This Saturday, June 21, all of France celebrates music. In all its forms, it takes to the streets, restaurants, and bars for a major celebration launched in 1982 at the instigation of the Ministry of Culture. But as the film festival looms, why not celebrate those who thrill us in the darkness of cinemas, those who accompany the heroes on their epic quests or who immortalize their doubts and sorrows? Here are the five original compositions that we love to listen to on repeat.
“Test Drive” by John Powell for How to Train Your Dragon
In 2010, Dreamworks opened the doors to a new universe. The studio tackled a novel that depicts the extraordinary friendship between a young Viking and a dragon. These two characters are not supposed to form such bonds: Harold is the son of the village chief who kills all the creatures that venture onto his lands, and Toothless is a Night Fury who must please his clan leader by bringing back supplies. However, they will show their comrades that cohabitation is possible. This collaboration will be materialized by a first flight, a high-flying scene that will have marked the minds of the spectators.
This sequence would be nothing without the excellent work of John Powell on the composition. The musician encapsulates all the force of the moment and accompanies the duo's acrobatics with grace. This theme is so striking that it has even inspired other composers, starting with those in charge of the music for Hogwart's Legacy. We can find an extremely similar (too similar?) set of notes when the hero rides a Grapcorn.
“The Riders of Rohan” by Howard Shore for The Lord of the Rings: The Two Towers
Music is essential in Tolkien's imagination. It is from a deic chant that his world is born, it accompanies the heroes in their adventures across Middle-earth. For the philologist that the author was, sounds are essential. Peter Jackson understood this well and entrusted Howard Shore with the responsibility of setting music to his trilogy adapted from the novel The Lord of the Rings. The musician did not fail in his mission, bringing out some of the most striking themes of cinema of the 2000s. His music makes the epic moments vibrate as much as it underlines the danger that Sauron represents for Middle-earth. While purists feared that Jackson's adaptation would be marred by banal compositions, Shore achieved a real tour de force.
It's no surprise that the composer won two Oscars for The Fellowship of the Ring and The Return of the King. Of all the themes and variations, it's undoubtedly the Rohan one that grabs us the most (we had to make a choice). "The Riders of Rohan" captures all the film's colors, from menacing and grating brass to epic flights. Masterful.
"Main Title and First Victim" by John Williams for Jaws
We no longer need to introduce the man, nor even what is undoubtedly his most famous creation. With Jaws, John Williams has left his mark on popular culture. In the water, it's often the first thing that crosses the minds of adventurous swimmers. Yet, it is strikingly simple. So much so that Steven Spielberg initially thought it was a joke.
In the documentary dedicated to the musical legend, available on Disney+, the director explained:“I said to myself: ‘Oh my God, we won’t have an orchestra, there will only be a piano and Johnny playing a few low notes.’ You told me to listen carefully (John Williams) and I finally understood that your idea was brilliant.”
“This Land” by Hans Zimmer for The Lion King
It is undoubtedly the most striking encounter for young spectators with orchestral music. Disney's animated masterpiece didn't just benefit from its superb art direction and Shakespearean plot to make a success of the film, it owes a lot to its original music. With his orchestra, the German composer creates spirited scores that add an epic feel to Simba's adventures.
“This Land” is undoubtedly the most unforgettable, oscillating between epic and dramatic accents. The brass, percussion, and wind instruments enhance the vocals, and we find ourselves with a tear in our eye. Without a doubt, one of the most memorable works about Hollywood's most prolific musician. We also like the 2019 reinterpretation, for the needs of Jon Favreau's live-action film.
“On The Nature of Daylight” by Max Richter for many films
We're cheating a little with the last one, since this isn't music composed exclusively for a film. In fact, the music has been featured in many films, including Shutter Island, Togo, and even on the small screen in the masterful third episode of the The Last of Us series. But it is undoubtedly in the grand finale that First Contact is most sublime.
Of unparalleled purity, with its plaintive violins and striking vibrations, the piece accompanies the resolution of Louise's story. Villeneuve's choice for this final piece is perfect, it encapsulates the full dramatic scope of this resolution. We also appreciate the parallel with the story of the creation of this album by Max Richter, who gave birth to Blue Note while the war in Iraq was declared. A reflection on violence to accompany this science-fiction fresco that questions our relationship to language and to others... It's brilliant.
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