This will be a similar post like Famous Vehicles from Film and Television. It is also the first in a series of four. Again, no theory, no review, not even trivia (well, maybe a little). Simply commentary, and I lean towards calling it celebration.

Famous Instrumental Themes of John Williams

Perhaps not everyone who watches a lot of screen media notices all the "little" things. The more I watch, the more I take it all in. The music of a film can instantly direct how the audience is supposed to feel. If you watch anything with captions for very long you will see phrases like "foreboding music" or "soothing music". Particularly when thinking of scores consisting of classical music, one name comes to mind first: John Williams. Besides those discussed here, he composed for more serious fare such as Schindler's List, and a surprising turn or two including Home Alone, Willliams has been as, *ahem*, instrumental in many a film's success as more prominent creator roles such as actors, directors, writers, etc., and has been nominated and won many awards for his work. Presented for you, here are some notable examples of main themes from his scores. The format will be: heading for the featured film or franchise, the actual name of the piece early on, and then the brief commentary as to why it is iconic and has maintained that status.

Jaws

The official track name is "Main Title (Theme from 'Jaws')" on the original 1975 MCA Records release. Perhaps the most famous combination of two notes, though it does actually consist of more while yet maintaining simplicity, the main theme from Jaws is the epitome of built tension as it starts low and slow, suspense as it increases in tempo, and burst of action with sudden high volume. Those descriptors fit the film, which means the music fulfills its role, each inseparable from the other. Its legacy includes reappearance in all three inferior sequels in the form of the shark motif (Jaws 2, the best of them, was in fact also scored by John Williams), inclusion is some form of both major animated sea films of the mid-2000s (Finding Nemo and Shark Tale), Back to the Future Part II for a brief lighthearted jab at the franchise in the form of the holofilm, Jaws 19, during the future sequence, and anytime someone wants to sneak up on someone while bringing faux peril. A widely known fun fact: Bruce, the great white in Finding Nemo, is named after the mechanical shark used in Jaws. "This was no boat accident."

Star Wars

The original 1977 film soundtrack entitled it simply "Main Title". After the quiet of the "A long time ago in a galaxy far, far away...." title card, a sudden burst of orchestration begins the intro of the main theme from Star Wars (later renamed with the addition of Episode IV: A New Hope) and is accompanied by the just-as-iconic logo over a starfield, setting the bar high for exciting action. As that logo moves to the background and the also now classic crawl begins, the theme properly starts consisting of two primary movements, the first with horns in the forefront and the most recognizable part, and the second with strings as a quieter counterpoint. To increase the impact, kettle drums are heard as the horn movement returns. It is synonymous with the franchise, as this consistent form of theme, logo & crawl begins all nine episodes of the Skywalker Saga (which were all scored by Williams) and also some Expanded Universe video games in the top tier such as both Knights of the Old Republic single-player games and The Force Unleashed. It also made a brief appearance in Ferris Bueller's Day Off, played for comedy, of course. It is worth noting that at least one other piece, first appearing in The Empire Stikes Back, could nearly have been here instead of the main title theme, "The Imperial March (Darth Vader's Theme)", and "Duel of the Fates" is also notable. "There will be no one to stop us this time."

Close Encounters of the Third Kind

This is the first entry, but not the only one, to not be called the main theme. On the original 1977 (busy year for Williams) soundtrack for Close Encounters of the Third Kind, it is entitled "The Conversation" (renamed "Wild Signals" for the 1998 Collector's Edition, the rerelease and Steven Spielberg's definitive cut of the film). Beginning with the five tones (D, E, C, C [octave lower], G) used during the film's climax to communicate back with the extra-terrestrials after their attempts at contact with us, it becomes a more elaborate piece as both "voices" combine, the higher sounds of the synth of the humans with the deep, rich tones of the tuba representative of the mother ship. Since a close encounter of the third kind is indeed defined as contact, both the notes as a theme and this particular instance best depict the film itself, one that has aged like a fine wine. "If everything is ready on the Dark Side of the Moon, play the five tones."

Superman

"You'll believe a man can fly," is the tagline of the 1978's Superman (aka Superman the Movie). Dubbed "Theme from Superman (Main Title)" on the original soundtrack, John Williams, through this composition, indeed prepares the audience for this belief. Using the format of two movements once again, the theme begins with some light and shade in the form of quiet and loud. The second movement emanates the gallantry and valor of the film's title character, the one all other superheroes are measured against, much like the film for the genre. Its legacy includes appearance in each of the three sequels starring Christopher Reeve, serving as the main theme in all but Superman III, a brief appearance of the leitmotif in the spin-off, Supergirl, and in Superman Returns, 2006's legacy sequel to Superman II. In other media, it is used a bit in the very Reeve-friendly TV series, Smallville, and for Superman's appearances in the LEGO Batman series of games. "It is forbidden for you to interfere with human history. Rather, let your leadership stir others to."

Indiana Jones

While Superman was the first (and only one in this post) that does not involve Steven Spielberg or George Lucas, the Indiana Jones films were directed by the former and written by the latter, aside from the most recent, 2023's The Dial of Destiny, though both are executive producers. The soundtrack for the first film, Raiders of the Lost Ark (1981), has the full-length track listed as "The Raiders March", which is played over the end credits, but it makes appearances earlier in the score, first during "Flight from Peru". "The Raiders March" begins with a quiet repeated musical phrase, much the bass line, before the familiar motif plays over it with higher pitched brass. With the series' roots in film serials, it very much fulfills its role of being accompaniment for a grand adventure. Representative of Dr. Henry Walton "Indiana" Jones, Jr., as an adult, the leitmotif itself is reused in the prequel (The Temple of Doom), all three sequels, briefly in The Young Indiana Jones Chronicles during Harrison Ford’s sole appearance, and many video games. "It's not the years, honey, it's the mileage."

E.T. the Extra-Terrestrial

The main theme of E.T. is in fact named "Flying", but I prefer to put the focus on a previous piece of the score when the famous musical phrasing first appears, "E.T.'s Halloween". It is used in film on the October holiday which they are using as a cover so E.T. can attempt contact with his people. All with strings in the forefront and beginning with a quirky melody as E.T. sees Halloween festivities through the eye holes of his ghost costume to a tension-building section following Elliott and E.T. through their journey through the forest that finally crescendos into the familiar tune as they fly when seemingly at the end of the "road". This, of course, plays over the iconic image of the silhouette of them on his bicycle against the moon, which is used as the logo for Spielberg's production company, Amblin Entertainment. The latter melody is reused for "Flying" in the film's climax, when E.T., Elliott, his brother, and his brother's friends cooperate to deliver E.T. to his rendezvous with the spaceship. "It's a miracle and you did the best anybody could do."

Jurassic Park

There is no doubt John Williams is an accomplished composer. Outside his film scores, I advise checking out his Concerto for Cello and Orchestra, written specifically for Yo-Yo Ma, and The Five Sacred Trees. His compositions for films, however, are often marked by how much he does with such a simple melody, and "Theme from Jurassic Park" is another fine example. For the first film, it is not played over main titles but instead reserved for the first full view of a dinosaur, a brachiosaurus, both for the visitors in film and audience. Another great crescendo piece, it builds on itself before erupting loudly into full orchestra, both capturing the realization of the scientific accomplishment in cloning the prehistoric reptiles and the amazement of seeing one alive in its habitat. Its legacy includes the motif returning in some form for all six sequels, including the second film, The Lost World: Jurassic Park, also scored by Williams. "Welcome to Jurassic Park."

I tried to find musical pieces written by John Williams KBE that were both recognizable and also mean something to me personally. Even in this small selection, there is quite a bit of variance in the film genres represented, from thriller to the most iconic space fantasy series to adventure to traditional science-fiction. Yet, there are so many more, which is a statement to the versatility of Williams' talent both in composition and knowing what is needed for a particular film. If you want to learn more and/or like a good documentary, I highly suggest Music by John Williams.

Next up...Famous Instrumental Themes (Various)!