Making a movie isn’t like writing a book. After all, it usually only takes one person to write a book, whereas a film requires the cooperation and talent of numerous people.
Among the most important are the composer who writes the music and the musicians who perform it. A film’s tone and even its quality are often inextricably tied to that of the score.
But more than that, a great film score is a work of art unto itself. In a time when new classical music is often underwhelming, the film score has become one of the last refuges for innovation in music. It’s time to examine some of the best film scores I could find.
Ground-Rules
When I began searching for the best film scores, I knew I’d need some rules about what was allowed on the list and what wasn’t. First of all, this is a list of the best scores, not the best soundtracks. “Soundtrack” is a more general term that refers collectively to the score and any other music that might be used in the film, even if it wasn’t composed for that purpose.
The score is the music—often instrumental—that was composed for the film. This means that any songs licensed for the film are to be ignored. Thus things like Forrest Gump don’t qualify for the list. Films like Amadeus, whose score is a compilation of great pieces by Mozart, are also out.
And again, this is a list of film scores; television shows, documentaries, and the like aren’t eligible. I’m also going to ignore musicals like The Wizard of Oz and The Sound of Music.
As for a film series, I’m going to count it as a single unit so long as there’s a certain degree of consistency between films (e.g. the same composer and similar score quality).
One series cannot get more than one entry on this list, but I won’t necessarily include the entire series (for example, if they got a new composer halfway through).
Lastly, I don’t need to have seen the film for its score to make it onto the list; whether I include a score is based on the music.
Criteria
I will judge these scores based on a number of factors. The most important is, of course, how much I like the music. For this list, the film a score was composed for is of little consequence, although how well a score complements its movie does count for something.
I’ll also try to represent as many film genres as possible so as to get a good cross-section. How memorable the music is will also be very important; the more I find myself humming the score after I’ve listened to it, the higher I’m inclined to put it on the list.
From my last statement it will likely be obvious to those familiar with film music that the main theme of the film is going to play a large role. In addition, I’ll be looking at the number of memorable motifs the score has beyond just the main one.
It’s also a bonus if the motifs are versatile and can be adapted to different emotions while retaining the same basic meaning. But again, what’s most important is that the music is memorable, motifs or not.
And finally, just because a score complements the film it was written for doesn’t make it worthy of this list. I have to be able to listen to the score independent of the movie. And if I constantly have to skip to “the good parts” while doing so, it won’t end up as high on the list. Ideally I should be able to listen to the whole score and never get bored.
With that out of the way, let’s examine the most memorable, listenable, and mind-blowing scores ever composed for film. Welcome to my Top 10 Best Film Scores!
10. Dinosaur by James Newton Howard
Lists of the best film scores usually include John Williams’ score for Jurassic Park, and although it’s a great score, I think there’s one that captures the essence of a dinosaur even better.
Whatever you might think of the movie, James Newton Howard’s score for the Disney film Dinosaur is exceptional.
The use of a traditional orchestra alongside traditional African elements makes for something unique, and there’s perhaps no better place to demonstrate this than the main theme:
The percussion and vocals are perfect, and I can go for five years without listening to it and still remember the main theme. Throughout the score, James Newton Howard also does a great job interweaving themes into the rest of the music. The music that accompanies the action scenes is tense and exciting:
Beyond that, every scene has music that perfectly captures the tone it needs to, whether characters are making a long journey across a desert or being killed by carnotaurs. The score for Dinosaur makes my hair stand on end; Jurassic Park’s doesn’t do that for me.
Dinosaur was the first film I watched where I really noticed the music, and it’s arguably what sparked my lifelong love of film scores. And even after all these years I’ve only found nine that I think are even better.
9. The Incredibles by Michael Giacchino
The Incredibles won loads of awards for best score, but that’s not why it’s on the list. It’s on the list because it’s absolutely brilliant.
Indeed, it holds the title of being the only jazz score on a list of mostly symphonic ones. The main theme for The Incredibles edges out Superman as the most memorable superhero theme.
In spite of the story’s unfortunate implications, the film’s world is truly inspired: the future as people in the past imagined it. The Incredibles was recorded on analogue tapes so as to give it an old-fashioned ‘60s feel, and it works. Man, does it work!
Rather than copy John Williams’ score for Superman as most superhero film scores have, Michael Giacchino did something unusual. The result is, in my opinion, the king of superhero film scores.
8. Gladiator by Hans Zimmer and Lisa Gerrard
This next score is a collaboration between Hans Zimmer and Lisa Gerrard. It starts out sombre and quiet, but after a few minutes it shows its quality, and it wouldn’t be on this list if it weren’t great.
The score evokes an ancient atmosphere with its discordant use of guitar and orchestra. And the music in the action scenes was exactly what made co-composer Hans Zimmer famous.
Add to that the vocals by co-composer Lisa Gerrard and you’ve got a score that anyone who sees the film will remember. Even if other film scores have tried to employ this technique less-than-successfully, it still works in the film that kicked off the convention.
This is one of the scores that frequently makes it onto lists of the best, and of those I think it’s one of the few that actually deserves a place in the Top 10. It’s clear that both composers put their all into this, and Gladiator shows that sometimes a collaboration can outdo numerous solo efforts.
7. Treasure Planet by James Newton Howard
After absolutely nailing Dinosaur, James Newton Howard went on to compose the scores for a few more Disney films, and the best of those was Treasure Planet.
Despite doing terribly at the box-office, it was a great movie, not least because of his score. It’s instantly recognizable as a James Newton Howard score, but it stands out as the best one I’ve heard.
The main theme is unforgettable, flawlessly communicating the idea of 1700s-themed space-pirates.
Treasure Planet is also notable for its use of electric guitar in some of the scenes. Many a great film score has been ruined by a composer’s attempt to mix electric guitar in with the orchestra, but Treasure Planet actually benefits from it.
Aside from that, this score arguably does a better job at evoking a seafaring atmosphere—both in the big, symphonic parts and in the gentler moments—than more traditional (and more famous) swashbuckler movies. The film has grown a cult following over the years, but even if you’re not part of that, few Disney movies can compete when it comes to music.
6. Pirates of the Caribbean: Curse of the Black Pearl by Hans Zimmer and Klaus Badelt
Curse of the Black Pearl is not only the second pirate movie to make the list; it’s also the second collaboration involving Hans Zimmer to make the list.
Zimmer and Klaus Badelt have, for Disney’s biggest pirate movie, created one of the most memorable scores I’ve ever heard. I couldn’t get it out of my head the first time I saw the movie, and the Pirates scores were never quite as good after Badelt left.
I’ve heard some of this music live, and I must say that no recording can ever do it justice. Still, the themes themselves are something special. Perhaps the best part is that the main theme can be adapted to a variety of emotions, which is always a plus. Some resemble themes from Gladiator, only more refined. Others are new, particularly in the calmer moments of the film.
Listening to the score on its own, you’ll never have to skip to the good bits; they’re all good bits. Pirates is one of the most exciting scores on this list, and at times it feels like you’re inside the fiddle. Even if the films and their scores went downhill from the moment they made the first sequel, Curse of the Black Pearl is sure to leave an impression.
5. Star Wars Original Trilogy by John Williams
You bloody knew it. You bloody knew John Williams would make it onto the list sooner or later, and you bloody knew Star Wars would make the list. The main title alone is one of the most famous pieces of music ever.
For the most part, I don’t particularly like ‘80s movies, and Star Wars and its Jedi philosophy are shot through with many of the bad ideas that made that decade such a reactionary hellscape. To its credit, these ideas are usually a bit harder to spot in Star Wars than they are in other ‘80s media.
I don’t hate the Star Wars the way I hate, for example, the Reaganite propaganda monstrosity that is Ghostbusters. That said, I don’t particularly like it either.
It would be a different story if, hypothetically, George Lucas ever went back and created a series of prequels where his Jedi philosophy of toxic masculinity loomed large—no longer mere subtext, but a misogynist tract glorifying an emotionally repressed police cult. I certainly would loathe that with every fiber of my being if it existed.
But since that hypothetical scenario never took place, Star Wars stands as a visually impressive product of its time. By far its greatest contribution to our culture has been the music that John Williams composed for it.
Star Wars wouldn’t be half the trilogy it is without this music (and luckily there were only three). The score is built on horns and heavily influenced by Holst’s The Planets, with a certain amount of generic John Williams incidental music to pad it out. Williams makes extensive use of leitmotifs, with around twenty-five in all.
The strings in particular have a cold feel to them that evokes outer space, and every phrase is masterfully written. Remarkably, it almost didn’t get written, as George Lucas—“genius” that he is—wanted to use a tracked soundtrack made up of pieces from various composers. Luckily John Williams had something far better in mind, and we got to experience iconic motifs like The Imperial March.
In keeping with George Lucas’s starting playlist, John Williams borrowed from earlier composers to such an extent that his themes often replicate their inspirations almost exactly. These composers include (but are by no means limited to) Gustav Holst, Erich Korngold, Sergei Prokofiev, and Igor Stravinsky.
John Williams did an exceptional job consolidating the works of so many different composers into a score that feels cohesive in its own right—although, truth be told, the main reason I didn’t put Star Wars any higher on my list of the best film scores is because, in most cases, I actually prefer the originals.
What is there to say about it that’s not already been said? In terms of fame, nothing touches it, and it’s not too far behind that when it comes to quality. Still, I do think there are three scores that are even better than this one.
4. Conan the Barbarian by Basil Poledouris
No one, not even you, will remember in fifty years whether this movie was good or bad, what it was about, or why we watched it.
All that matters is that Basil Poledouris wrote this score; that’s what’s important.
So grant me one request: listen to this score. And if you don’t listen to it, then the hell with you!
It’s not often that a film is most famous for its score, and even rarer when it stars someone as well-known as Arnold Schwarzenegger. Still, that seems to be the case with Conan the Barbarian. Poledouris uses drums and french horns and a lot of fifths to evoke the world that began what we now know as Sword & Sorcery.
One can definitely feel the Russian influence on this score, as well as the influence of Gregorian hymns. There are tender moments in this score, but perhaps more than with any other on this list, what you’ll remember coming away from it are the brutal themes that play during the action scenes. When it comes to those moments, the score for Conan the Barbarian is among the best.
3. Indiana Jones Original Trilogy by John Williams
Although most people would rank Star Wars higher than Indiana Jones, I have to disagree for a few reasons. Firstly, one of my criteria for this list was how listenable a score is.
While the cold feeling of Star Wars is perfect for a space-opera, it does come with the side-effect of making it so one can only listen to it for so long. Indiana Jones has a much warmer tone, which lends itself more to listenability.
The main theme of the series, known as the Raiders March, consists of two themes that Spielberg insisted be combined, and I think we’re all glad he did. Each of the three films has its own central motif. And although Temple of Doom wasn’t exactly a good movie, its main theme is some of John Williams’ best music.
Additionally, Williams’ incidental music is often indistinguishable from other John Williams incidental music. I think such parts in Indiana Jones are more recognizable as such than even that in Star Wars could manage. Although slightly less well-known than Star Wars, the score for Indiana Jones is just as evocative and easier to listen to. By my reckoning, Indiana Jones is John Williams at his finest.
2. Alexander Nevsky by Sergei Prokofiev
I believe it’s safe to assert that none of the other film scores on this list would have existed without this one. I began writing this list unaware that Alexander Nevsky had begun as a film score and not Prokofiev’s later cantata arrangement.
Knowing this, there was little doubt that the score to this Russian film would make the list. The more times I listened to it, the higher it got till it reached its rightful place: above even John Williams.
In addition to the film being perhaps the first true collaboration between director and composer, Sergei Prokofiev composed in different styles throughout the score, with strings and woodwinds for the Russians and discordant horns for the Germans. The most memorable piece has got to be this spectacular theme from the climax of the film:
Alexander Nevsky has the distinction of being one of a very few film scores to be widely recognized as legitimate Classical music. Widely considered the best film score of all time, there is very little film music that can touch Prokofiev’s score to Russia’s national epic.
Honourable Mentions
Dirty Harry by Lalo Schifrin
Lalo Schifrin’s score for Dirty Harry is a revolutionary fusion of jazz, psychedelic rock, and classical music.
The film itself may be a deeply objectionable celebration of fascist ideals and police brutality, but there’s no denying that Schifrin’s music is brilliant.
Dirty Harry is also notable for its use of percussion and big city sound effects to set the tone. This score has been hugely influential not only in film music, but in popular music as well.
Henry V by Patrick Doyle
Built around subtle variations on the motifs, Henry V does a great job of gradual buildup and repetition. Of all the film scores I’ve heard that evoke emotion in that way, Patrick Doyle’s score for this Shakespeare adaptation was the best.
It was originally my choice for Number Ten before it got displaced.
Batman by Danny Elfman
Danny Elfman’s score for the 1989 film Batman was released as a soundtrack before it was the norm to do so, and it’s not difficult to see why they did it. This dark, brooding, and above all exciting score is among the best that the superhero genre has had.
Jurassic Park by John Williams
Jurassic Park is, as you’d expect of John Williams, a great score. Still, much of it is indistinguishable from any other great John Williams score, and I think Dinosaur did a better job of evoking the image of a dinosaur.
The Aviator by Howard Shore
The Aviator is perhaps the most classical-sounding of any score I’ve listened to. From the beginning, you’ll think you’re listening to some Viennese classical piece from centuries ago. To my knowledge, no other film score has so masterfully emulated this style.
Harry Potter (1-3) by John Williams
Despite the predictable drop in quality that occurred once Williams left, his scores for the first three Harry Potter films are enthralling.
From the famous Hedwig’s Theme to Chamber of Secrets’ creepy atmosphere to the melancholy of Prisoner of Azkaban, John Williams—perhaps more than anyone else—made the Wizarding World magical.
Somebody had to, given the author’s proclivity for building up conflicts that go nowhere and then saving her heroes through some laughable deus ex machina every single time.
1. The Lord of the Rings by Howard Shore
J.R.R. Tolkien’s world of Arda was sung into existence by divine beings called the Ainur.
With music being essential to the fabric of the universe, it goes without saying that any good adaptation of Tolkien’s work needs to have a great score.
It’s clear that Howard Shore read The Ainulindalë, as his score for The Lord of the Rings films closely follows Tolkien’s description of the Great Music.
The Fellowship Theme
And then there are the motifs. Star Wars has around twenty-five motifs (and some of those are heavily derivative, at that). The Lord of the Rings is built around over a hundred original motifs—by far the most of any theatrical score.
In all of music, in fact, only Wagner’s Der Ring des Nibelungen is known to use perhaps slightly more themes. Likely the most iconic of Shore’s themes is the Fellowship Theme, which is fractured and remade as the Fellowship itself is.
Thematic Relationships
This is luckily one of the best-documented film scores ever written, which has made describing it somewhat easier.
Unlike John Williams’ themes for Star Wars, Shore’s are intricately connected and organized into sets, subsets, and thematic families corresponding to the cultures of Middle-Earth.
Some of the best-known are the Rohan Fanfare, the Gondor March, the Orc Crawl, and the Shire Theme. All of these are versatile, manifesting in different ways and weaving together throughout the score.
Instrumentation
Howard Shore’s score for The Lord of the Rings is also renowned for its unusual instrumentation, using instruments from all over the world to create an experience unlike any other. These include traditional instruments from China, Scandinavia, Celtia, Australia, India, and elsewhere.
The score also makes use of choir vocals singing in Tolkien’s many constructed languages. There really is nothing else that sounds like this.
Listenability
Most importantly where this list is concerned, The Lord of the Rings is entirely listenable. Whereas most of the scores on this list may warrant some skipping around to find the good parts, Howard Shores The Lord of the Rings is all good parts. Every moment of this ten-hour score is a joy to listen to, whether you have the movie playing or not.
Conclusion
I listened to numerous scores for this list, including many I’d never heard of. Although only ten earned a place on the list, there were many more that were incredible. Listening to so many great pieces of music was what made this one of the most enjoyable articles for me to write. There were a few things I noticed after I’d completed my list, and I’d just like to briefly discuss some of them.
What most surprised me was how many Disney film scores ended up making the list: four out of the ten were from Disney movies, and the lower half of the list was almost nothing but Disney movies. I would have expected this from a list of musicals, but not a list of film scores.
Although Howard Shore wrote the best score, when it came to how often a composer appears on the list, it was a tie between John Williams and James Newton Howard.
And lastly, I never really expected anything to come close to Howard Shore’s magnum opus. I was pleasantly surprised, however, as Alexander Nevsky actually did come quite close. The Lord of the Rings is still my favourite film score and even my favourite piece of music, but I have to give credit to Prokofiev for outmatching everything else so thoroughly.
The Hobbit
In keeping with my statement about how I would treat a film series, I will also say this concerning Howard Shore’s score for The Hobbit: it is of comparable quality to The Lord of the Rings.
I made a conscious choice not to mention it when I discussed The Lord of the Rings, as that would have made its entry (and this article) longer.
Nonetheless, The Hobbit expands on the original catalogue of motifs and adds some great themes of its own. At the same time, it fits the rather different tone of a rather different story perfectly. Although I didn’t mention it there, you can consider The Hobbit as part of the Number One place on this list.
To end this article, I’d like to ask a question of everyone who’s stuck with it this far: did I miss anything? What are some of your favourite film scores and why? I look forward to reading your answers in the comments.
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