David L. Simmons:

>As a fan of film music, I've always been amazed by what the "right"
>music can do with an otherwise uninteresting scene.  While "E.T" gathered
>rave reviews on its original release, I came to realize that the last
>20 minutes of the film is about 20% Spielberg and 80% John Williams (you
>can quibble the exact proportions, but it is very obviously the music
>that carries the film).  Can others give examples of music that carries
>the movie to such a degree?

Close Encounters (Williams again): From the landing of the mother ship
on, it's practically *all* Williams.  Then again, the aliens' means of
communication is music.

Sisters (Herrmann): A wonderful, practically forgotten film by Brian De
Palma, about a murderous Siamese twin (you had to see it).  Almost all
the menace comes from Herrmann's score.

Obsession (Herrmann): Another homage to Hitchcock from Brian De Palma
(in this case the object of veneration is Vertigo).  About as campy as
Psycho, the music gives the movie whatever depth it has.

Lust for Life (Rozsa): A big A-list picture from the Fifties on the
trials and tribulations of van Gogh, with Kirk Douglas morphing into
Frank Gorshin's impression of him.  Rozsa and the cinematographer convey
the intensity of the painter's art.

The Outriders (Previn): A little-known Joel McCrea western about escaped
Confederate prisoners who sign on as guards to betray a wagon train,
secretly carrying Union gold, to renegade raiders.  Previn's music is
a landmark, at least 50% of the film's effect.

Steve Schwartz