Feature Presentations
Main Titles
Film Music Review Issues
100 Essential Film Scores
Film Focus Series
Best Film Music CDs of the Year and Decade
The Sammy Film Music Awards
Film Composer Tributes
Film Actor Music Tributes
Book and DVD Reviews
End Credits and Links
FILM MUSIC REVIEW
Editor-in-Chief:
Roger Hall
Contributing Writers:
Jeffrey Dane
Steven A. Kennedy
Steve Vertlieb
Member
See the nominations for 2009 awards at this link:
International Film Music Critics Association
Main Titles 
Film Music Review Contents
Film Music Century
The Role of the Reviewer
Anniversary Specials
Film Music Guide
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Film Music Review Contents
For over a decade, Film Music Review (FMR)
has provided reviews
of CDs, DVDs, and Books.
It is now one of the longest-running online magazines devoted exclusively to film music.
This online magaizne was founded by Roger Hall, a film historian, writer and member of the International Film Music Critics Association. He has been the FMR editor since the beginning. Other writers who have assisted as Contributing Writers are:
Steven A. Kennedy, and Steve Vertlieb.
FMR began in 1998 on another website
which lasted until 2005 and is
no longer available online. All the reviews from those years have been archived and most are available as document files in the new eBook titled,
A GUIDE TO FILM MUSIC - Songs and Scores (PineTree Press, 4th edition)
FMR has been online here since 2006 and all the reviews are still available
(see the FMR Issues links below).
Over the years, FMR has been a respected resource
for film music reviews
and other news.
The focus of FMR now is on the preservation
of film scores
from the past,
devoted mainly to older soundtrack reisuues,
re-recordings and other preservation efforts.
Some new film scores are also occasionally reviewed.
Each year, FMR Editor Roger Hall lists his annual Sammy Awards for best film soundtracks, songs and other categories.
These awards (also called the "Sammys")
are named after the late great movie lyricist Sammy Cahn.
The Sammys are now the longest-running awards chosen exclusively for film music recordings.
Film Music Century
Music for the cinema was one of the most significant achievements
in popular entertainment during the 20th century.
It remains important in the 21st century as well,
though many of the newer soundtracks lack the depth and quality
of the older film scores and songs.
There are still film fans and critics
who don't understand
the importance of music in a film.
Music can be a major factor in the success of a film.
Just think of Max Steiner's monumental score for GONE WITH THE WIND,
Miklos Rozsa's haunting score in SPELLBOUND,
Dimitri Tiomkin's memorable song and score in HIGH NOON, Bernard Herrmann's frightening music in PSYCHO,
the John Barry music in the James Bond films, or the thrilling scores of John Williams for the STAR WARS series. All of these scores contributed greatly to the success of those films. Many more could be listed.
Excluding the silent era when little original soundtrack music was recorded,
the music in sound films
can be divided
into these overlapping themes
during the 20th century:
I. Hollywood Studio System
(Musicals and Scores):
1929 (BROADWAY MELODY)
to
1959 (BEN HUR)
II. Theme Songs:
1952 (HIGH NOON)
to
1976 (THE OMEN)
III. Big Blockbusters:
1977 (STAR WARS)
to
1999 (TOY STORY 2)
The Role of the Reviewer
Over the years, I've read many comments in various newsgroups and message boards about soundtracks and movie musicals -- some have been fair and reasonable assessments, others are just personal ranting and raving. On these message boards, soundtrack reviewers or critics are often criticized and attacked for their opinions.
This has been a trend that bothers me as a film music critic, since reviewers are often dismissed as morons, especially if someone disagrees with them. The fact is that most reviewers offer their personal opinions of a CD soundtrack or compilation. You can agree or disagree with them, but it's not fair to dismiss them all as no-nothings.
What then is the role of the reviewer? I'll give my opinion for what it's worth...
As I see it, a reviewer is supposed to write a critical evaluation of a CD after carefully listening to it and relating it (if possible) to the film itself.
Oftentimes the CD soundtrack is released before the film itself opens in movie theaters. That makes assessment with how the music is used in a film very difficult.
Here are three questions I consider when reviewing a CD soundtrack or compilation:
(1) How does the music sound without from the film?
(2) What is the film composer's score intended to accomplish?
(3) Where are the strengths and weaknesses on the soundtrack CD album (the music, sound quality, notes, album design)?
It's not possible to consider each of these questions all the time. For example, years ago I reviewed Christopher Gordon's superb score without having seen the television film, ON THE BEACH. It was unavailable at that time. But I still evaluated the soundtrack based on what I heard. I think that's okay because often the soundtrack is meant to stand on its own anyway. That is why the track ordering is often different from the film, which drives some soundtrack collectors mad. Who made the rule that soundtracks have to follow the same sequence as the film? Collectors seem to think they are the only ones who matter when they demand that every second of the music be made available and in the same order as in the film. That is nonsense! I believe that most soundtrtack or compilation albums are meant to be enjoyable listening experiences, not rote reproductions of the original film soundtrack.
Is it better to go along with the crowd or have your own opinion?
A good reviewer or critic MUST express his or her own opinion based on what they hear on the soundtrack, even if it offends the collectors or the film composer. It seems to be a general rule that if you praise a soundtrack you're great, if you don't like one that's very popular then you're an idiot. So praise is good, criticism is not? I strongly disagree with that view.
If you just want to collect everything by such fan favorites as Jerry Goldsmith, John Williams, Hans Zimmer or (name your composer) then reviews may be of little interest for you. Rabid soundtrack collectors are often very close-minded to other viewpoints.
On the other hand, if you'd like to read different opinions of a soundtrack before you decide to buy it, then reviews can be very helpful. That's why Film Music Review has been online for 11 years now. The objective of all reviewers on FMR have been to be as fair as possible when reviewing a soundtrack. We don't praise something just because of the fame of the composer or the publicity hype for the film.
Hopefully, after reading this essay, you'll have a better appreciation of what a reviewer does and if you like what they do, why not send them a message and let them know?
I believe that most reviewers work long and hard without ever getting much credit.
Naturally film composers and CD producers deserve credit for their outstanding work, but so do reviewers and critics.
So to all web site and print soundtrack reviewers, I salute you for your dedication to the film music cause!
To all soundtrack collectors, I wish you continued happy listening!
Roger Hall, FMR Editor
July 2009
Anniversary Specials
50th Anniversity Tribute
THE TWILIGHT ZONE Revisited
Bernard Herrmann's "Walking Distance"
KEN DARBY (1909 - 1992)
"RIVER OF NO RETURN"
A Centennial Tribute to Ken Darby
JOHNNY MERCER (1909-1976)
"Acent-tchu-ate The Positive"
Johnny Mercer in Hollywood
Film Music Review...
celebrated its 11th anniversary online in 2009.
To celebrate this occasion, see the lists of favorite film scores at
11th Anniversary Special
Read the picks from previous years at these links:
10th Anniversary Special
9th Anniversary Special
8th Anniversary Special
CD Review for
Hollywood's Greatest Hits (2 CDs)
Film Music Book
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Now available!
The updated 4th edition with 50 audio files and
FMR CD reviews and news from 1998 to 2005,
all contained in the eBook titled:
A GUIDE TO FILM MUSIC: Songs and Scores
To read about this handy and useful reference guide
click on this link to
Film Composers and Soundtracks
Ratings for CDs and DVDs:
**** = Superlative (Highest Recommendation)
***1/2 = Very Good
*** = Good
**1/2 = Okay
** = Barely Passable
* = Poor
The Special Merit CDs are chosen for outstanding overall production of a soundtrack or compilation.
The Editor's Choice -- Best of the Month designation is for those CDs that are singled out for their excellence. They are chosen anytime within a given month and may not be chosen every month.
Film Music Review Issues
Volume 12, 2010
Number 1 (Winter)
Volume 11, 2009
Index to All Reviews (January - December)
Number 1 (Winter)
Number 2 (Spring)
Number 3 (Summer)
Number 4 (Fall)
Volume 10, 2008
Index to All Reviews (January - December)
Number 1 (Winter)
Number 2 (Spring)
Number 3 (Summer)
Number 4 (Fall)
Volume 9, 2007
Index to All Reviews (January - December)
Number 1 (January - February)
Number 2 (March - April)
Number 3 (May - June)
Number 4 (July - August)
Number 5 (September - October)
Number 6 (November - December)
Volume 8, 2006
Index to All Reviews (January - December)
Number 1 (January - February)
Number 2 (March - April
Number 3 (May - June)
Number 4 (July - August)
Number 5 (September - October)
Number 6 (November - December)
Index to CD, DVD and Book Reviews
(2006 - 2008)
Volumes 1 - 7 (1998-2005)
These reviews are no longer online.
For a complete list of soundtracks and compilations,
go to:
FMR Index
100 Essential Film Scores
For a survey from the 1930s to 1990s, see
100 Essential Film Scores of the 20th Century
Film Focus Series
Among the most appreciated film scores from the 1940s...
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No. 1: Hugo Friedhofer and THE BEST YEARS OF OUR LIVES
by Steve Vertlieb and Roger Hall
A monumental historical score from the 1950s...
No. 2: Miklos Rozsa and PLYMOUTH ADVENTURE
by Roger Hall
The first major film score of the 1930s...
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No. 3: Max Steiner and 75th anniversary of KING KONG
by Steve Vertlieb and Roger Hall
One of the great religious epic scores of the 1950s...
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No. 4: Elmer Bernstein and THE TEN COMMANDMENTS
by Jeffrey Dane
Probably the greatest film score for a Hitchcock film...
No. 5: Bernard Herrmann and VERTIGO
by Roger Hall
An underrated score by the composer best known for his Western scores...
No. 6: Dimitri Tiomkin and IT'S A WONDERFUL LIFE
by Roger Hall
The Best Film Music CDs
Best Film Music CDs of the Decade
(2000-2009)
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Best Film Music CDs of 2009
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Best Film Music CDs of 2008
Best Film Music CDs of 2007
Best Film Music CDs of 2006
Best Film Music CDs of 2005
The Sammy Awards
The Sammy Awards (or Sammys) are named after
the late movie lyricist, Sammy Cahn
The 22nd Annual Sammy Film Music Awards
will be announced on February 21, 2010.
Watch for the announcement!
Click on these links for the
21st Annual Sammy Awards
20th Annual Sammy Awards
19th Annual Sammy Award
18th Annual Sammy Awards
The Sammy Awards (Complete List)
Film Composer Tributes
Elmer Bernstein
"It's a junk culture, and people buy junk...generally speaking, film has not advanced in terms of taste and intelligence, and that makes it tough for music."
-- Elmer Bernstein
Read the Lifetime Achievement Award for Elmer Bernstein at
The Sammy Awards - 2005
A special remembrance by FMR Editor Roger Hall at:
80th Birthday Tribute to Elmer Bernstein
Aaron Copland on Film Music
"It’s quite expensive to add music to a film. It would be a shame if nobody paid attention to it (laughter). The producers would have thrown their money out the window." -- Aaron Copland
Read the interview by FMR Editor Roger Hall
with the distinguished composer Aaron Copland (1900-1990)
at this excellent site:
Runmovies/ Soundtrack
Read the review of Copland's last film score from 1961
SOMETHING WILD
Also available is "A Conversation with Aaron Copland" (AMRC No. 7)
available from the
American Music Recordings Collection
George Duning Centennial
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George Duning 100th Anniversary
Jerry Goldsmith
"Each assignment becomes an agonizing experience. Where shall I begin? What notes shall I play? What combinations of sounds will be at once melodic and original and attention-grabbing that the audience will be hooked?"
-- Jerry Goldsmith
Read the Lifetime Achievement Award for Jerry Goldsmith at
The Sammy Awards - 2008
Bernard Herrmann: The Early Years
"Film music must apply what an actor cannot say. The music must really convey what the word cannot do. If you're dealing with an emotional subject
this is the complete purpose of a film score."
-- Bernard Herrmann (1911-1975)
He is one of the most admired film composers from the past.
Read the article by Roger Hall
about Bernard Herrmann
and his early film scores,
with a new addendum of CDs
at this excellent site:
Runmovies/ Soundtrack
Hear excerpts of Herrmann's film music available on the CD
included with this reference book:
A GUIDE TO FILM MUSIC: Songs and Scores
Ennio Morricone
Honorary Oscar For Ennio Morricone
Miklos Rozsa Centennial
100th Birthday Tribute to Miklos Rozsa and Web Poll
Dimitri Tiomkin's "Golden Decade"
"In Hollywood vernacular, I could write commercial."
-- Dimitri Tiomkin (1894-1979)
Read Roger Hall's tribute to Hollywood's highest paid film composer of the 1950s, reprinted with a new addendum of recordings at
Runmovies/ Soundtrack
See "Dimitri Tiomkin's HIGH NOON" at
Film Composers and Soundtracks
Also read the DVD review of Dimitri Tionkin's monumental score for
THE FALL OF THE ROMAN EMPIRE
Franz Waxman
A Centennial Tribute To Franz Waxman
John Williams
John Williams
75th Birthday Tribute
and a Listener's Poll
Film Actor Music Tributes
""I have been uncompromising, peppery, intractable, monomaniacal, tactless, volatile, and oftentimes disagreeable...I suppose I'm larger than life." -- Bette Davis
She is one of the most admired Hollywood actresses from the past,
known for her distinctive acting, her demanding work ethic,
and those beautiful Bette Davis Eyes.
She was also fortunate to have some of the
best composers working in Hollywood for her films.
Read her biography and reviews of recommended soundtracks
from her classic films at
"They're Either Too Young or Too Old"
A Centennial Birthday Tribute to Bette Davis
“Well, I think one of the main things that you have to think about when acting in the movies is to try not to make the acting show.”
-- James Stewart
As with Bette Davis, James "Jimmy" Stewart was fortunate to have some of the best composers working in Hollywood for his films.
And like Ms. Davis, he also sang occasionally in his films.
Read all about it at this link:
"Easy to Love"
A Centennial Birthday Tribute to James Stewart
Book and DVD Reviews
Book Reviews
The Soundtracks of Woody Allen:
A Complete Guide to the Songs and Music in Every Film, 1969-2005
by Adam Harvey
Hitchcock's Music by Jack Sullivan
Recommended Film Music Books
Here are several recommended books on film music for teaching purposes
or reading enjoyment...
The Art of Film Music(Paperback)
by George Burt
Comments: A very good textbook for aspiring film composers yet also worthwhile reading for any film music lover. Special emphasis on four film composers: Friedhofer, North, Raksin, Rosenman.
Film Music: A Neglected Art -- A Critical Study of Music in Films (Paperback -- by Roy M. Prendergast
Comment: A more technical study but worth reading.
The Invisible Art of Film Music (Paperback)
by Laurence E. MacDonald
Comments: An excellent non-technical survey from the 1920s to 1990s. Many illustrations and easy to read format.
Knowing The Score: Film Composers Talk About the Art, Craft, Blood, Sweat, and Tears of Writing for Cinema (Paperback)
by David Morgan
Comment: Fascinating interviews with film composers who offer insights into film scoring and collaborating with film directors.
Recommended DVDs
with film composer interviews
THE JOHNNY CARSON SHOW (Guest: composer Dimitri Tiomkin)
THE PLOW THAT BROKE THE PLAINS & THE RIVER
-- music by Virgil Thomson
(includes an audio interview)
