Five movie themes that pull you into the emotional vibe of that movie. There are lots and lots of great movie themes, and featured songs as well that weren’t the movie’s theme. That will be subject of another blog.
These five resonant with me from when I first saw these movies, and still do to this day, that why they made the list.
“Theme From Shaft” (1971) The theme from the blaxploitation crime flick, written by Isaac Hayes. The film’s score won the Academy Award; and Grammy Awards for best score and title song. This song has a taut, urban groove that is addictive. I had the 45 rpm single, but could see the film until I was in college.
“The Pink Panther Theme” (1963) The jazzy theme composed by Henry Mancini for The Pink Panther movie. The theme became synonymous with the cartoon character. Mancini is best known for his TV and film work with director Blake Edwards. The recipient of 20 Grammy Awards and four Academy Awards, Mancini is one of the most successful and best known film composers of his generation. The iconic saxophone sound is provided by Plas Johnson, a member of the famed Wrecking Crew of first call L.A. session players.
“Theme From Chinatown” (1974) Jerry Goldsmith was not the original soundtrack composer for this noir film, but it’s his eclectic music that gives the film a period feel and yet a jagged and lonely feel that grips your bones like a November chill. Goldsmith had only 10 days to write and record the score. Trumpeter Uan Rasey, who is front and center in the song said that Goldsmith “told me to play it sexy — but like it’s not good sex!” Mission accomplished.
“Theme From The Magnificent Seven” (1960) Elmer Bernstein was one of the greatest film composers. He didn’t have a specialty, as he could score a serious drama like “To Kill a Mockingbird” or a silly comedy like “Animal House.” His score for “The Magnificent Seven” is outstanding, especially the theme which is rousing, majestic and galant. He was nominated for an Academy Award for this score.
“Tubular Bells” Theme from The Exorcist adapted from a the lengthy composition “Tubular Bells” by Mike Oldfield. The opening piano notes are eerie and unsettling. After viewing the film, that song was totally ingrained in my brain, so like the opening notes of the Jaws theme, it’s not only instantly familiar, it’s menacing.
Sorry, no Bernard Herrmann, Dave Grusin, John Williams, Hans Zimmer, Ennio Morricone, Howard Shore, James Newton Howard, Michael Kamen, James Horner, Thomas Newman, Lionel Newman, Dimitri Tiomkin, Max Steiner, Franx Waxman, Alex North, Dominic Frontiere, Lalo Schifrin or Jerry Fielding. All outstanding composers, just not on my short list. I may do a part two.
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