Lists, and not baseball, have become America’s favorite pastime, and for fifteen years now, I have been passing as much time as anybody I know. Well, we’ll be continuing the series of lists that run in conjunction with my series of posts of 1939. Having begun this companion series with an essay on movie music and already prepared a list on the greatest film composers, I will now provide for your viewing pleasure the following list of the greatest movie scores. Where the list of composers, which featured Alfred Newman in the top 10, led into my review of Wuthering Heights, this list will pick up where I left off and lead us into a review of Gone With the Wind, the music for which is ranked number 2 on my all-time list. You’ll find a great variety of genres in this list, from new age to tribal/folk to classical to jazz to whatever-genre-the-Good-the-Bad-and-the-Ugly-is.
The most represented director on the list is John Williams, who has nine films in the top 100. In a tie for second place is Ennio Morricone and Max Steiner with eight apiece. There is a two-way tie for fourth place: Bernard Herrmann and Elmer Bernstein both have seven. I have provided links to YouTube videos that show the score so you can hear it for yourselves. If a movie has been reviewed on this blog, the film review will be included next to the name inside the parentheses.
Anyway…enjoy!
- Star Wars (The Franchise)—John Williams
- Gone With the Wind—Max Steiner (view film review here)
- Lawrence of Arabia—Maurice Jarre
- The Lord of the Rings (The Franchise)—Howard Shore
- Psycho—Bernard Herrmann (view film review here)
- Schindler’s List—John Williams
- Cinema Paradiso—Ennio Morricone
- Vertigo—Bernard Herrmann (view film review here)
- King Kong—Max Steiner
- The Godfather—Nino Rota (view film review here)
- Doctor Zhivago—Maurice Jarre
- The Lion in Winter—John Barry
- The Good, the Bad, and the Ugly—Ennio Morricone
- Ivan the Terrible—Sergei Prokofiev
- To Kill a Mockingbird—Elmer Bernstein
- E.T.: The Extra-Terrestrial—John Williams
- The Magnificent Seven—Elmer Bernstein
- Jurassic Park—John Williams
- How the West Was Won—Alfred Newman
- Laura—David Raksin (view film review here)
- Chinatown—Jerry Goldsmith
- The Adventures of Robin Hood—Erich Wolfgang Korngold
- The Great Escape—Elmer Bernstein
- King Lear—Dmitri Shostakovich
- The Pink Panther—Henry Mancini
- Harry Potter (The Franchise)—John Williams, Patrick Doyle, Nicholas Hooper, Alexander Desplat
- Wuthering Heights—Alfred Newman (view film review here)
- Once Upon a Time in America—Ennio Morricone
- Breakfast at Tiffany’s—Henry Mancini
- The Third Man—Anton Karas
- The Ten Commandments—Elmer Bernstein
- Maléna—Ennio Morricone
- Alexander Nevsky—Sergei Prokofiev
- Sunset Boulevard—Franz Waxman
- Once Upon a Time in the West—Ennio Morricone
- The Ghost and Mrs. Muir—Bernard Herrmann
- Jaws—John Williams
- Kings Row—Erich Wolfgang Korngold
- Dr. No—Monty Norman
- On the Waterfront—Leonard Bernstein
- Conan the Barbarian—Basil Poledouris
- Modern Times—Charlie Chaplin
- Now, Voyager—Max Steiner
- The Omen—Jerry Goldsmith
- Lt. Kije—Sergei Prokofiev
- The Hunchback of Notre Dame—Alfred Newman
- The Best Years of Our Lives—Hugo Friedhofer
- The Devil and Daniel Webster—Bernard Herrmann
- Casablanca—Max Steiner
- Rebecca—Franz Waxman
- The Mission—Ennio Morricone
- A Fistful of Dollars—Ennio Morricone
- The Sea Hawk—Erich Wolfgang Korngold
- The Red Pony—Aaron Copland
- Hook—John Williams
- Ben-Hur—Miklós Rózsa
- Raiders of the Lost Ark—John Williams
- How Green Was My Valley—Alfred Newman
- Braveheart—James Horner
- Picnic at Hanging Rock—Bruce Smeaton
- Pirates of the Caribbean (The Franchise)—Klaus Badelt
- Titanic—James Horner
- The Last Emperor—David Byrne and Ryûichi Sakamoto
- Out of Africa—John Barry
- Spellbound—Miklós Rózsa
- Superman—John Williams
- Romeo and Juliet—Nino Rota
- 8 ½—Nino Rota
- Beauty and the Beast—Alan Menken
- The Wizard of Oz—Herbert Stothart (view film review here)
- The Searchers—Max Steiner
- High Noon—Dimitri Tiomkin
- Citizen Kane—Bernard Herrmann (view film review here)
- Adventures of Don Juan—Max Steiner
- The Grand Budapest Hotel—Alexandre Desplat
- Tron: Legacy—Daft Punk
- Limelight—Charlie Chaplin
- Batman—Danny Elfman
- North by Northwest—Bernard Herrmann
- Star Trek: The Motion Picture—Jerry Goldsmith
- Dances With Wolves—John Barry
- The Deer Hunter—Stanley Myers
- The Red Violin— John Corigliano
- A Place in the Sun—Franz Waxman
- La Dolce Vita—Nino Rota
- Anatomy of a Murder—Duke Ellington
- The Fall of Berlin—Dmitri Shostakovich
- Johnny Belinda—Max Steiner
- The Lion King—Hans Zimmer
- Of Mice and Men—Aaron Copland
- A Streetcar Named Desire—Alex North
- Taxi Driver—Bernard Herrmann
- The Battle of Algiers—Ennio Morricone
- Sweet Smell of Success—Elmer Bernstein
- Charge of the Light Brigade—Max Steiner
- The Social Network—Trent Reznor and Atticus Ross
- Bride of Frankenstein—Franz Waxman
- All About Eve—Alfred Newman
- Walk on the Wild Side—Elmer Bernstein
- On Golden Pond—Dave Grusin
- Rocky—Bill Conti
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Chinatown should be in the top 10 since no score has ever told a story better than Chinatown and you can literally go through every single cue to see why that’s the case. The placement of the cues is unbeatable and there is absolutely no chance there is a better spotted film than Chinatown. Also, Jerry Goldsmith is not the 16th best composer; he is a top 5 all time greatest composer. His versatility has clearly never been bettered.