I am currently on a viewing spree of the  “top 100 movies everyone must see,” according to a scratch-off poster, my mom got me for Christmas two years ago. Now, I have seen a good many that this poster has recommended, but I felt that it is my duty to accomplish this task. So, I started at the beginning. The first one on the top left-hand corner of the poster is A Few Good Men (1992), directed by Rob Reiner and written by Aaron Sorkin. This was a phenomenal movie from start to finish (So far, the poster is correct).

The writing was stellar, and the performances by Tom Cruise and Jack Nicholson were absolutely breathtaking. I thought the movie was perfect. Well, except for one thing- the score. No offense to Marc Shaiman, but the score in this film was borderline horrendous. It was an annoying seven-note 80’s keyboard sound that would just repeat and repeat and repeat. It almost took me out of the movie (don’t worry, the acting always drew me back in). That had me thinking, what are some film scores that not only sound beautiful but heighten the movie in every aspect? So, now, may I present to you, in order of release date- My “Objectively Correct Top Film Scores of All Time” (keep in mind, everything on this list is just my opinion but also cannot be disputed. Thank you).

The Third Man (1949)

First on the list is The Third Man (1949), directed by Orson Welles and composed by Anton Karas. This is one of my personal favorite movies of all time. It would also probably top the list of Wade’s Objectively Correct Top Noir Films of All Time (soon to be written, maybe). Being a noir film, one might expect a jazz-themed score to go hand in hand. However, Karas abandoned that stereotype and composed a single tune, played on the zither, that can be heard throughout the movie. It is a fun and bouncy tune that has not left my head since I first watched the film two years ago. The movie includes many of the dark film noir tropes, which is why I believe this score perfectly offsets those feelings. It makes the film very entertaining to watch because as you watch the movie, you will learn that some top-tier mischief is bound to ensue when Karas’ famous score begins to play.

Home Alone (1990)

Next, I have chosen the score from Home Alone (1990), directed by John Hughes and composed by John Williams. I am a massive fan of this film. However, I do not think one can separate the film from its accompanying score. It arguably makes this movie. Personally, when someone mentions the word Christmas, either the Michael Bublé Christmas album or the score of this film plays in my head. Most often, it is the latter (sorry, Michael). I realize this is not the typical John Williams pick when considering all of the other iconic themes and music he has composed for films. However, I believe this particular Williams score carries this film due to the fact that he encapsulated how the entire holiday of Christmas feels through musical orchestration. 

Life is Beautiful (1997)

My next film is Life is Beautiful (1997), directed by Roberto Benigni and composed by Nicola Piovani. This film follows a Jewish family from Italy who are taken to a concentration camp during World War II. The movie is quite heavy, yet it is accompanied by one of the most beautiful scores that I have ever heard. In the film, the father and son are separated from their wife/mother. It is brutally gut-wrenching to watch as the father attempts to cheer his son up when held captive by the Germans. It is a very sweet movie that is only made stronger with the addition of Piovani’s score. It is a full orchestra that plays a tune that makes you feel like you’re walking through the streets of Rome, nostalgic, and by the end of the film, weep uncontrollably (I bawled). The film balances the gravity of everything surrounding World War II and life inside a camp with a genuine, loving, and comedic connection between a father and a son. The score blends perfectly with this balance and makes you empathize with the characters during their devastation and celebration. It truly is a beautifully tragic composition of music.

Up (2009)

Next up on the list, I have chosen the score from Up (2009), directed by Pete Docter and composed by Michael Giacchino. One might guess that I enjoy being built up and then subsequently broken down emotionally after these last two picks (you would be correct, while watching movies, that is). I mean, this film starts out blazing hot with its story that is carried out through classic Pixar animation alongside a tune that feels like you just lived your entire life, including the ups and downs, in the span of four minutes. Quite an opening. It doesn’t stop there as Giacchino’s gorgeously painful theme is heard throughout the film, constantly reminding the audience of the most violating and jarring scene in the history of films for kids (I may have bawled in this scene as well). The score and this sweet movie are perfect for each other, and I am glad that we have all been able to trauma-bond through our viewing experience of this genuinely wonderful film. 

Interstellar (2014)

Last but certainly not least, I have chosen the score from Interstellar (2014), directed by Christopher Nolan and composed by Hans Zimmer. No offense to John Williams and the entire franchise of Star Wars, but this feels like space. Zimmer nailed it with this score for Nolan’s space epic. This score locks you in from the very beginning and won’t allow you to leave until those credits begin to roll. The spacey synths and organs make it feel like you are in space with the entire astronaut crew trying to dock that ship. It turns the already intense film up to an eleven. Sometimes, I throw this score on in the car so I can feel like I am driving my own spaceship and searching for a safe alternate planet for humans to live on (although I am probably just driving to McDonald’s). It is an enormously stunning score that lives up to the gigantic scale that is presented in the film.

Article Courtesy of Wade Davis

Feature Image from ‘Interstellar’ (2014) via Paramount Pictures