Film scores are vital to the experience of a movie. They can determine emotion and atmosphere as well as clue audiences into aspects of the story itself, warning the audiences of details they may have otherwise missed. Main titles and emotional underscores both do this, but one of the most vital parts of a film score is the character theme.
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These pieces describe characters' inner thoughts, feelings, and desires, most of which are never spoken allowed. Character themes are often the most well-known parts of a film score. These songs are frequently the piece that become beloved and iconic due to their embodiments of a character.
Perhaps the most iconic character theme of all time belongs to one of the scariest villains to ever grace the silver screen: the shark from Jaws. The two beginning notes of "Jaw's Main Theme" have become some of the most well-known in history. Sometimes, simplicity is key.
The fast-paced oscillation between notes E and F that begin this piece are representative of a shark on the hunt. His fin waving back and forth would match the rhythm of the notes. The piece escalates with a quick, easy-to-miss blast of the D note, which is indicative of the shark's sudden bite. Now synonymous with approaching danger, "Jaw's Main Theme" perfectly illustrates a shark attack, much to viewers' terror and delight.
Chaos is a word that can describe Everything Everywhere All at Once almost better than the title itself. That description can also be applied to the movie's antagonist, Jobu Tupaki, and it can be applied to the character's theme to an even greater extent.
Completely lacking in rhythm or melody, "Jobu Tupaki" utilizes electronic experimentation. Electric guitar, vocals, and bells illustrate the otherworldliness of Jobu Tupaki herself. The random aspect of the piece matches Jobu Tupaki's unpredictability perfectly, creating a sense of unease in the listener. Jobu Tupaki is not to be trusted, and neither is her theme.
The Pirates of the Caribbean score has been praised by critics and viewers alike ever since the first film's release in 2003. Perhaps one of the most iconic pieces, however, belongs to the second film's villain. Filled with melancholic longing and sinister determination, "Davy Jones" captures the character's emotions and motivation perfectly.
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Played first diegetically on a simple music box, the tune is quickly layered in with the film's crescendo of strings and Davy Jones' organ playing. Jones both longs for his past lover and his lost heart. His villainy turns to sadness, however, and makes his theme a beautiful description of his character.
Perhaps the most iconic villain theme of all time is the one belonging to Darth Vader, the villain of the original Star Wars trilogy. "The Imperial March," revealed alongside Vader, instantly helped to make an iconic character in 1977.
Filled with powerful horns, loud drum beats, and staccato strings, "The Imperial March" is brimming with anger and purpose. The piece's rhythm sounds like marching, which matches Vader's strategies and use of soldiers perfectly. "The Imperial March" is perhaps more associated with Darth Vader than anything else about the character, and it is impossible to separate Vader from the theme.
Coraline is well known for its animation, horror elements, and the quirky main character. Even still, the score manages to stand out from the rest of the pack, and Coraline's theme shines particularly brightly.
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Filled with plucky strings and eerie, whispery vocalizations, "Dreaming" manages to illustrate the dreamy, whimsical quality of Coraline and her story. The bridge is an almost hallucinogenic, sleepy melody, illustrating Coraline's night visits to the Other World. The rest of the song is sharp and curious, moving with Coraline's constant exploration. The piece is perfect for Coraline, and both movie and character come to viewers' minds as soon as those first few notes play.
Not many traditional film scores venture into the world of electric guitar, but the X-Men: First Class soundtrack uses it brilliantly. Set in a soundtrack otherwise filled with soft strings and heroic swells of music, Magneto's theme stands out for its rough sound and villainous overtones.
"Magneto" uses strings and electric guitar to create a crunchy, intimidating sound that's perfect for Erik and his transformation into a villain. This theme plays at the very end of the film after Magneto has donned his iconic blood-red helmet and made his future plans for villainy very clear. "Magneto" is inspired by heavy metal and audiences are left wanting more as it plays the film out.
John Williams is the composer of an incredible number of iconic film scores and themes, but perhaps the most well-recognized is the piece he wrote for Indiana Jones. Doubling as both title and character theme, "Raiders March" has been stuck in viewers' heads ever since it first played in theaters in 1981.
"Raiders March" encapsulates the feeling of adventure perfectly. Filled with playful flutes, string instruments, a resounding drum beat, and split with a swooningly romantic melody, this piece captures the essence of both character and Raiders of the Lost Ark perfectly.
Like many Robert Eggers films, The Northman is a movie unlike any other. Its score is no exception. Filled with traditional Viking instruments as well as newer styles of composition, The Northman has no trouble building a score perfectly suited to its vengeful protagonist.
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Amleth's theme, aptly named "The King," first plays when Amleth is shown as an adult. The piece is powerful and heavy, using dark strings and a slow, rhythmic drum beat to underscore Amleth's determination. Brief vocalizations and horns help illustrate the primal nature of the character, as well as place the audience directly into the world of the Vikings.
The Prowler is the secondary villain in the beloved animated film Spider-Man: Into the Spider-Verse, which is widely considered to be one of the best Spider-Man films ever made. Part of the credit for that reputation goes to the film's fantastic soundtrack, which excels when it comes to character themes.
"The Prowler" is hair-raising and loud, creating a sense of fright in viewers that rivals even the most terrifying horror soundtracks. An unnatural shriek-like sound cuts through frantic strings and the quick beat, weaving an adrenaline-filled sound perfect for a chase scene. This theme helps the Prowler become the threatening villain he is, letting the audience know that this is a man they need to run from.
At the 2007 Oscars, Atonement came away with a win: Best Original Score. It was a well-deserved award; Atonement's score is incredibly unique in its ability to weave story and song. The film's opening and theme for its main character Briony, appropriately titled "Briony," is an excellent example of this.
The first thing heard before anything else is the sound of a typewriter. The tap-tap-tap of it builds into a layered string-and-piano arrangement, which is fast-paced and inquisitive in tone. This not only represents Briony's love of writing and storytelling but begins Atonement with a spellbinding example of its score.
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