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The Back Row: Is There No Music in Our Hearts Anymore?

What happened to memorable scores?


  Yes, I own these.
 Yes, I own these.
 The Back Row is a periodical editorial feature that we'll be running here on Screened. Enjoy, and comment!

 I was helping a friend move a few weeks back and, to add some levity, we whistled while we worked. Like, literally. As we lugged boxes, we played a simple, movie-theme version of Name That Tune. It said a lot that, even though most of were tone deaf and could barely carry a tune, we could guess almost every title within only a few notes.  These themes were memorable enough to be recognized even through such mangled presentation.

The experience reminded me that my favorite movies are always the ones where I’m seriously into the score; ones where I want to own the soundtrack.  I’m talking about Conan the Barbarian, Terminator 2, Gattaca, Star Wars, Robocop, Superman, Back to the Future, Batman… just off the top of my head.  

Another revelation: the "catalog of the memorable" peters off years ago.  

This is something I've noticed for a while. That 80s movie mega-mix I posted a while back was yet another reminder of what I feel is lacking. The thinking these days, unfortunately, seems to be that a score shouldn't draw attention to itself... not even a teensy bit. Thus, you largely get generic ambient beds instead of lush compositions. The difference is especially noticeable whenever a franchise is revived and the new personnel neglect the music that's as much a character of the series as the leads--and I think you know exactly what I'm talking about. 
 
It's not my imagination, either. I have friends who’re professional composers or music school students - - people who know a lot more about the subject and have spent a lot more time observing it than I have - - and they’re similarly baffled by this new preference for vague minimalism. A lot of them think that talents like John Williams, Basil Poledouris and Alan Silvestri come from an old school of musicians who actually studied music theory and learned how to read and write sheet music, whereas their successors are a generation of “button pushers.”   I'd hate to think that what I'm talking about, here - - what I enjoy so much - - is old-fashioned; because the score can often make or break a movie for me.  I think fondly of the little-seen (and otherwise, not especially remarkable) ’99 horror movie Ravenous, for instance, largely because of its provocative blue grass score.   
 
Hopefully, the metronome's swinging the other way.  I'm sure a lot of you will agree with me that 300 and Inception made such big splashes because their music-driven trailers made strong impressions on viewers.  Hopefully, the people making decisions  will notice that, too.
Svestuson Oct. 19, 2010 at 3:33 p.m.
I agree! I miss great movie scores! 
  
One of my most memorable movie experiences was during Jurassic Park on the reveal of the brachiosaurus as the amazing music swelled underneath.
Hadoken101on Oct. 19, 2010 at 3:47 p.m.
    I was about to mention Inception before I read the last bit Also, I agree with the point that movies are really missing classic memorable themes. A lot of it now is, as Forgetting Sarah Marshall says, "Dark, ominous tones." especially in the case of horror films. Going back to things like Halloween or Nightmare on Elm Street, they have themes that you recognize as soon as you hear them. The only modern horror example that I can think of that comes close is song at the end the Saw films.
 
 Anyways, great article and I'm looking forward to more from this feature.
MarkWahlbergon Oct. 19, 2010 at 3:48 p.m.
Not sure that I agree that soundtracks ain't as good as they used to be; Last of the Mohicans, Gladiator, Pirates of the Caribbean, even the new Sherlock Holmes all had great songs. Sure, Inception's BWAAAHM might not be much musically, but it's hella good at working with the story. And even Kingdom of Heaven's music was good when it wasn't blatantly cribbing from the 13th Warrior. I will admit, though, that I miss the old 80's synth stuff like in Sorcerer or the Thing. I love that shit.
  

AND NOW, A COOL PERSONAL STORY THAT IS SEMI-RELEVANT TO ARTICLE.
Back in 8th grade in my band class, my teacher decided that for extra credit, he would play a few minutes of like 10  movie theme songs (I think they were all John Williams), and whoever correctly recognized the most won. I won -naturally- but the awesome part was that I knew what the theme to Saving Private Ryan was, even though I had never seen the movie or heard the song before. The music just started playing and I was like "Yep, World War II". I blame Medal of Honor, but infer what you will about the state of soundtrack creation today. 
zoozillaon Oct. 19, 2010 at 3:54 p.m.
There do seem to be fewer big, memorable themes in movies nowadays, but I think that reflects on the kind of movies are being made now.
 
I mean, would the Bourne movies benefit from a really catchy, memorable theme tune?  I don't know.
sureokayon Oct. 19, 2010 at 4:01 p.m.
I dunno. Most of the movie scores I have are not from the 80's. The new Star Trek has a great theme. Up is another one that will probably end up being totally recognizable by a few notes. Ratatouille is another that is amazing. (I DO notice how they are all from Michael Giacchino). The Lord of the Rings is another one.
But the score should follow the film. A lot of films these days don't necessarily NEED strong melodies and the like. Like the films in the 80s has changed, the music also does.
TwoOneFiveon Oct. 19, 2010 at 4:08 p.m.
hmm i dont know
 
some movies do have great scores thoug. like the new star trek.
Redon Oct. 19, 2010 at 4:15 p.m.
I think the move has just gone from less thematic scores to more ambient ones. Inception still had a fantastically memorable soundtrack, yet The Social Network soundtrack puts on an equal mood without having any especially hummable toons.
VicRattleheadon Oct. 19, 2010 at 4:22 p.m.
I walked into a comic shop the other day that had the robocop tune on, me and my 2 friends stopped and looked at each other and smiled it was pretty epic... I agree with the other posters that the new star trek movie had a great score I remember sitting in the theatre thinking holy shit this should be nominated for awards
WhiteBrightKnighton Oct. 19, 2010 at 4:25 p.m.

Pirates of the Carribean, Up, LotR, Star Trek, and Harry Potter all are newer movies with great soundtracks.
Olivawon Oct. 19, 2010 at 4:33 p.m.
People like Hans Zimmer and Michael Giacchino are the ones keeping the soundtrack scene alive.
 
Oh and Howard Shore.
 
And don't even get me started on the shit that was the Terminator Salvation soundtrack.
DukeTogoon Oct. 19, 2010 at 4:34 p.m.
The last movie score I bought was Lord of the Rings.  Now I just go back and track down some of the rare ones like Risky Business, To Live and Die in LA and other obscure stuff.  My crown jewel is a one-off promo CD from Craig Safan for Remo Williams.
HandsomeDeadon Oct. 19, 2010 at 4:35 p.m.
I enjoy ambience as much as everyone else but the main, hummable theme needs to come back. The score to Star Trek was amazing and it had the most recognisable main theme to a movie I've seen in a long, long time. Michael Giacchino is a master at his craft anyway but it was particularly good to see him get anthemic there. 
crevisjron Oct. 19, 2010 at 4:35 p.m.
Anything by Clint Mansell, Hans Zimmer or John Murphy tend to be winners in my books. More so on Clint Mansell; "The Fountain"OST was the bomb!
Maury85on Oct. 19, 2010 at 4:47 p.m.
When I watched Planet Terror in theaters, my friend and I discussed the soundtrack and how John Carpenter-ish it was, and how movies don't  have good scores behind them anymore. Being such a huge fan of Ennio Morricone; I, for one, miss it. 
Captain_Insanoon Oct. 19, 2010 at 4:50 p.m.
LoTR had a pretty good score that was hummable afterward. Dum dum dum de dum.....da da DA da da DA DA DA Dum.
difficluson Oct. 19, 2010 at 5:11 p.m.
inception as some great scores, as did kickass and of course nearly all the highly rated classic movies...
SmokeYouon Oct. 19, 2010 at 5:15 p.m.
The Gladiator soundtrack is still one of the best.
Flap_jacksonon Oct. 19, 2010 at 5:19 p.m.
How to Train Your Dragon was great. Inception was incredibly solid.  The Bourne series was always good. The new Batman soundtracks were solid. Sherlock Holmes was compelling. Pirates of the Caribbean were always great. Moon was great. The new Social Network soundtrack is great. Almost every major release that Michael Giacchino has done has been great.
 
Basically, I totally disagree with you. There's a lot of great composers today, and they put up a lot of great work. They may have their moments of unmemorable scores, but there's hours of great tracks from this year and this last decade in film score.
 
Even TV and video game scores offer something exiting. The Lost soundtracks have always been a favorite, and Bear McCreary (Human Target, BSG) is currently doing amazing work. In video games, the Modern Warfare 2 soundtrack was surprisingly great (done partially by Hans Zimmer), and both the Mass Effect soundtracks are about as good as most any movie soundtrack you'll find today.
 
Point is, I think we're currently in another golden age of soundtracks.
nazer858on Oct. 19, 2010 at 5:29 p.m.
While scores to current movies may be different, they still serve the same purpose, which is to give the film an identity.  I know that when I hear a track from Inception, that it's Inception; the score and film together are one.  This is the same with films and their soundtracks of past decades as well.
 
And the giant orchestral scores with sweeping melodies are still there.  Up and How To Train Your Dragon come to mind.
 
And while this generation of film composers might push more buttons than those in the past, we all know and study aspects of music theory.  Nothing can take away from pen and paper, but keeping up with technology is an absolutely necessary step to stay successful.  (Just finished my degree in Film Scoring...)
Darkstornon Oct. 19, 2010 at 5:35 p.m.
I was thinking about 'Ravenous' as I read the article. Good movie.

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