler who tapped him to score Hur after several other composers rejected the project. He ended up being nominated for an Academy Award.
5. JAWS - JOHN WILLIAMS
If there is a better combination of music and mood ever scored for a motion picture, I can’t think of it. Haunting is an understatment for Williams’ work here. When the very first notes of a piece of music can generate terror, you know that there is something special about it.
4. BRIDGE OVER THE RIVER KWAI -MALCOLM ARNOLD
Many would not place this as high as I have, but I challenge you to watch this movie for the first time and not be humming “Colonel Bogey’s March” by the end of it. I’m being a little facietious but the fact remains that this is another film where the music perfectly captures the mood and spirit of the film. Won the Academy Award for Best Score in 1957.
3. LAWRENCE OF ARABIA - MAURICE JARRE
Jarre’s memorable score to one of the greatest films of all time is a joy, a brilliant symphonic counterpoint to the majesty of David Lean’s masterpiece.
2. THE ADVENTURES OF ROBIN HOOD - ERICH WOLFGANG KORNGOLD
Hollywood would have been a much different place if Korngold had decided to stick with writing symphonies. A child prodigy who attracted the attention of such luminaries as Mahler and Richard Strauss, Korngold emigrated to the US in 1935 to escape the ravages of Nazism. Did Korngold “invent” the orchestral movie score? No, but he perfected it.
1. STAR WARS: A NEW HOPE - JOHN WILLIAMS
The orchestral soundtrack had gone out of fashion in the 1960’s and 70’s. Hollywood was making few epics and the spare, jazzy sounds of Lalo Shiffrin and moody, atonal pieces that graced most of the dramas were consistently uninspiring to say the least. That’s what made Williams raucous, grandeliquent overture so shockingly emotional. The majesty of the score against the background of space will always be remembered. A never to be forgotten theme.
4:20 pm
The Silverado soundtrack, as well as the movie itself, is one of the most overlooked of all time, right next to Boondock Saints.
And what? No Elfman on teh list? I think that Danny Elfman is going to be considered the Mancini of my generation. (that happens to be the generation that came right after you, Rick, what with you being an old man and all:D)
4:25 pm
Elfman’s Batman was interesting but nothing he’s done that I’m aware of approaches the work of any of the others.
Of course he’s relatively young. Give him a few years and he may surprise us.
9:39 pm
Retailing
Forbes editors take a look at the year ahead in retailing.
3:00 am
A Bridge Too Far—John Addison
Say what you will about the movie, star-studded flop or rousing war flick, the soundtrack to this was awesome. John Addison, himself a veteran of the Arnhem battle from the XXX Corps, created moving and poignant music to accompany the unfolding scenes of the operation and battle of the largest airborne attack ever attempted. Disaster ensues. The film’s director, Sir Richard Attenborough noted: “the music for A Bridge Too Far is, therefore, in one sense [Addison’s] requiem for those who fought beside him.”
The stirring march of the overture plays often, in differing tempo throughout the film, very effectivly in “March of the Paratroopers.” One of the great moments of the score is in “Airlift” as the massive air armada takes flight. More somber, but affecting tones are sounded in “Arnhem Destoryed” and “Retreat.” One of the best musical moments sadly is not on the soundtrack. It is where the Germans advance upon wounded and dying Brits in their most bitter hour of defeat. These guys held the Germans at bay to buy time for the able-bodies to escape. Having spent their last ammo and laid down their arms, awaiting inevitable capture, they humbly sing the hymn “Abide With Me.”
Under-appreciated flick, but kickarse music. Addison won an Oscar for “Tom Jones,” but this score by too far (pardon the pun) was his best work.
BTW, personally, I loved the movie. Some of the best in the acting business at their prime—Redford chewing scenery, Sean Connery sublime as the doomed General Urquhart, Sir Anthony Hopkins before he got too full of himself, Sir Laurence Olivier pleading with German General Maximillian Schell for a brief cease-fire to take the wounded from the streets and then “you can kill us as much as you like.” Shout out to Gene Hackman as Polish General Sosabowski (if you do not know his story, google it). Watch this movie in concert with “Band of Brothers” episodes 4 & 5, it makes a nice complement.
/R
2:54 pm
Malcolm Arnold had a distinguished career but “Colonel Bogey” actually was written in 1914 by Kenneth Alford, the pseudonym of Major Frederick Joseph Ricketts, Royal Marines:
http://en.wikipedia.org/wiki/Kenneth_Alford
I generally don’t care for Philip Glass’ music but his score for “Mishima” is outstanding.
5:19 pm
Thanks for the info George.
And I agree about Glass.I see from his filmography that he did Kundun and The Truman Show also. Good movies and excellent scores.
5:24 pm
Sly:
I considered adding ABTF to the list for all the reasons you state. A great march in the tradition of Col. Bogey as well as some achingly beautiful scoring during the lulls in battle.
Agree about the movie too.
6:52 pm
Interesting choices – agree with some, but I would have to add the music to The Last of The Mohicans and Braveheart – love both of those, very appropriate to their stories. I also agree on Gettysburg. Beautiful music!
10:33 am
I’d nominate “The Last of the Mohicans” (1992) by Trevor Jones and Randy Edelman.
6:11 pm
Doctor Zhivago? Or too campy and saccharine? Another Jarre masterpiece IMO.
I think you’re a little Williams-heavy, but dammit, he IS good, ain’t he.
And I guess Howard Shore’s LOTR extravaganza is going to be a bit too nouveau for you… but man, did he ever paint an audioscape of Middle Earth. It’s simply stunning how he evokes a world we’ve never seen. That is the key, with these composers who are trying to bring viewers/listeners in to a completely different world.