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Friedhofer's Rains Of Ranchipur theme. Absolutely exquisite.
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The Urskek theme from The Dark Crystal by Trevor Jones. The way he took one theme and split it apart to voice the two groups of characters in the film was brilliant.
The theme for Les Miserables by Basil Poledouris. One of my favorite scores of his despite the awful CD presentation.
Just about any of the themes from Young Sherlock Holmes by Bruce Broughton...just about everything he's written outside of Silverado has been underrated (Silverado is good too, but you can't call a score nominated for an Oscar underrated).
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Posted: |
Aug 25, 2009 - 10:06 AM
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By: |
rickO
(Member)
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The first thing that popped into my mind was Burwell's Fargo, and even though it's been said already, I'll say it again. A theme that perfectly encapsulates the movie: quirky, mournful, and somehow heroic. It's very much like a modern western theme, and is a perfect complement to a pretty perfect movie.
For all the fanfare that Williams' Imperial March gets, his Emperors' Theme is kind of ignored. I think it's a fantastic theme that elevates every scene it's in, from the eerie low male vocal backings and climaxing with the full-on orchestral performance at the end. One of the most powerful statements of villainy in Williams' career, and better, I think, than the similar treatment he gave to the Imperial March in the previous film.
Also, Horner's Achilles' Theme. Say what you want about the unfairness of Yared being dumped or of Horner's replacement score, but this theme is absolutely fantastic.
Ever notice how The Emperor's theme never gets performed in Star Wars concerts? And I've never seen it on "best of" re-recordings. That always miffed me.
Charles Gerhardt didn't even include it on his wonderful Return of the Jedi recoring... weird.
-Rick O.
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For all the fanfare that Williams' Imperial March gets, his Emperors' Theme is kind of ignored. I think it's a fantastic theme that elevates every scene it's in, from the eerie low male vocal backings and climaxing with the full-on orchestral performance at the end. One of the most powerful statements of villainy in Williams' career, and better, I think, than the similar treatment he gave to the Imperial March in the previous film.
It's definitely a great theme. And even though the cue itself is annoying, I like the treatment it gets at the end of Episode I. Kind of an inside joke to people who actually pay attention to the score.
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Only MGH would appreciate this--Gerald Fried's addictive main theme from TOO LATE THE HERO.
And, thanks to MMM for digitally preserving Walter Greene's nifty little theme from Roger Corman's
WAR OF THE SATELLITES.
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