From 'A Fistful of Dollars' to 'Some Like it Hot', from Mozart and Wagner to Rodgers & Hammerstein... may we present cinema's greatest scores
This feature appears in the special Bafta issue of Seven magazine, free with this week’s Sunday Telegraph
The Empire Strikes Back John Williams, 1980
For the first Star Wars sequel, the Wagnerian bombast of Williams's music for the original was supplemented by melancholy romantic motifs and the darkly brilliant, dum-dum de-dum dum Imperial March.
This feature appears in the special Bafta issue of Seven magazine, free with this week’s Sunday Telegraph
The Empire Strikes Back John Williams, 1980
For the first Star Wars sequel, the Wagnerian bombast of Williams's music for the original was supplemented by melancholy romantic motifs and the darkly brilliant, dum-dum de-dum dum Imperial March.
The Sound of Music Rodgers & Hammerstein, 1965
Was there ever a more complete soundtrack? Probably not. From the goofy Lonely Goatherd to the elegiac Edelweiss, via the soaring title song, The Sound of Music is as invigorating as an Alpine climb.
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The Harder They Come Various, 1972
Jimmy Cliff's buoyant title track and You Can Get it if You Really Want are the evergreen hits that helped turn pop audiences' ears to reggae, but the supporting acts, The Maytals and The Slickers, provide the mournful magic here.
Baftas coverage in full
Trouble Man Marvin Gaye, 1972
'There's only three things that's for sure: taxes, death and trouble,' Marvin Gaye sings on the opening track of this noirish, nervy and mainly instrumental soundtrack about a tough private detective.
Diva Vladimir Cosma, 1981
Cosma's score, for a slick, super-stylish thriller about an opera singer who refuses to be recorded, introduced a new kind of ambient, keyboard-driven cool to soundtracks.
That Summer! Various, Arista, 1979
The cream of Britain's original burst of post-punk chart stars - Ian Dury, Elvis Costello, The Only Ones, The Undertones - plus American interlopers (Patti Smith, Richard Hell) get their hits out.
The Payback James Brown, 1974
Brown recorded his first great soundtrack for the gangster street saga Black Caesar. A sequel followed, but the director Larry Cohen rejected Brown's music - because it didn't sound like him. Brown released it as 'The Payback', an epic much-sampled eight-track double album that many regard as the funkiest thing ever recorded.
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Was there ever a more complete soundtrack? Probably not. From the goofy Lonely Goatherd to the elegiac Edelweiss, via the soaring title song, The Sound of Music is as invigorating as an Alpine climb.
Download this album
The Harder They Come Various, 1972
Jimmy Cliff's buoyant title track and You Can Get it if You Really Want are the evergreen hits that helped turn pop audiences' ears to reggae, but the supporting acts, The Maytals and The Slickers, provide the mournful magic here.
Baftas coverage in full
Trouble Man Marvin Gaye, 1972
'There's only three things that's for sure: taxes, death and trouble,' Marvin Gaye sings on the opening track of this noirish, nervy and mainly instrumental soundtrack about a tough private detective.
Diva Vladimir Cosma, 1981
Cosma's score, for a slick, super-stylish thriller about an opera singer who refuses to be recorded, introduced a new kind of ambient, keyboard-driven cool to soundtracks.
That Summer! Various, Arista, 1979
The cream of Britain's original burst of post-punk chart stars - Ian Dury, Elvis Costello, The Only Ones, The Undertones - plus American interlopers (Patti Smith, Richard Hell) get their hits out.
The Payback James Brown, 1974
Brown recorded his first great soundtrack for the gangster street saga Black Caesar. A sequel followed, but the director Larry Cohen rejected Brown's music - because it didn't sound like him. Brown released it as 'The Payback', an epic much-sampled eight-track double album that many regard as the funkiest thing ever recorded.
Have your say
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