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- Jacob Osborn
- 1934: One Night of Love. - Composers: Louis Silvers, Victor Schertzinger, Gus Kahn. - Director: Victor Schertzinger. - IMDb user rating: 5.7. - Metascore: data not available.
- 1935: The Informer. - Composer: Max Steiner. - Director: John Ford. - IMDb user rating: 7.5. - Metascore: data not available. - Runtime: 91 min. Austrian-born composer Max Steiner was a child prodigy who composed his first operetta by the age of 14, eventually making his way to Hollywood.
- 1936: Anthony Adverse. - Composer: Erich Wolfgang Korngold. - Directors: Mervyn LeRoy, Michael Curtiz. - IMDb user rating: 6.3. - Metascore: data not available.
- 1937: One Hundred Men and a Girl. - Composer: Charles Previn. - Director: Henry Koster. - IMDb user rating: 6.7. - Metascore: data not available. - Runtime: 84 min.
- Frozen – Christophe Beck. In Frozen, Disney animation moves back to its best form. Christophe Beck, composer for the Muppets’ recent big screen outings, wrote touching music that perfectly complemented the songs by Kristen Anderson-Lopez and Robert Lopez.
- Interstellar – Hans Zimmer. Zimmer delivered magnificently for Interstellar, receiving an Oscar nod for his soundtrack. Painstakingly composed over two years, Zimmer visited London’s Temple Church to record its historic organ.
- Casablanca – Max Steiner. The peak of Max Steiner’s noir years, he apparently begged to drop ‘As Time Goes By’ from featuring in the film’s score, but was overruled.
- James Bond Theme – Monty Norman. The most famous guitar riff in cinema has featured in every official Bond film since Dr. No (1962), when it accompanied the opening title.
Mar 10, 2024 · Hans Zimmer is the godfather of modern movie score composing, as well as the highest-grossing composer at the international box office. It is then tough to believe that he has only won two Oscars ...
- List Writer
- Laura
- The Hours
- Sunset Boulevard
- A Streetcar Named Desire
- On The Waterfront
- On Golden Pond
- High Noon
- Out of Africa
- Ben-Hur
- How The West Was Won
A singularly haunting score by David Raskin, Laurais largely built around variations of the title song, which has an evocative lyric by Johnny Mercer. In the song, Laura is the ultimate, untouchable object of desire; in the movie she is a murdered woman with whom a police detective played by Dana Andrews becomes obsessed. So with the mix of love, s...
There couldn’t have been a better choice than Philip Glass to score an intense, psychological film about three women linked in different decades by the works of Virginia Woolf. All the hypnotic Glass trademarks are here and the circular nature of Glass’ music underlines the unseen connections between the characters, to alternately soothing and chil...
The wonder of Franz Waxman’s soundtrack to Sunset Boulevardwas that it took you inside Norma Desmond’s head, which was a cluttered place indeed. Accordingly, the score might be called one of the first mash-ups, containing snippets of jazz and popular song, along with more haunting themes that signify Norma’s insanity. Film scholars have pored over ...
A Streetcar Named Desire was one of the first mainstream films ever to have a fully jazz-based film score, as befits its New Orleans setting. But Pennsylvania-born composer Alex North was a true musical eclectic, who also studied with Aaron Copland and wrote symphonies; he famously wrote a score for 2001: A Space Odysseythat Stanley Kubrick never u...
On the Waterfront was Leonard Bernstein’s only proper movie score, not counting the famous musicals (West Side Story, Candide) that were adapted to film. Though now recognized as one of the great soundtracks, it proved a bit controversial at the time, since Bernstein envisioned the music as a crucial part of story development, a device that would i...
Jazz-associated pianist Dave Grusin is one of the more celebrated film composers of the modern era – for starters, all the non-Paul Simon music in The Graduate was his – and also the owner of the GRP label. Combining jazz, pop and New Age elements, his Golden Pondscore captures both the rustic New England setting of the film, and the bittersweet st...
The plot of High Noonbuilds slowly to its climactic gun battle, and Dimitri Tomkin’s film score is all dramatic tension, with recurring themes including a horse’s advancing hooves and the ominous melody of the title tune. With a vocal performed by Tex Ritter in the movie, the song’s percussive horse-hoof sound was actually made by a Hammond Novacho...
This was one of the later movie scores by the English composer John Barry, who’s forever associated with his James Bond soundtracks. Though a short score (only covering a half-hour of the film) it contains some of Barry’s prettiest and most melodically grabbing themes. It won Barry his second-to-last Oscar for Best Original Score (he’d win again in...
The Biblical epic Ben-Hur got a suitably grand score from Miklos Rozsa; with two-and-a-half hours of music, it was the longest score used in a film at that time. Everything about the score is larger than life, from its series of fanfares to the sweeping chariot race to the heavenly church organ that accompanies the appearance of Jesus onscreen. The...
Alfred Newman has one of the longest-running careers as a film composer, ranging from Charlie Chaplin films in the 1930s to his final project, Airport, in 1970. His score for the epic Western How the West Was Wonwas an unusual one, as it used country and folk tunes and in grand orchestral arrangements. One of the key moments was an adaptation of “G...
- Jason Zumwalt
9. Braveheart. 1995 2h 58m R. 8.3 (1.1M) Rate. 68 Metascore. Scottish warrior William Wallace leads his countrymen in a rebellion to free his homeland from the tyranny of King Edward I of England. Director Mel Gibson Stars Mel Gibson Sophie Marceau Patrick McGoohan. By James Horner.
Feb 21, 2019 · A Clockwork Orange (1971) Wendy Carlos’ score for A Clockwork Orange was designed to disorient. Stanley Kubrick’s film takes place in a dystopian future, and its main character, the ...
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Midnight Express (1978) The orchestral score goes hand in hand with the Oscars, but every now and then something a little more experimental breaks through. Case in point: Italian electronic-music legend Giorgio Moroder’s synthesizer-heavy score for the 1978 prison-drama, Midnight Express. Moroder’s work with artists like Donna Summer helped ...
