Film Score Monthly
FSM HOME MESSAGE BOARD FSM CDs FSM ONLINE RESOURCES FUN STUFF ABOUT US  SEARCH FSM   
Search Terms: 
Search Within:   search tips 
You must log in or register to post.
  Go to page:    
 
 Posted:   May 26, 2012 - 8:41 AM   
 By:   Robert0320   (Member)

These scores were intentionally designed to have 1 central theme or motif to carry the film along. One of the most famous is LAURA, with it's now infamous melody. While there is at least a secondary theme, the main melody siezes your attention and never lets go. It is everywhere: as unbderscore, on the record player (remember those?) and even a live combo performs it at a restauramt. Fox released the score back in 1993 and while the entire work is short, less than laf an hour, Raksin's inventiveness constantly renews the tune and it all goes by quickly. There is also the psychological factor that the meody never comes to an end (the final cadnece) and that not quite finished quality lends an air of mystery and excitement.

Two other scores coem to mind, both by John Williams: THE LONG GOODBYE and THE EIGER SANCTION. While Sanction has a few stand alone cues, it is the stylish main theme supplies the undercurrent of more to come while Clint does his underplaying to the point of catalypsy.

 
 Posted:   May 26, 2012 - 9:26 AM   
 By:   Adm Naismith   (Member)

Gone with the Wind.
Life is Beautiful.
Dr. Zhivago (I guess there is a fair amount of variation, but Lara's Theme dominates).

 
 Posted:   May 26, 2012 - 9:52 AM   
 By:   ToneRow   (Member)

Hi, Robert0320 - you make 2 threads around the same time about "top" Andre Previn soundtracks and monothematic scores and you don't mention TWO FOR THE SEE SAW in either post?! smile

Previn's SEE SAW is quite monothematic if one discounts the radio source music and jazz pieces.

Another soundtrack I consider to be basically monothematic is Jerry Goldsmith's THE ILLUSTRATED MAN, which places its theme through much variation throughout its duration.

Also, Mario Nascimbene's music for his "dinosaur trilogy" can be rather monothematic when one's ears filter away all the electronic embelishments in ONE THOUSAND YEARS B.C., for instance.

 
 
 Posted:   May 26, 2012 - 10:20 AM   
 By:   CinemaScope   (Member)

The one that comes to mind as the top of the list is Jarre's, Grand Prix, almost every track is a workout of that theme, from palm court to brass band & everything in between. A favorite of mine (it helps a lot if you like the theme!)

 
 Posted:   May 26, 2012 - 10:28 AM   
 By:   mark ford   (Member)

THE ACCIDENTAL TOURIST by John Williams is pretty monothematic.

 
 Posted:   May 26, 2012 - 10:40 AM   
 By:   Zaku   (Member)

Love Affair by Ennio Morricone.

 
 
 Posted:   May 26, 2012 - 10:42 AM   
 By:   roy phillippe   (Member)

These scores were intentionally designed to have 1 central theme or motif to carry the film along. One of the most famous is LAURA, with it's now infamous melody. While there is at least a secondary theme, the main melody siezes your attention and never lets go. It is everywhere: as unbderscore, on the record player (remember those?) and even a live combo performs it at a restauramt. Fox released the score back in 1993 and while the entire work is short, less than laf an hour, Raksin's inventiveness constantly renews the tune and it all goes by quickly. There is also the psychological factor that the meody never comes to an end (the final cadnece) and that not quite finished quality lends an air of mystery and excitement.

Two other scores coem to mind, both by John Williams: THE LONG GOODBYE and THE EIGER SANCTION. While Sanction has a few stand alone cues, it is the stylish main theme supplies the undercurrent of more to come while Clint does his underplaying to the point of catalypsy.


Johnny Mandel's beautiful score for "The Sandpiper" is largely based on his "Shadow Of Your Smile" theme and features the great Jack Sheldon on trumpet. This score could stand an expanded release.

 
 
 Posted:   May 26, 2012 - 11:01 AM   
 By:   TPC   (Member)

What about John Barry's "The Day of the Locust"?

 
 
 Posted:   May 26, 2012 - 11:12 AM   
 By:   desplatfan1   (Member)

Daft Punk's Tron Legacy. It's based in one simple theme (excluing the Adagio for Tron, and the string ostinato for C.L.U.). Same with Terence Blanchard's 25th Hour and Red Tails.

 
 
 Posted:   May 26, 2012 - 11:49 AM   
 By:   CinemaScope   (Member)

Johnny Mandel's beautiful score for "The Sandpiper" is largely based on his "Shadow Of Your Smile" theme and features the great Jack Sheldon on trumpet. This score could stand an expanded release.

Well there's the FSM release, original score & LP program.

http://www.screenarchives.com/title_detail.cfm/ID/11472/THE-AMERICANIZATION-OF-EMILY-THE-SANDPIPER-DRUMS-OF-AFRICA/

 
 
 Posted:   May 26, 2012 - 11:59 AM   
 By:   manderley   (Member)

.....Gone with the Wind.
Life is Beautiful.
Dr. Zhivago (I guess there is a fair amount of variation, but Lara's Theme dominates).....



I'm quite startled by your inclusion of GONE WITH THE WIND in this topic of monothematic scores.

GONE WITH THE WIND is one of the superb examples of leitmotiv scoring---many, many themes interwoven throughout the score---themes for the major principal characters, Rhett, Scarlett, Ashley, Melanie, and also including Gerald O'Hara, Bonnie Blue and Mammy, a theme for the war, a theme for Tara, individual themes for several different romantic relationships---there must be upwards of 15-20 major themes in GWTW!!! Johnny Green's RAINTREE COUNTY and Andre Previn's FOUR HORSEMEN OF THE APOCALYPSE are others like this.

 
 
 Posted:   May 26, 2012 - 12:12 PM   
 By:   sr-miller   (Member)

.....Gone with the Wind.
Life is Beautiful.
Dr. Zhivago (I guess there is a fair amount of variation, but Lara's Theme dominates).....



I'm quite startled by your inclusion of GONE WITH THE WIND in this topic of monothematic scores.

GONE WITH THE WIND is one of the superb examples of leitmotiv scoring---many, many themes interwoven throughout the score---themes for the major principal characters, Rhett, Scarlett, Ashley, Melanie, and also including Gerald O'Hara, Bonnie Blue and Mammy, a theme for the war, a theme for Tara, individual themes for several different romantic relationships---there must be upwards of 15-20 major themes in GWTW!!! Johnny Green's RAINTREE COUNTY and Andre Previn's FOUR HORSEMEN OF THE APOCALYPSE are others like this.


I was also confused by the mention of Gone With the Wind. My first assumption was that the listener only remembered the Tara Theme. I can't account for its inclusion any other way, as it has many themes.

 
 
 Posted:   May 26, 2012 - 3:59 PM   
 By:   Robert0320   (Member)

Tone Row, you're right. How could I have omitted SeeSaw? as for GWTW, everyone is entitled to their opinion, but that is not a monothematic score. It actually offers an embarrassment of motivic riches and is a outstanding example of the leitmotif technique, where nouns (i.e. person, place, thing or idea) is given a musical signature.

 
 Posted:   May 26, 2012 - 5:54 PM   
 By:   Ester   (Member)

Also, Mario Nascimbene's music for his "dinosaur trilogy" can be rather monothematic when one's ears filter away all the electronic embelishments in ONE THOUSAND YEARS B.C., for instance.

Actually none electronic embelishments. Here is what he'd answer to Claudio Fuiano :

Claudio Fuiano: Other scores with a similar musical expression were ONE MILLION YEARS B.C. and WHEN DINOSAURS RULED THE WORLD. Sometimes you can’t ever hear if it’s electronic music or not…
Mario Nascimbene: There’s no electronic music in these scores. In the methods I have used there was no room for electronics. (Although I have used electronics in some later television scores). For the “cosmic” sequence in ONE MILLION YEARS B.C., I needed 67 pre-mixed sounds, 12 at a time! It took me and my sound engineer, Gianni Mazzarini (whom I have worked with for twenty years), four days to put that sequence together. I remember in particular the impression of wind moving back and forth stereophonically…


Here is the link to the complete interview in which Nascimbene speaks about the MIXERAMA and how he managed to get an electronic mood without using electronic instruments :

http://www.runmovies.eu/index.php?option=com_content&view=article&id=558:mario-nascimbene-innovating-the-use-of-sounds&catid=35:interviews

 
 Posted:   May 26, 2012 - 6:09 PM   
 By:   Ester   (Member)

When I read that thread title and despite the fact I am a great admirer of Morricone who has written a great deal of monothematic scores, one title sparked in my mind, a title that has been one of the most hypnotic listening experience : 'Appointment' by Michel Legrand.

 
 Posted:   May 26, 2012 - 6:10 PM   
 By:   Adm Naismith   (Member)

.....Gone with the Wind.
Life is Beautiful.
Dr. Zhivago (I guess there is a fair amount of variation, but Lara's Theme dominates).....



I'm quite startled by your inclusion of GONE WITH THE WIND in this topic of monothematic scores.

GONE WITH THE WIND is one of the superb examples of leitmotiv scoring---many, many themes interwoven throughout the score---themes for the major principal characters, Rhett, Scarlett, Ashley, Melanie, and also including Gerald O'Hara, Bonnie Blue and Mammy, a theme for the war, a theme for Tara, individual themes for several different romantic relationships---there must be upwards of 15-20 major themes in GWTW!!! Johnny Green's RAINTREE COUNTY and Andre Previn's FOUR HORSEMEN OF THE APOCALYPSE are others like this.


I was also confused by the mention of Gone With the Wind. My first assumption was that the listener only remembered the Tara Theme. I can't account for its inclusion any other way, as it has many themes.


Well, OK, I haven't listened to it in a while, but the '83 Polydor album I have seemed pretty heavy on the 'Tara's Theme' (which is why I haven't given it extensive consideration). I'll have to give it a spin right away for re-evaluation.
Indeed the liner notes talk of Steiner using a lietmotiv methodology.

 
 
 Posted:   May 26, 2012 - 6:26 PM   
 By:   dan the man   (Member)

She- 65- James Bernard-Somewhere in time-80-there are so many.

 
 
 Posted:   May 26, 2012 - 9:46 PM   
 By:   JSWalsh   (Member)

Rachel Portman's THE HUMAN STAIN sure seems like a monothematic score, as does Trevor Jones's parts of LAST OF THE MOHICANS--they both started to annoy me in the theater.

 
 Posted:   May 27, 2012 - 6:24 AM   
 By:   Anabel Boyer   (Member)

That's odd : there are some scores listed here i'd have never considered as monothematic. For example TWO FOR THE SEESAW : there's definitely a strong main theme but considering the score as a monothematic one seems to me a little bit exaggerated.

 
 Posted:   May 27, 2012 - 11:54 AM   
 By:   ToneRow   (Member)

Here is the link to the complete interview in which Nascimbene speaks about the MIXERAMA and how he managed to get an electronic mood without using electronic instruments :


Thanks much, Ester, for this clarification & information.
It's fascinating how a composer can be innovative in other ways besides harmonic vocabulary.

However, since the subject of this thread is about monothematic scores, a discussion on Nascimbene's mixerama would be better suited in a thread unto itself.

When listening to Nascimbene's WHEN DINOSAURS RULED THE EARTH, I noticed that its main theme also appears as the love theme as well as funeral music! smile

 
You must log in or register to post.
  Go to page:    
© 2020 Film Score Monthly. All Rights Reserved...