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PART ONE: 1915-1969

By Scott Bettencourt

Doug Adams' review of Danny Elfman's Hulk score inspired a group of letters defending the use of melody in film scoring (as well as Doug's response), and it would be nice if I could honestly say that the debate inspired this series of articles on my favorite musical themes from movies, but the truth is much more mundane -- I was stuck for a column to write, and when that happens I do what I always do -- I look in my file of film music lists to see if there's anything that can be turned into an article (or even better -- a SERIES of articles!)

Whereupon I came across an old list of my favorite themes from film scores, and -- voila! -- another series of columns was born. As you might guess, this list is completely personal and thus somewhat arbitrary -- there are some themes on this list which would dazzle with their melodic splendor no matter what instrument they were played on, while others (for example, The Taking of Pelham One Two Three, to be featured in a future installment) are arguably somewhat dependent on their original orchestrations for their impact.

Though I've listed 1915 as the starting date of this first part (chosen because that was the year the amazing but staggeringly racist The Birth of a Nation was released, featuring one of the earliest major scores), you will notice that my own list doesn't actually begin until 1940.

Many of the theme titles are my own, largely arbitrary creation.

1. "GROVERS CORNERS," Our Town - Aaron Copland (1940)

The earliest theme on my list comes from Sam Wood's lovely film of the great Thornton Wilder play about life in the fictional small town of Grovers Corners, New Hampshire in the first years of the 20th century. The film does an excellent job of adapting the play's theatrical style to the cinema, with some of the striking, black-and-white shots almost looking like deleted scenes from Citizen Kane (made the following year), with outstanding design by William Cameron Menzies and his associate Harry (father of James) Horner. The Grovers Corners theme is used sparingly in the score, for scenes in which the omniscient "Stage Manager" introduces each new year in the life of the town, and Copland took New England hymns as the inspiration for his simple, bittersweet melody (One part of the theme showed up 49 years later in Horner Jr.'s score for Field of Dreams). There is no complete recording of the Our Town score, alas, but Copland compiled an 11-minute concert suite and his own performance of it with the London Symphony Orchestra was featured on a CBS Masterworks disc Copland Conducts Copland.

2. "ROSEBUD," Citizen Kane - Bernard Herrmann (1941)

When people talk about Citizen Kane, they mostly discuss the superb screenplay, the extraordinary use of the filmmaking arts (score, cinematography, editing, sound, visual effects, makeup), and the superb cast, but Kane's emotional underpinnings get short shrift. What emotional impact the film has is largely due to Herrmann's score, especially the deceptively simple "Rosebud" theme. (I know, even though the film is sixty two years old there are people who still may not have seen the film or even heard what Rosebud turns out to be, so I won't give it away.) Used only sparingly throughout the score, it is first heard in a somber, brooding rendition at the film's opening, and later given a delicate, sensitive playing when Kane visits Susan at her apartment. But it is at the finale where the motif has its greatest impact, for in the burning of Rosebud (sorry, I just gave part of it away), Herrmann's score reaches a stunning climax as the full orchestra delivers an emotionally devastating performance of the theme (according to Herrmann, the cue was composed and recorded before filming and played as the finale was shot). Though both the Preamble (conducted by Tony Bremner) and Varese (Joel McNeely) re-recordings of the score are recommended, Charles Gerhardt's RCA disc Citizen Kane: The Classic Film Scores of Bernard Herrmann has arguably the most powerful version of the finale available. The RCA disc overall is highly recommended, especially for the thrilling suite from White Witch Doctor, unavailable anywhere else. (I still have never heard the infamous Leroy Holmes LP rerecording of the Kane score from the 1970s -- is it really that terrible?)

3. "LUCY'S THEME," The Ghost and Mrs. Muir - Bernard Herrmann (1947)

Is The Ghost and Mrs. Muir the most beautiful film score ever written? True, major portions of it were reworkings of Herrmann's opera version of Wuthering Heights (though, in a classic Herrmann denial, he would never cop to ripping himself off), but that doesn't diminish the extraordinarily lovely and evocative quality of Herrmann's score. Mind you, it's a terrific film even apart from the music -- those of us who were raised on the Hope Lange/Edward Mulhare/Charles Nelson Reilly sitcom version were fairly stunned (at least, I was) to discover that the source film (from R.A. Dick's novel) was a gorgeous and melancholy romantic fable about loneliness and love beyond the grave. Though the entire score is magical, the part that moves me most greatly is the breathtakingly simple four-note descending motif, heard in the following cues: Prelude, The Bedroom, Poetry, Nocturne, The Spring Sea, Farewell, Sorrow, The Empty Room, The Passing Years, The Late Sea, and Forever. Elmer Bernstein's Film Music Collection LP recording, released on CD by Varese, was a gorgeous and faithful interpretation, but bless Varese and Fox Music for releasing Herrmann's full original score.

4. "TOM TIFLIN'S THEME," The Red Pony - Aaron Copland (1949)

Countless classical music listeners and concertgoers only know this tune from Copland's popular "Red Pony Suite," which featured the theme in the pieces "Morning on the Ranch" and "Happy Ending." However, Copland's energetic, uptempo arrangement of the melody for the concert medium gives little indication of the theme's stunning beauty. In 1986, Varese Sarabande released an LP of the film's original score tracks, and the film version of this theme, played at a slower tempo and with immense delicacy and warmth, is utterly gorgeous, as heard in such cues as Red Pony - Tom's theme, Walk to the Bunkhouse, Tom and the Pony, and Tom's Theme/I Want Rosie's Colt, ranking with Elmer Bernstein's To Kill a Mockingbird as the most exquisite music written for a cinematic depiction of childhood. Unfortunately, Varese has never released this invaluable album on CD, so I recommend that any collector who still owns a turntable hunt for this album at your local store's used LP section -- it's well worth the effort. One of its other great treasures is a moving melody, heard only at the score, reflecting Tom's new maturity, which inexplicably didn't make it into the concert suite.

5. "THE BIG COUNTRY," The Big Country - Jerome Moross (1958)

Moross's glorious main title melody is one of the most indelible of all Western themes, ranking with Bernstein's The Magnificent Seven -- and both themes received a boost from being used in TV commercials (I think the Big Country theme was used by Great Western Savings, but I'm not positive). Though it's one of those melodies one can never grow tired of, Moross used it only sparingly in his score, featuring it in only six cues -- Main Title, The Terrill Ranch, The Raid, McKay's Ride, Big Muddy, and End Title.

6. "FANDANGO," North By Northwest - Bernard Herrmann (1959)

William Goldman has argued that Hitchcock's strong suit was not big-scale action scenes, and except for the superb (and unscored) crop duster assault, North By Northwest's action setpieces (the runaway car, the Mt. Rushmore chase) are actually the weakest parts of the film, paling next to the wit of Ernest Lehman's dialogue (it was Herrmann who introduced his friend Lehman to Hitchcock) and the elegant performances of Cary Grant, Eva Marie Saint, Martin Landau and especially James Mason, but Herrmann's extraordinarily exciting main theme, introduced over Saul Bass's marvelous title sequence, glosses over the weaknesses of the process shot-laden chase scenes, providing a wonderful mix of classic big city hubbub music with what Herrmann himself termed "a kaleidoscopic orchestral fandango." The theme is heard in its action version in several cues, including Overture, The Wild Ride, The Knife, The Stone Faces, On the Rocks, and Finale, while Herrmann slowed it down for Two Dollars and even devised a comic version for The Station.

7. "SUMMER AND SMOKE," Summer and Smoke - Elmer Bernstein (1961)

Herrmann's The Ghost and Mrs. Muir score was reportedly a major influence on Bernstein's Summer and Smoke music, and the two scores share a similar beauty -- while Muir's music evokes waves on the beach and a storm tossed sea, Bernstein's gorgeous main theme, a lovely evocation of loneliness and thwarted sensuality, suggests a warm Southern breeze rustling through the trees. Though in context, his music is not as perfectly applied as his To Kill a Mockingbird score from a year later, on its own Bernstein's score is one of the most beautiful ever written.

8. "CHILDREN'S THEME," To Kill a Mockingbird - Elmer Bernstein (1962)

No description I could come up with would possibly do justice to one of the most exquisitely beautiful movie themes of all time. If you've heard this score, you'll know exactly what I mean, and if you've never heard it, I urge you to rush out and buy Varese Sarabande's re-recording of the score, conducted by the composer. And of course also watch the movie, a deserved classic featuring Gregory Peck's finest performance. The children's theme is featured in the following cues: Main Title, Remember Mama, Ewell's Hatred, Jem's Discovery, Tree Treasure, Footsteps in the Dark, Boo Who?, and End Title. Suffice it to say that Bernstein's music was played at Peck's funeral, and the composer spoke at a recent tribute to the late actor.

9. "OO7," From Russia With Love - John Barry (1963)

The controversy over who actually wrote the James Bond theme will never die, as long as there are Bond geeks like me still alive to debate it. Monty Norman won his recent court case on the topic, and in the "Music of James Bond" documentary on the View to a Kill DVD, he hums the motif which he used for the Bond theme, based on a song he'd written for a stage musical. However, there are many parts to the Bond theme, and I suspect that Barry provided some of them in his classic "arrangement" of the theme, so a more honest crediting would list both composers. Regardless, From Russia With Love provided Barry with his first chance to score a Bond film by himself (and one of the all-time finest Bonds, in my opinion, with a superlative villain in Robert Shaw and a twisty plot worth of a Hitchcock thriller), and though Lionel Bart wrote the theme song ("Goldfinger" is the first Bond song actually composed by Barry), Barry provided his own James Bond theme for the film, titled "007." The theme has a dual nature which wonderfully evokes the distinctive quality of the Connery Bonds -- a propulsive rhythm evokes the exciting action scenes, while the unhurried melody suggests Bond's preternatural coolness. Though the Russia CD featured only two versions the theme, 007 and 007 Takes the Lektor, Barry reused the theme in four more Bond scores. For Thunderball he composed an exciting variation, first heard in the Street Chase cue, which dominates the lengthy action finale. For You Only Live Twice (Little Nellie) and Diamonds Are Forever (To Hell With Blofeld) he left the Thunderball variation behind and returned to the original theme, while in Moonraker (Boat Chase) the rendition was so relaxed as to be barely an action cue, and it was the last time he used it -- his final three Bond scores, written consecutively, did without the 007 theme entirely, though they featured plenty of exciting new action music.

10. "MASTER OF DISGUISE," The List of Adrian Messenger - Jerry Goldsmith (1963)

In my teens, mysteries tended to be among my favorite films -- one of the pivotal movie going experiences of my life was a double feature of Family Plot and Murder on the Orient Express, and I returned to the same theater a week later after Orient Express had been replaced by Sleuth. One of my all-time favorite scores in the genre is Goldsmith's early work for this odd John Huston directed mystery, with George C. Scott as a brilliant detective chasing a murderer who's a master of disguise, with several famous actors wearing elaborate makeups (by Bud Westmore and John Chambers) in supporting roles to confuse the issue -- Tony Curtis, Kirk Douglas, Burt Lancaster, Robert Mitchum, Frank Sinatra. (Confusing the issue even more, supposedly one or more of the celebs didn't even actually act in the body of the film, only appearing in the epilogue to take off the mask, with their earlier "roles" played by made-up doubles. For an additional puzzle, watch the film and listen for how many supporting characters have been dubbed by Paul Frees.) Goldsmith's score is unlike any other score in his canon of feature work, with a wonderfully wry and mischievous main theme heard throughout the score as we follow the killer on his exploits. Maddeningly, none of this score has ever seen a CD or LP release, and as it's a Universal production this aggravating situation is only likely to continue.

11. "DEAD RINGER," Dead Ringer - Andre Previn (1964)

Though the influence of Erich Wolfgang Korngold on John Williams' music has been much remarked on, I feel that Andre Previn had an even greater effect on the Williams' sound, and Previn's wry harpsichord score for this Bette Davis thriller (whose storyline was recently parodied in the film Die Mommie Die) is like the dark flip side of Williams' charming Family Plot. Ringer's score is dominated by its marvelous main theme, which perfectly sets up an atmosphere of deceit and irony, counterpointed by a heartfelt love theme. The theme is introduced in the main title and used in such cues as Hidden Jewelry, The Fireplace Poker, The Dog Attacks, Forgery, and The Police is Waiting before bringing the score to an end. This wonderful score unfortunately has never received a CD release, while the back cover of the Warner Bros. LP features one of the grisliest stills to be found on a soundtrack of its era, depicting the fate of Peter Lawford's character, as well as liner notes which give away the entire plot. (Other scores in this vein from the era include Ronald Stein's Dementia 13 and Vic Mizzy's The Night Walker.)

12. "DELUSION," Seance On A Wet Afternoon - John Barry (1964)

This small-scale suspense thriller, which earned an Oscar nomination for Kim Stanley as a would-be psychic who convinces her husband (Richard Attenborough) to kidnap a little girl so that she can prove her abilities to the world by "finding" the child, is engrossing but at 115 minutes a bit overlong for its simple storyline, but Gerry Turpin's black and white cinematography gave it an appropriate feeling of dread and loss, helped by John Barry's restrained score. The score has never received a full release -- not surprisingly, since it's comprised largely of one theme -- but it's a marvelously spooky melody. The Columbia CD The Music of John Barry featured a re-recording of the theme, while the Silva CD Walkabout featured a six minute suite of the score conducted by Nic Raine -- a nice performance, but lacking the distinctively eerie sonics of the original recording.

13. "THE SATAN BUG," The Satan Bug - Jerry Goldsmith (1965)

The laserdisc of The Satan Bug (featuring an isolated score-and-effects track) was released shortly before Star Trek: First Contact arrived in theaters, and upon hearing Goldsmith's stunning Satan Bug main title I knew he wasn't likely to come up with anything nearly as cool for the Borg (I like his Borg theme, but just imagine the impact of something like his Bug music for the villainous cyborgs). Goldsmith's main theme is one of his most impressive early efforts, accompanying the striking DePatie-Freleng titles with a relentless, arrhythmic motif. The theme is never heard again in the score once the main titles are over, fittingly since the titular contagion is never actually released during the course of the movie. Alas, despite understandable interest from the soundtrack labels, no full copy of the original score tapes has been found, and it's hard to imagine a rerecording conductor able to do justice to this distinctive, original score.

14. "THE ROCK," In Harm's Way - Jerry Goldsmith (1965)

In Harm's Way was Goldsmith's first all-star epic (he even visited the set, and has a cameo -- 19 years before Gremlins -- as a pianist in the opening scene) as well as one of his first major military scores. For that most iconic of movie stars, John Wayne (as Captain Rockwell "The Rock" Torrey), he wrote a stirring march, one of his first great melodies, bearing pleasant similarities to his classic "Enterprise" theme from Star Trek -- The Motion Picture. The film's stunning end title sequence (Final Victory), designed by the inevitable Saul Bass, symbolically depicts the progress of World War II and features an especially memorable Goldsmith cue including the "Rock" theme, but unfortunately in the movie Goldsmith's powerful cue is nearly drowned out by sound effects. The original LP featured a well-chosen selection of Goldsmith cues, though missing some striking percussion cues for a naval pursuit sequence, and was released on CD in Japan by SLC in 1990.

15. "ARABESQUE," Arabesque - Henry Mancini (1966)

Back in the 1960s when soundtrack releases were becoming common (though not nearly as wonderfully inevitable as they are today), Henry Mancini was not only one of the most popular composers but also one of the most prolific soundtrack producers. Unfortunately for film score fans, he believed that his films' incidental music would be of little interest to the casual record buyer, so he tended to fill his soundtrack albums with source cues and pieces composed and arranged for the album -- for example, his album of Charade completely omits the film's wonderful suspense and action music. Luckily, the album for Charade's follow-up Arabesque (not a sequel, but another light Hitchcockian thriller from Stanley Donen and Peter Stone) was for the most part an actual score album, featuring an especially romantic and adventurous main title theme (which Mancini, for once, didn't add lyrics to) which also serves as the film's action theme in exciting cues like The Zoo Chase. RCA's Spain division re-released the old album on CD in 1999 and it's well worth tracking down.

16. "CHINESE LOVE THEME," The Sand Pebbles - Jerry Goldsmith (1966)

Arguably Goldsmith's first great score (okay, I don't know if Blue Max came first), this epic work features two terrific love themes, and though "And We Were Lovers" received the most attention, I prefer the so-called Chinese Love Theme, depicting the ill-fated romance (actually, pretty much everything in The Sand Pebbles is ill-fated) between Frenchy and Maily. My favorite rendition is the Overture (Alternate) (as it's called on the marvelous Varese Club Deluxe Edition of the score) which is not actually heard in the film but will be familiar to those who owned the original soundtrack LP, as it features a stunningly dramatic and powerful performance of the theme, much more memorable than the actual film's overture, which uses the other love theme, suggesting that perhaps even Goldsmith preferred it. Still, "And We Were Lovers is also terrific, especially the thoughtful treatment Goldsmith gives it in Hello Engine.

17. "ANYA," Billion Dollar Brain - Richard Rodney Bennett (1967)

The third and final "Harry Palmer" feature, from Len Deighton's popular series of novels about a (nameless) working class British spy, was the most James Bond-ian of the series, with its international locales and computer-lined world domination complex (the Brain of the title), but Bennett's score, a mixture of dreamy romance and tongue-in-cheek melodrama, could hardly be mistaken for James Bond music. The "Anya" melody is introduced behind the opening credits, played on multiple pianos in an arrangement inspired by Michel Legrand's score for Bay of Angels, over lively Maurice Binder titles depicting computers, Michael Caine and beautiful women, which evoke some of Binder's later, campier Roger Moore/James Bond title sequences. Slowed down and played on the ondes martenot, the melody becomes a sinuous love theme for the gorgeous, duplicitous Anya, played by Catherine Deneuve's older sister Francoise Dorleac, shortly before a car accident claimed her life. The film, though the weakest of the Palmer series (I'm not counting the recent Harry Alan Towers produced entries, Bullet to Beijing and Midnight in St. Petersburg, which are not based on Deighton novels and don't deserve the name "Harry Palmer"), is still a stylish and lively entertainment, but unfortunately not available on home video (probably because of the use of The Beatles' "A Hard Days Night" in one scene), and the score, released on a United Artists LP, has never received a commercial CD release though the main title was featured on the Sony CD Composed By: Music by Hollywood's Great Composers.

18. "BATHSHEBA," Far From the Madding Crowd - Richard Rodney Bennett (1967)

Some movie themes are beautiful in their simplicity and delicacy; others wash across the listener with a burst of melodic and orchestral grandeur that breaks like a wave. Richard Rodney Bennett's main theme from Far From the Madding Crowd is a melody of heartbreaking rapture, a gorgeous complement to Nicolas Roeg's widescreen photography of the English countryside and the distinctive beauty of Julie Christie. The entire score is lovely and features charming and authentic folk themes, but it's the main theme that's the real keeper -- if the film were a boxoffice hit the "Bathsheba" melody would have achieved the classic status of far inferior themes like "Lara's Theme" or "My Heart Will Go On."

19. "YOU ONLY LIVE TWICE," You Only Live Twice - John Barry (1967)

John Barry's third main title song for a Bond film was his first real love song for the series, and it's a measure of the growing assurance Barry showed over the course of his Bond scores that he could successfully anchor the most lavish and spectacular Bond film of its time with a soaring ballad, but despite the film's enormous production it retains a relaxed and elegant mood unlike the string of overproduced action scenes which pass for a Bond film today. The emphasis on the love theme is fitting, matching both Freddie Young's gorgeous photography of the Japanese countryside (hiring David Lean's DP to shoot a Bond film was another unusual choice) and the film's romances -- as Pauline Kael wrote, "this casual, human Bond is rather tender in his sex relationships -- one might almost call them love relationships this time." The theme's Japanese atmosphere is light but effective, and one of the many pleasures of the film is its emphasis on one central locale -- no gratuitous side trips to other countries just to rack up impressive locations, and the song is also used overall as the Japan theme.

20. "ROMANCE FOR GUITAR AND ORCHESTRA," Deadfall - John Barry (1968)

This is the only one of the 24 themes in this article for which I have not actually seen the movie it was written for (admittedly, I didn't see Our Town or Seance on a Wet Afternoon until I started writing this piece), which is somewhat fitting since Barry's "Romance" is actually a piece of source music, conducted onscreen by the composer, as counterpoint for a robbery performed by the film's star, Michael Caine (Barry's friend and one-time roommate). It is also the only one of these 24 themes to be available from our website (though Lukas' Deadfall CD was actually released by Retrograde, the predecessor to the Film Score Monthly label), which if nothing else proves that I didn't write this series just to advertise FSM discs. Either way, the "Romance" is a wonderfully elegant and elaborate theme, and Deadfall is also graced with a Bondian love song, "My Love Has Two Faces," performed by the pre-eminent James Bond songstress herself, Shirley Bassey.

21. "THE POWER," The Power - Miklos Rozsa (1968)

This adaptation of the Frank M. Robinson thriller, produced by George Pal and directed by Byron Haskin, pitted George Hamilton against an unseen villain with extraordinary mental powers and is one of Pal's most purely entertaining films, culminating in a telekinetic duel that was a forerunner of films like The Fury and Scanners. Rozsa may have exaggerated when he claimed to be completely baffled by the film -- it's confusing but not completely inexplicable -- but his instinctive dramatic sense was as strong as ever and he gave the film one of his most exciting scores, with a dazzling and intricate main theme which used a cimbalom to represent the power of the film's villain, "Adam Hart." The cimbalom (also heard prominently in John Barry's score for The Ipcress File) is even played onscreen in one scene, as an unusual visual counterpoint to Hart's powers. Unfortunately, the master tapes of the score are lost ("turned to vinegar" is how Lukas put it), but ten cues from the score were released on the Prometheus CD Miklos Rozsa: Film Music Vol. #1, paired with choral themes from Ben-Hur and King of Kings.

22. "REGIS REGUM RECTISSIMI," The Lion in Winter - John Barry (1968)

Though The Lion in Winter is not one of my favorite Barry scores overall, it is an especially deft score from one of my all-time favorite composers, managing to provide restrained musical support for a talky drama while featuring powerful cues that don't overwhelm the action. My favorite part of the main title theme, an absolutely thrilling cue which suggests a much more exciting film than the director actually made (while managing to seem perfectly suited to the proceedings) is not the choral piece which gives this cue its title but the dazzling fanfare, which is heard in such other cues as To Rome and Media Vita in Morte Sumus, and recieves an especially stirring rendition in the glorious final cue, We're Jungle Creatures and is one of Barry's most powerful creations. The original LP (first released on CD by Varese and later re-released by Sony) included most of the film's score in Barry's thrilling original performance, while Silva's 2000 re-recording is a worthy performance, including a small amount of additional music as well as a suite of Barry cues for Mary, Queen of Scots (largely cues not included in the original MCA soundtrack LP).

23. "FORBIDDEN VALLEY THEME," The Valley of Gwangi - Jerome Moross (1969)

For most film music fans, The Big Country is the quintessential Jerome Moross score and possibly even the ultimate Western score. But for those of us who grew up watching stop motion monster movies instead of all-star epic Westerns, Gwangi was the gateway to the musical world of Moross and the rousing "Forbidden Valley theme" is nearly as indelible as the Big Country theme, whether in its rousing opening version or in the slow rendition that plays over Gwangi's death. Alas, the original score tapes of Gwangi are reportedly lost, while the Silva CD The Valley of Gwangi: The Classic Film Music of Jerome Moross features a terrific 18-minute suite that still leaves out some memorable material, including a driving theme from the main titles.

24. "ON HER MAJESTY'S SECRET SERVICE," On Her Majesty's Secret Service - John Barry (1969)

For the first Bond film since From Russia With Love to open without a title song, Barry composed a wonderful main theme to accompany Maurice Binder's titles (which featured clips from the earlier Bonds as a way to link new Bond George Lazenby to the series), like his "007" theme a marvelous mix of propulsive rhythms and ineffable cool. Variations range from a pensive rendition in Over and Out to a balls-out action version in Battle at Piz Gloria. Barry later wrote a similar action theme for his penultimate Bond score, A View to a Kill, and it was fun but not quite in the OHMSS class.

Some of the many wonderful themes from these years that didn't make the cut (I eagerly await your letters listing all the marvelous melodies from this era that I'm an idiot for omitting):

ADVENTURES OF DON JUAN (Main Theme) - Max Steiner
THE BAD AND THE BEAUTIFUL (Main Theme) - David Raksin
BEN-HUR (Christ theme) - Miklos Rozsa
BENEATH THE 12-MILE REEF (Main Theme) - Bernard Herrmann
THE BLUE MAX (Main Theme) - Jerry Goldsmith
CAPTAIN FROM CASTILE (Main Theme, Conquest) - Alfred Newman
THE CARDINAL (Main Theme) - Jerome Moross
THE CHAIRMAN (Main Theme) - Jerry Goldsmith
THE CHASE (The Chase) - John Barry
CLEOPATRA (Antony & Cleopatra) - Alex North
DEADFALL (My Love Has Two Faces) - John Barry
THE DIARY OF ANNE FRANK (Love Theme) - Alfred Newman
EL CID (Main Theme) - Miklos Rozsa
FAHRENHEIT 451 (The Road) - Bernard Herrmann
FIRST MEN IN THE MOON (Main Theme) - Laurie Johnson
FITZWILLY (Main Theme) - John Williams
FROM RUSSIA WITH LOVE (Grant's Theme) - John Barry
THE 4 HORSEMEN OF THE APOCALYPSE (Love Theme) - Andre Previn
HAWAII (Main Theme) - Elmer Bernstein
HOW THE WEST WAS WON (Main Theme) - Alfred Newman
THE ILLUSTRATED MAN (Main Theme) - Jerry Goldsmith
IN HARM'S WAY (Love Theme) - Jerry Goldsmith
THE IPCRESS FILE (A Man Alone) - John Barry
IVANHOE (Main Theme) - Miklos Rozsa
KING OF THE KHYBER RIFLES (Main Theme) - Bernard Herrmann
KINGS GO FORTH (Quiet Drive) - Elmer Bernstein
KNIGHTS OF THE ROUND TABLE (Perceval's theme) - Miklos Rozsa
LAURA (Laura) - David Raksin
MARNIE (Fox Hunt) - Bernard Herrmann
MYSTERIOUS ISLAND (Main Theme) - Bernard Herrmann
NORTH BY NORTHWEST (Love Theme) - Bernard Herrmann
A PATCH OF BLUE (Main Theme) - Jerry Goldsmith
PETULIA (Main Theme) - John Barry
PEYTON PLACE (Main Theme) - Franz Waxman
PLANET OF THE APES (Main Theme) - Jerry Goldsmith
POINT BLANK (Main Theme) - Johnny Mandel
THE PRIZE (Main Title) - Jerry Goldsmith
PSYCHO (Temptation) - Bernard Herrmann
THE RED PONY (Tom's Maturity) - Aaron Copland
THE SAND PEBBLES (And We Were Lovers) - Jerry Goldsmith
THE 7TH VOYAGE OF SINBAD (The Roc) - Bernard Herrmann
A SHOT IN THE DARK (A Shot in the Dark) - Henry Mancini
SOME CAME RUNNING (Ginny) - Elmer Bernstein
SPARTACUS (Main Title, Love Theme) - Alex North
THE SPIRIT OF ST. LOUIS (Main Theme) - Franz Waxman
THE SUN ALSO RISES (Main Title) - Hugo Friedhofer
THE THIEF OF BAGDAD (Princess Love Theme) - Miklos Rozsa
THUNDERBALL (Mr. Kiss Kiss Bang Bang) - John Barry
TORN CURTAIN (Rejected Main Title) - Bernard Herrmann
TRUE GRIT (Rooster's theme) - Elmer Bernstein
THE TROUBLE WITH ANGELS (Main Theme) - Jerry Goldsmith
VERTIGO (Main Title, Love Theme) - Bernard Herrmann
THE WHISPERERS (Nobody and Nothing) - John Barry
WHITE WITCH DOCTOR (Main Title) - Bernard Herrmann
THE WORLD OF HENRY ORIENT (Main Theme) - Elmer Bernstein
THE WRONG MAN (Main Title) - Bernard Herrmann
YOU ONLY LIVE TWICE (Bond's Funeral) - John Barry
ZULU (Main Theme) - John Barry

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