The Mission

The underscoring music in The Mission helps to clue the audience into the emotional state of the characters in the film. For example, when the woman tells Mendoza that she doesn't love him, a twangy guitar and low strings underscoring begins to play, symbolizing his heartbreak. Also, when Mendoza kills his brother, the music immediately changes to soft and slow music, implying his immediate remorse for what he has done. Probably the most powerful example of music implying a character's thoughts and emotions is when the pope approaches Father Gabriel's mission. There is chanting and upbeat tribal musical music heard which creates an almost magical feeling for the audience and also helps to express the pope's awe and respect for the native people and what the Jesuits have accomplished.

Star Wars IV

The music in Star Wars IV has many of the characteristics of the Classic Hollywood Film Score. There are leitmotifs for several characters and places, such as a light romantic theme for Princess Leia, a daunting theme for the evil side of the force, and the memorable theme for Luke, which is actually the melody that eventually becomes the theme for the Star Wars films in general. Also music supports the action and emotional impact of the scenes in the film, for example a lot of sequencing complements the fight scenes. Also, the film features almost wall to wall music. The main time that no music is featured is when the light sabers are being used and only their sound can be heard. The majority of the music in the film is also underscoring, which uses the full extent of orchestral instruments.

2001: A Space Odyssey

While this is one of the most confusing movies I have ever seen, the music added a lot to the plot. I first noticed the cliche space exploration music used at the beginning of the movie and at the end. This is probably the first time that it was ever used, but this movie has set the standard for its extensive use in future movies. The underscoring of transition from waltz-like music to menacing and mysterious, almost eerie music, to represent space, clues the viewers that space travel has no longer been just for pleasure, that there is a unknown and almost scary view of space now. The theremin is used throughout the movie to represent things that are "other-worldly" and it helps to establish a time and place for the viewer, time being the distant future, and place being the unexplored realms of space. While the existence of sequencing and certain leitmotifs, such as the one for the monolith, helps to clue the viewer into what was going on and keep them emotionally engaged, the lack of underscoring also helped to create intense suspense and anticipation. Throughout this film, music, and lack thereof, helps to further the plot of the movie and to greatly intensify the emotions and fear of the characters and situations.

Vertigo

The music in Vertigo had many of the same qualities as the Classic Hollywood Film Score. There is no words featured in the music in the film, most of which is underscoring. Also, no popular music is featured, so the music gives no details as to when the movie is actually set. There is almost wall to wall music throughout the entire film and a full orchestra is used, similar to Gone with the Wind. Also, many leitmotifs exist: one for the investigative scenes where the detective is following his friend's wife, one for the romantic theme between the two, and one for when Carlotta is being described. The romantic theme that plays when the detective interacts with his friend's wife is used so often in the movie, especially at the end after her "death", that it almost becomes an overarching theme for the entire movie. This use of classic Hollywood film score music is very contrary to what was consistently happening in music in films made during this time.