Buzz
The Academy of Motion Picture Arts and Sciences frequently appears to miss the mark on recognizing exceptional music and the artistry behind unforgettable film scores. Below, we highlight 10 underappreciated masterpieces in the world of film music, none of which received the nominations they deserved.
10. Gettysburg (1993) – Randy Edelman
Ted Turner’s passion project was a box office failure, likely due to his unpopularity, but the film itself is both well-crafted and historically precise. Edelman’s soundtrack stands out as the film’s crowning achievement. While the violence is somewhat subdued, the film doesn’t shy away from depicting the chaos of battle. The intended theme revolves around the Union’s valiant defense against the Confederacy, portraying the conflict with a sense of honor that, in reality, was far from accurate.
Despite Martin Sheen’s painfully inaccurate Southern accent as Robert E. Lee (a fact this Southern reviewer can confirm), the film excels in its portrayal of epic infantry charges and clashes. Men face off against men, cannons, and horses, all set to Edelman’s grand and sweeping compositions. The true weight of tragedy is felt during Pickett’s Charge, a harrowing sequence where Confederate soldiers are relentlessly cut down. Edelman’s score, rich with expansive and melodic themes, is a rare gem in the world of film music.
9. Psycho (1960) – Bernard Herrmann
While the screeching violins from the infamous shower scene are the most iconic part of this score, dismissing it as unworthy of an Oscar nomination would be a mistake. The remainder of the soundtrack is equally unsettling, masterfully building tension and perfectly complementing one of Hitchcock’s greatest works. Interestingly, the main theme isn’t tied to Janet Leigh’s character but rather to her crime: theft. After stealing a large sum from her employer, she flees, setting the stage for the unfolding drama.
Leigh’s character, seemingly a respectable and law-abiding woman, reveals the hidden criminal impulses that lurk within us all, particularly when faced with the allure of money. Herrmann’s score brilliantly mirrors her escalating fear of being discovered. Notably, no character in the film has a dedicated theme, unless the jarring violins are interpreted as representing the fractured psyche of Norman Bates, portrayed by Anthony Perkins.
8. King Kong (1933) – Max Steiner
While the image of Kong battling biplanes on the Empire State Building may overshadow the music, this is a testament to Steiner’s genius. He excelled at creating scores that seamlessly integrated with the film, amplifying its emotional impact. A student of Johannes Brahms and Gustav Mahler in Vienna, Steiner brought a wealth of classical training to Hollywood. His most renowned work, *Gone With the Wind*, arguably deserved the Oscar over *The Wizard of Oz*.
Steiner is often referred to as “the father of film music” for being one of the pioneers in composing specifically for cinema, though Richard Wagner arguably holds a stronger claim to that title. Wagner’s compositions can elevate many films, often surpassing their original scores. Steiner carried forward the Wagnerian legacy, influenced heavily by Mahler’s traditions.
His score for *King Kong* is a timeless masterpiece, setting the standard for all subsequent monster films. Modern giant monster movies still echo Steiner’s iconic themes: the ominous, thunderous bass for the creature, the rich and evocative brass and strings for jungle settings, and the relentless pulse of tympani for the island’s inhabitants. At the time, Hollywood was unprepared to recognize such innovation. Without a category for special effects, the film received no nominations whatsoever.
7. Ivan the Terrible (1944) – Sergei Prokofiev
One of the most remarkable yet underappreciated films in Western cinema, Sergei Eisenstein’s two-part epic delves into the life of one of history’s most notorious rulers. While it maintains a balanced perspective on Ivan’s legacy, it doesn’t shy away from the brutal realities of his reign. Each scene is captivating, enhanced by a score from one of the greatest composers in history, making for an intensely dramatic experience.
Prokofiev’s music for *Ivan the Terrible* ranks among his finest achievements. So exceptional is the score that, after his death in 1953, it was adapted into an oratorio and later into concert incidental music. Composed for both parts of the film, these works are cataloged as Opus 116 in his repertoire. Unlike typical film scores, which rely on a handful of themes repeated in different arrangements, Prokofiev’s approach reflects his classical training. His work here brings cinema closer to opera than ever before, rivaled only by John Williams’ *E.T. The Extraterrestrial*.
6. The Good, the Bad, and the Ugly (1966) – Ennio Morricone
Surprisingly, the iconic whistling theme from this film didn’t earn an Oscar nomination, nor did any other element of the movie. This score has become the definitive soundtrack for tense standoffs and quick-draw duels, inspiring countless parodies in later films. Morricone conceived the two-note motif after hearing a coyote’s call while filming in Spain, finding it perfectly captured the desolate essence of the desert. Leone embraced this idea, opening the film with a silent, windy scene followed by the haunting howl of a coyote, setting the tone for the entire story.
Another unforgettable moment is the exhilarating *Ecstasy of Gold* sequence near the film’s climax. Eli Wallach, portraying Tuco, desperately searches for Arch Stanton’s grave, where a fortune in gold is hidden. Aware that Eastwood’s Man with No Name is closing in, Tuco races through the cemetery, reading tombstones as the music builds into a frenetic, euphoric crescendo, mirroring his frantic pace.
The film also features the ultimate Mexican standoff, a scene that has become the benchmark for all others. Widely regarded as one of the greatest Westerns ever made, even Quentin Tarantino holds it in high esteem. When Lee Van Cleef joins Eastwood and Wallach, Eastwood reveals they’ve been searching at the wrong grave, leading to a tense three-way shootout. As the trio glares at each other, the music grows unbearably intense, perfectly amplifying the drama. The Mariachi-inspired score, complete with guitar strums and gunfire, leaves viewers on edge, unsure of who will shoot first.
5. The Great Escape (1963) – Elmer Bernstein
This remains one of the most thrilling action epics of all time, standing tall even against today’s CGI-driven blockbusters. Bernstein’s score complements the film flawlessly, beginning with a bold, heroic march underscored by snare drums. The music then transitions into a spirited, determined tone that perfectly embodies the Allied POWs’ fearless resolve to escape. The opening march also subtly conveys the underlying tension and danger of their mission.
The film emphasizes that the prisoners’ escape attempts were less about personal freedom and more about disrupting the Nazi war effort. Based on the true story of 76 POWs breaking out of Stalag Luft III in remote Germany, the narrative is remarkably accurate. Many of these men tried to escape repeatedly, some up to 20 times, despite being treated relatively well as soldiers compared to other prisoners. Their relentless efforts were seen as a duty, a sentiment Bernstein’s score captures brilliantly.
4. Quigley Down Under (1990) – Basil Poledouris
This score stands as one of the greatest in Western cinema. Lighthearted and rustic, it opens with a smooth clarinet solo introducing the main theme. The bassline features a playful, clip-clopping tuba, evoking the rhythm of a slow march, soon joined by banjo plucks. The music is so quintessentially Western that it could enhance any film in the genre. At 6’4”, Tom Selleck mirrors John Wayne’s stature, making the tuba’s deep tones fitting for both. The banjo, meanwhile, would seamlessly suit a Jimmy Stewart film, given his banjo-like vocal cadence.
The villains’ theme is marked by simple, intense string arrangements that build tension, punctuated perfectly by the iconic Quigley rifle. Despite its critical reception, the film deserves more acclaim. While some critics lamented the absence of John Wayne, this reviewer believes Wayne often detracted from the films he starred in. Selleck, by contrast, avoids the know-it-all persona and exaggerated swagger. Sadly, Poledouris’s exceptional score has been overlooked, particularly his use of flutes to evoke the ethereal, natural essence of the Aboriginal characters, a reminder that this Western unfolds in the Australian outback, not the American West.
3. Conan the Barbarian (1982) – Basil Poledouris
This film is one of the most underrated gems in cinematic history. While it may not reach the heights of *Casablanca*, it delivers sheer entertainment. The sword fights, though not as meticulously choreographed as those in *The Mark of Zorro*, *The Last Samurai*, or *The Lord of the Rings*, possess a raw, visceral quality that suits the film perfectly. They are brutal, powerful, and lack the finesse typical of other films, which aligns with the towering physiques of the actors. When Arnold’s Conan strikes, the violence is unapologetically graphic, from blood-soaked gut slashes to the gruesome decapitation of James Earl Jones’ character. It’s raw, gory, and remains uniquely original.
Such a film demanded a score of equal intensity, and Poledouris delivered magnificently. The music is bold, unyielding, and perfectly suited to the fantasy genre. The climactic horseback charge against the heroes is underscored by a theme as stirring as Howard Shore’s work in *The Lord of the Rings*. Poledouris treats the swords-and-sorcery theme with the gravitas it deserves.
Side note: Arnold Schwarzenegger’s portrayal of Conan is perhaps the most faithful embodiment of a comic book character’s exaggerated musculature. To prepare for the role, Schwarzenegger trained for the 1980 Mr. Olympia competition, which he won. After taking a brief break from training to film *Conan*, his physique reached near-superhuman proportions, perfectly fitting the character.
2. Krull (1983) – James Horner
Horner initially crafted this score for *Star Trek II: The Wrath of Khan*. Upon its completion, he was commissioned to compose for *Krull*, which was slated for a spring 1983 release to coincide with *Return of the Jedi*. However, *Krull*’s post-production delays left Horner with only seven weeks to finalize the score before its July 29 release.
Early in his career and unwilling to pass up a paycheck, Horner adapted his *Star Trek* score to fit *Krull*’s rough cut. This was particularly effective in scenes depicting outer space, complemented by Freddie Jones’ solemn narration: “…and their son shall rule the galaxy.” The score is electrifying, with a driving rhythm that evokes the image of a hero galloping on horseback—a fitting introduction for the protagonist, underscored by triumphant French horns. As any music enthusiast knows, French horns symbolize heroism, while the villain is relegated to deeper, darker tones. Despite the tight deadline, Horner’s work is remarkable and remains the most memorable aspect of the film. While the story caters to a younger audience, the score elevates it beyond its flaws.
1. The Ten Commandments (1956) – Elmer Bernstein
This score is the most Wagnerian on the list, drawing heavily from Richard Wagner’s concept of leitmotifs. Wagner’s influence is evident as each character, emotion, setting, and even weapon is assigned a distinct musical theme. These motifs are interwoven in various combinations to reflect the unfolding drama on screen.
Bernstein adhered to traditional interpretations of biblical themes, crafting a powerful, bass-heavy motif for God that commands reverence. Charlton Heston’s Moses is accompanied by a heroic theme, while the Israelites’ frantic escape from Pharaoh Yul Brynner’s army is driven by intense, urgent music. Despite its grandeur, the film only won an Oscar for special effects, specifically for the Red Sea sequence. Bernstein’s score, infused with Jewish musical elements, is a masterpiece. He employs the full brass section to dramatic effect as the Red Sea closes in on the Egyptian army, creating an unforgettable cinematic moment.
