The Movie Music That Moved Us | Group Chat
You can’t appreciate the sights without the sounds, after all! Or can you?
From time to time, Cinemantic’s four main contributors — Tyler MacQueen, Graham Piro, Caleb Boyer, and Daniel Mitchell — will jump on a call to chat about anything and everything movies. This month, we’re joined by Caleb’s sister, Rachel Hansen, to discuss films and the music that makes them.
FAVORITE SCORE
TYLER: Lawrence of Arabia (1962) Before we see the grand vistas of the Arabian desert, before we encounter Omar Sharif, even before we are introduced to a legendary Peter O’Toole, we hear that score. That unrivaled score. Played over a simple title card that reads “Overture,” we are immediately transported. Maurice Jarre’s masterful orchestration walks hand in hand with O’Toole’s iconic performance, giving this oft-imitated (but never surpassed) epic its iconic soul.
CALEB: The Magnificent Seven (1960) If there is a siren’s song for the American West, it is Elmer Bernstein’s score for The Magnificent Seven. It moves you; it calls you to adventure into the unknown. The score captures the danger and the great excitement of riding into the fray for justice, honor, and glory with friends at your side. It is a masterpiece.
RACHEL: Star Wars: Episode III - Revenge of the Sith (2005) Try imagining Episode III with none of its almost operatic music: Anakin marching into the Jedi temple to execute Order 66 would be a walk in the park; Obi-Wan and Anakin’s battle on Mustafar would be a series of grunts and groans. You’d never get chills when Obi-Wan delivers baby Luke to his aunt and uncle at the end. Promise, even the credits are better with music!
GRAHAM: The Lord of the Rings (2001-2003) Realistically, this entire list could just be devoted to Lord of the Rings. Composer Howard Shore created a stunning musical tapestry to accompany the films, using a wide range of leitmotifs to tell a story that immediately transports the viewer to another world. There are too many moments to name: The Lighting of the Beacons, the Last March of the Ents, Concerning Hobbits. But one that always sticks out is the discovery of the Dwarf city of Dwarrowdelf in Moria, a grand, awe-inspiring theme that does not return in the films, but is a microcosm of the thought and care that Shore put into this masterpiece.
DANIEL: National Treasure (2004) This is a score I’ve listened to hundreds of times over the years. One year, it was my top album on Spotify Wrapped, and it certainly helped me finish a number of college papers. A movie with treasure hunts, chase sequences, and the ultimate reveal of finding treasure are perfectly orchestrated in this Trevor Rabin score. He also composed the Remember the Titans score, so it’s very possible early 2000s Jerry Bruckheimer production soundtracks are my favorite genre of movie scores.
FAVORITE THEME
TYLER: The Raiders March, Raiders of the Lost Ark (1981): Caleb called me a “son of a bitch” for calling dibs on this one. Anyone with a working ear knows why. Equal parts heroic and romantic, John Williams set out to craft a love letter to the Old Republic serials of the 30s and 40s. Instead, he created the greatest hero's theme of all time. Want proof? Try humming the first four notes and stopping.
CALEB: Imperial March, The Empire Strikes Back (1980): Since Tyler stole the greatest hero’s theme of all time and triggered my villain arc, it is appropriate I choose the greatest villain’s theme of all time, another icon creation of John Williams. Even heathens who have never seen Star Wars are familiar with the awe-inspiring and terror-inducing sound of Darth Vader’s theme. It is universally known for good reason.
RACHEL: The Shire Theme, The Lord of the Rings (2001-03): This iconic theme conjures the comfort of being home in a warm bed, the joy found in true friendship, and the knowing looks between companions who survived against all odds and came back forever changed. Whether intended or not, the theme copies its notes from a favorite hymn of mine, “This Is My Father’s World.” Think about that and tell me music does not influence the soul’s perception of everything!
GRAHAM: Is there anything more uplifting than listening to John Williams’s Superman (1978) march? One of the most iconic character themes of all time, Williams captures the ethos of the character in a rousing symphony that starts slowly, builds in anticipation, and then soars. You’ll believe a man can fly just by listening to it.
DANIEL: Now We Are Free - Gladiator (2000). Hans Zimmer and Lisa Gerrard combined to craft a theme I’ll never forget. I just learned this song was sung by Gerrard in a made up language, so that’s some fun trivia to pass along. And since John Williams is well represented by my movie brethren, I feel it’s my duty to make sure Hans Zimmer gets his due. While Gladiator II couldn’t possibly live up to the highs of the 2000 epic, I’d be lying if I said I wasn’t emotional when this timeless theme played in the sequel. Strength and honor.
FAVORITE SONG
TYLER: “Over the Rainbow,” The Wizard of Oz (1939): Executives at MGM called for this Judy Garland number to be cut, fearing the sepia Kansas sequence was running too long. We’re grateful those stiff suits were ignored. An Oscar and a century later, Garland’s haunting vocals still leave us dreaming under the song’s magical spell.
CALEB: “Walk Hard,” Walk Hard: The Dewey Cox Story (2008): “Walk Hard” is a pitch-perfect parody and a genuinely creative marvel, blending Johnny Cash-style gravitas with absurd self-importance. Its overwrought lyrics and John C. Reilly’s earnest delivery skewer music biopic clichés. It is hilarious and undeniably catchy.
RACHEL: “I Have Nothing,” The Bodyguard (1992): This song was Oscar nominated for Best Original Song and became one of Whitney Houston’s classic hits. I have nothing left to say.
GRAHAM: “Gaston,” Beauty and the Beast (1991): “Gaston” is laugh-out-loud funny and perfectly encapsulates the brash, empty machismo of the Disney heavy. It’s chock-full of subtext when watching as an adult, but there are more than enough visual gags to entertain kids. I aspire to one day use antlers in all of my decorating.
DANIEL: “Edelweiss” - The Sound of Music (1965): So good, it was used in the movie twice, both times to perfection. The reprise, during the Salzburg Festival - you know the scene - one of those magical movie moments that I’ve seen a hundred times and will watch at least a hundred more.
FAVORITE MOVIE MUSIC MOMENT
TYLER: “I can’t carry it for you, but I can carry you!” The Lord of the Rings: The Return of the King (2003): The scene that has made grown men cry since 2003. Howard Shore’s heroic, almost heavenly trumpets pierce the veil of overwhelming darkness surrounding our heroes, Samwise and Frodo, revealing the power and, dare I say, the preciousness of fraternal love in its purest form. Here, the power of cinema reaches its crescendo.
CALEB: “Tears in the Rain,” Blade Runner 2049 (2017): The homage to "Tears in Rain" is a haunting, melancholic echo of Vangelis’ original. As Agent K lies wounded in the falling snow, Hans Zimmer’s score swells with ghostly synths to reveal that cold, isolating melody, mirroring his quiet self-sacrifice. It’s a lament—for K’s fleeting existence and the dream of something more.
RACHEL: “Stuff We Did,” Up (2009): The depth of emotion in animated movies comes in no small part from its music. What’s more heart-wrenching than an old man realizing the ordinary moments of life with his wife was his biggest adventure, not making it to Paradise Falls? Add a sad piano playing in the background, and you’ll sob every time.
GRAHAM: The opening of John Carpenter’s masterful science fiction/horror hybrid The Thing (1982) remains the most mysteriously ominous film opening of all time. We hold on a wide Antarctic mountain range until a helicopter flies into frame, either in search or pursuit. But what heightens the tension is Ennio Moricone’s simple but horrifyingly tense two note pulsing repetition that portends that something– or someone – is not what they seem.
DANIEL: “No Time for Caution” - the docking scene in Interstellar (2014). Organs were made for Hans Zimmer. I watched this movie for the first time at the SIX stories tall Great Lakes Science Center dome screen. I think I held my breath the entire scene. Just absolutely an unreal piece of filmmaking, with the perfect music to carry it home.
Curious to hear the music mentioned in today’s blog post? Good news: Daniel has got you covered. What is your favorite movie music? Let us know in the comments below!
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I'll say this: I struggled picking between "Over the Rainbow" and "As Time Goes By" from Casablanca (1942) for my favorite movie song. Both play a crucial role in the film; both evoke their themes and, for most casual moviegoers, are the things they remember most.
National Treasure is a great pull, Daniel. That was a formative movie for me, I remember seeing it in theaters at the age of 8 and thinking it was one of the best movies I've ever seen. That was probably overstating it but it holds up today!