ACCORDING TO ABBEY: 5 FILM SCORES TO HEAR BEFORE YOU DIE (PART 2)

According To Abbey- 5 FILM SCORES TO HEAR BEFORE YOU DIE (PART 2)

5 FILM SCORES TO HEAR BEFORE YOU DIE (PART 2)

Article By Abbey Archer

Welcome back to Round 2 of Film Scores series! There’s no need for introductions; let’s get right into the meat, shall we?

CATCH ME IF YOU CAN (2002): JOHN WILLIAMS

CATCHMEIFYOUCAN_JOHNWILLIAMS — Courtesy of Dreamworks LLC

Was there any doubt the Master wouldn’t be mentioned in any part of this series? Of course not. For the first entry, we have Catch Me If You Can, telling the true story of Frank Abagnale Jr., who managed to get millions of dollars from pretending to be a Pan-Am pilot, a doctor, and a prosecutor — all before he turned 19. It’s one of the more out-of-the-box scores from John Williams‘ filmography. Going back to his jazz roots, Williams crafts some interesting themes that definitely harken back to the ’60s, while still keeping his signature “magic.” The use of saxophone is stellar here, as well — dreamy yet present, provocative without sounding sleazy. Give it a listen; you may find yourself in a nostalgic trance.

NOTABLE TRACKS:

Catch Me If You Can; The “Float”; Recollections (the Father’s Theme).

E.T. THE EXTRA-TERRESTRIAL (1982): JOHN WILLIAMS

ET_JOHNWILLIAMS — Courtesy of Universal Pictures

Williams strikes again on this list, this time in one of the greatest family films of all time. E.T. The Extra-Terrestrial could have had some kind of generic, run-of-the-mill, forgettable soundtrack (as it seems many family films do), but the magic of Steven Spielberg paired with John Williams is something to behold. The score is iconic, just as the film is, and much like his music is apt to do, it transcends the moviegoing experience. From the bicycle-over-the-moon theme to the orchestral masterpiece that is E.T.’s departure from our world (which, to this day, gets my waterworks going), this music is not to be missed, or forgotten.

NOTABLE TRACKS:

Abandoned and Pursued; Flying; Adventure on Earth.

EDWARD SCISSORHANDS (1990): DANNY ELFMAN

EDWARDSCISSORHANDS_DANNYELFMAN — Courtesy of Twentieth Century Fox

In my opinion, Danny Elfman has lost some of his notoriety in the 21st century, which is disappointing, as his scores are often some of the more imaginative and experimental-sounding. And one of his best outings with frequent collaborator Tim Burton is Edward Scissorhands, the fantastical story of Edward … who has … wait for it … scissors for hands. (I know, I didn’t see that coming, either.) Between whimsical pieces that you probably imagine plays over the suburbs, and the haunting choral and strings tunes that showcase the strangeness of the story, Elfman deftly weaves a web of magic that will make you believe you’re witnessing a real-life fairy tale — something that we need more of.

NOTABLE TRACKS:

Introduction (Titles); Edwardo the Barber; the Grand Finale.

GLADIATOR (2000): HANS ZIMMER

GLADIATOR_HANSZIMMER — Courtesy of Universal Pictures / Photo by John Shearer

I could be wrong, but I think one of the reasons Gladiator is so well-regarded today (besides winning the Best Picture Oscar) has to due, in part, with the music — which is amazing. Even more amazing is the fact that Hans Zimmer did NOT win the Oscar for this film. That aside, this score is something special: it sounds ethnic and earthy, while also being bombastically awesome. It mixes well with the redemptive revenge that Maximus embarks on, elevating the plot to higher heights and victory. It’s true that in some of Zimmer’s later scores, you can hear the borrowed elements from this one … but nobody can deny the original mastery.

NOTABLE TRACKS:

The Battle; Earth; Now We Are Free.

THE GODFATHER / PART II (1972; 1974): Nino Rota

THEGODFATHERI&II_NINOROTA — Courtesy of Paramount Pictures

It was impossible to choose one over the other, so I’m technically cheating and including both. Who cares, though? The Godfather may just be the greatest film ever, with Part II following closely behind, and you can’t really have one without the other. The same goes for the score; Nino Rota may not be known for his other music, but he’s been forever immortalized with these two incredible scores. I have scratched my CDs to the bone from listening to these soundtracks — they’re that good. From the very first note on the trumpet that plays at the start, to the strings that close out the shows, Rota crafts deceptively simple themes that stay with you long after the films are finished.