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How do you define weakest?  

 

I would be hard pressed to class anything as weakest other than much of what you enjoy most from him - that is, music for both the cinema and concert hall from the early years, until perhaps some point in the early 70s, when he was still very much in a formative phase and lacked so much of the utterly individual Williams sound that I value so much.  I would not think to tell you that your fondness is misplaced, but I do think it's hard to damn much else of his work as "weakest" - from a composer's perspective.

 

Or should I perhaps not get into such a discussion with Thor?  

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While there are plenty scores, tracks or concert pieces that don't do all that much for me, I would be hard pressed to find much that I would describe as weak. Like TGP said, even the pre-70's stuff I don't much listen to is almost always well written. Even if Williams hadn't quite found his voice yet in some cases.

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7 hours ago, TheGreyPilgrim said:

How do you define weakest?  

 

I would be hard pressed to class anything as weakest other than much of what you enjoy most from him - that is, music for both the cinema and concert hall from the early years, until perhaps some point in the early 70s, when he was still very much in a formative phase and lacked so much of the utterly individual Williams sound that I value so much.  I would not think to tell you that your fondness is misplaced, but I do think it's hard to damn much else of his work as "weakest" - from a composer's perspective.

 

Or should I perhaps not get into such a discussion with Thor?  

 

Well, we already had this discussion awhile back (his post-2005 work). To be honest, it wasn't very fruitful, because I was clearly in such minority on this that people were more concerned with ridiculing my viewpoints than engaging in constructive debate. So no, I'm not terribly tempted to go into it again at this point.

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I also think his post-2005-scores aren't as creative as his older ones. Except War Horse and Lincoln. Especially Lincoln is drama music as great and creative as Munich and Schindler's List. Highly underestimated!

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1 hour ago, Brundlefly said:

I also think his post-2005-scores aren't as creative as his older ones. Except War Horse and Lincoln. Especially Lincoln is drama music as great and creative as Munich and Schindler's List. Highly underestimated!

 

Creative?

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I think The BFG is...fine.

 

It didn't strike me immediately as a great score, like WAR HORSE or The Force Awakens did.  Time will tell if it will be a grower for me (like Tintin was), or not so much (like The Book Thief)

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The post-Jaws scores I've listened to the least amount of times are:

 

Midway

Heartbeeps

The River

Always

Presumed Innocent

Sabrina

Nixon

Sleepers

Seven Years In Tibet

Amistad

Stepmom

Angela's Ashes

The Patriot

The Book Thief

 

But I wouldn't call any of those bad scores, simply that I haven't really taken the dive to fully take them in yet.  I got time.

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You most certainly have time. The best of the ones you listed is ANGELA'S ASHES, IMO. But lots of great stuff otherwise too, both in and out of movie.

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Nixon, Sleepers, Seven Years in Tibet and Angelas's Ashes are among my all time favorites. And all the others, at the very least, have a couple of stand out tracks.

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It's fair. But since digital music collections i found a curious absence of oppression for music i don't like (or, in Williams' case, bores me) because i just don't put it in my archive.

 

And say what you will about boring JW scores: there's in all of them at least one piece to keep. I think the only ones after 'Jaws' i virtually shut out are 'Stanley and Iris' and 'Missouri Breaks'. 

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