Very few on-screen battles or exceptional cinematic monologues have been delivered to the sound of silence. Oftentimes, the compositions accompanying our favorite films become as iconic and integral to their storylines as the characters themselves. Here are several scores that have driven us to separate the music from their stories and take to Spotify to appreciate them in their entirety.
“Babylon”
I’ll never forget the earth-shattering pain of watching Justin Hurwitz get robbed of best original score at the 2023 Academy Awards. For this grandiose film about Hollywood leaving the silent era and introducing talkies, it’s only fitting that the film’s score is just as big. Through taking advantage of diegetic sound — infusing the score with motifs and riffs derived from jazz performances from the film itself — Hurwitz manages to capture the ambition and chaos of early Hollywood and the rising stars within it. Through combining ’20s instrumentation, insane brass solos and the energy of modern-day rave culture, Hurwitz really lets you buy into the crazy, famously disliked “Babylon” up until the last scene.
— Dani Biondi, Film & TV Editor
“Poor Things”
The scoring in “Poor Things” is strange, unlike anything you’ve ever heard and an incredibly powerful move from composer Jerskin Fendrix. The music progresses at the same rate as Bella Baxter’s (Emma Stone) cognitive growth, making the score as important to the film as its other technical aspects. The combination of strings, computer-generated tones and organs create the ultimate immersive experience, whether it be through brazen crescendos or solemn, synthesized motifs. If you see me walking through Washington Square Park with my headphones on, I’m likely listening to “I Just Hope She’s Alright” or “London,” pretending I’m Bella Baxter on an otherworldly adventure through Europe.
— Amelia Knust, Staff Writer
“Her”
Beyond its poignant — and almost naive in retrospect — story of human-AI relationships, “Her” still feels like one of the most intimate sci-fi movies of the 2010s. This is in no small part due to Arcade Fire and Owen Pallett’s enthralling score, which walks the line between warm, organic instrumentals and immersive electronic undertones. Songs like “Sleepwalker” craft moments of soothing ambience, while stripped-down cuts like “Loneliness #3 (Night Talking)” add to the wistfulness permeating the film. Special mention goes to the beautifully subdued piano on “Song On The Beach,” which evokes the emotional rush of falling in love.
— Kaleo Zhu, Contributing Writer
“The Farewell”
Lulu Wang’s 2019 film “The Farewell” follows Billi (Awkwafina) as she returns to Changchun, China, to visit her grandmother Nai Nai (Zhao Shuzhen), who is dying of lung cancer. The catch? The family won’t tell Nai Nai her diagnosis, preferring for her to die in peaceful ignorance. Alex Weston’s score reflects the family’s mood: Racing strings feature in high stress scenes, and Billi passionately plays the piano through a family argument. The opera song “Caro Mio Ben” — whose piano tune was played by director Wang herself — contrasts a tumultuous wedding banquet. Weston’s haunting solo vocals encapsulates Billi’s grief, unearthing the eeriness of lies and family.
— Ethan Li, Deputy Copy Chief
“The Lord of the Rings: The Fellowship of the Ring”
Each of Howard Shore’s scores for the “Lord of the Rings” trilogy are damn near perfect, full stop. But, what makes “Fellowship” so special is its luxury of belonging to a part one. It establishes the rhythms of Middle-earth from the Shire to Mines of Moria, each locale and culture scored distinctly and with such clarity and precision that no two places or characters ever feel the same. This is the virtue of film scoring. Plus, who doesn’t love making a hot cup of tea and chowing down on a second breakfast to “Concerning Hobbits?”
— Joe Paladino, Staff Writer
“The Social Network”
Trent Reznor and Atticus Ross’ score happens to be one of the reasons that “The Social Network” has its place secured on my Letterboxd top four. As a chronic movie quoter, I can’t imagine performing the “SORRY, MY PRADA’S AT THE CLEANERS” scene without the beauty that is the impactful “Hand Covers Bruise, Reprise.” The power of Andrew Garfield, Jesse Eisenberg and even Justin Timberlake’s performances mixes with daunting piano, which crescendos and turns electric as the scene intensifies. It’s perfectly curated music for an impeccable scene, and the rest of the film follows suit.
— Isabella D’Erasmo, Deputy Managing Editor
“The Godfather”
I’m not sure what signifies organized crime, family and a truly horrific amount of violence more than Nino Rota’s score for “The Godfather.” Most songs bring a lilting melody to life, like “Love Theme” and “Apollonia,” but begin with just two instruments. It provides the exact type of discomfort and suspense that the rest of the movie does. There’s truly nothing like watching almost every character die backed by an accordion. My favorite is “The Godfather Finale,” which swells to the score’s fullest sound, incorporating the organ for drama as the film wraps up. Rota’s scoring is the perfect compliment to this classic film — all three hours of perfect mobster melodies.
— Rory Lustberg, Staff Writer
“How to Train Your Dragon”
As a loyal “How to Train Your Dragon” enthusiast since my elementary school years, I have spent hundreds of hours listening to John Powell’s lively score. He excels in planting thematic roots and letting them bloom through music. In bringing to life the unforgiving cold of Scotland, Powell simultaneously brings the heart of trust and new perspectives to the film within softer tracks like “Forbidden Friendship” and “Romantic Flight.” With credits in many other animated movies from my childhood like “Ice Age 2” and “Kung Fu Panda,” Powell’s scores contain springy, childlike wonder that immerses me in my own nostalgia.
— Kyra Reilley, Illustration Editor
Contact the arts desk at [email protected].
