Lord of the Rings: Return of the King (Howard Shore)

In Return of the Kings, Howard Shore uses a classical orchestra, and possibly a theremin in a few instances as well as a couple instances of lyrics, for all of the underscoring. The little diagetic music involves singing, battle horns, and, at least in the other two movies of the trilogy, some fiddle. Shore does not tend to use the typical musical sound of Korngold and Steiner in which non-violin strings frequently fill up the background or make up most of the underscoring, leaving brass and violin noticeable primarily in intense sequences. Perhaps to create a sort of Celtic atmosphere, Shore uses the violin/fiddle frequently in Return of the King. It especially evokes the pastoral setting of Rohan and its Rohirrim cavalry. He also employs brass frequently, and it fits in terms of Classic Hollywood traits because it is used with powerful men, large tracts of land, and battles.

Shore repeats many snipets of longer songs throughout all three movies, creating both direct and indirect leitmotifs. The ½Eb ½D ¼D ¼D ½Eb... (both taken from trombone sheet music) sequence and the ¼C ¼C ¼C ¼Eb ½D ½Eb ½F 1C... show up throughout: the first (EbD) represents the hopes of the fellowship; the second directly shows up whenever the Rohirrim appear. The EbD first appears in Fellowship of the Ring in "The Prophecy," the title credit song which starts off slow and mysterious and then introduces the EbD leitmotif. In Return of the King, EbD first appears with Aragorn and Merry as they watch Gandolf and Pippin ride to Minas Tirith in an attempt to council the Steward, Lord Denathor, for the upcoming defense of the city. It later appears with Sam and Frodo as Sam assures Frodo that they'll return from the journey to Mt. Doom. It occurs at least 6 other times, usually not lasting more than about 12 notes. Each time, someone in the fellowship inspires--like Aragorn giving a pep speech outside the Gates of Mordor--or takes brave action--like Sam attacking the orcs holding Frodo hostage. In general, the theme reminds the audience that the fellowship can still overcome the odds, something not obvious due to the constantly desperate conditions facing them. The second (CC) simply appears with the Rohirrim, especially when they are riding their horses. The CC comes from "Rohan," first used in The Two Towers as Aragorn, Gimli, Legolas, and Gandolf enter Rohan for the first time. This theme is usually first delivered by fiddle and frequently echoed by brass that is not overwhelming.

Big Fish (Danny Elfman)

In Big Fish, Elfman uses the score to create an sort of happy, nostalgic atmosphere for the flashback stories which he ties to Ed's son's struggle to reconcile Ed's true story with the outlandish stories that Ed has told his entire life. In one of the first flashback scenes, Elfman uses soft piano and strings--both of which are heavily used throughout the film--with the transition from Will watching a boy on a plane make shadow animals to his reminisce of Ed, his father, showing him shadow animals. The general mood of the current time is sad, employing slow strings and piano for the most part, because Ed is dying and Will and he have not spoken for years. However, in the flashback story scenes, which are not wholly accurate within the plot framework, Elfman uses a variety of instruments to coincide with various scenes. Diagetic examples include the use of an outdoor band with the farewell parade in Ashton, circus music with the circus, and banjo and fiddle with the mysterious town down the old path. The music fits in the last example because the town is Southern, small, and very laid back. In the underscoring, for example, Elfman uses bells and strings to elicit a romantic feeling as Ed interacts with Sandra, and also a few classic rock themes to fit with the circa 1970 arrival on Auburn's campus and later business trips in a now classic Dodge Charger.

Interestingly, Elfman blends together these two realms at the very end of the film as Will sits beside his dying father and finally tells a "big fish" story of his own. His father asks him to tell him how he goes, knowing full well that he is dying of cancer and a stroke in a hospital and probably won't last much longer. The camera views switch variously between the deathbed and Will's story of his father's triumphant escape from the hospital to the crowd of all the characters from his life and his metamorphosis into a catfish in the river. The hospital shots still use mainly strings and piano to continue a sense of seriousness, but the story shots use a variety of adventurous full orchestra, fiddle and banjo, and band as Will and Ed imaginarily flee from the hospital for Ed's last terrestrial adventure. Will carries Ed into the water, the sappy strings and piano bleed over to the story not only to fit with his farewell to his wife, Sandra, but also to show the audience that Will's struggle to understand his father has come to an end as he is now the storyteller and Ed swims quietly off into the deep.

Malcolm X (Terence Blanchard)

Blanchard uses a wide variety of music throughout Malcolm X in order to concur with the various time, place, and atmospheric settings. When he uses orchestral pieces, they usually only use a few of the intstruments though many instruments are used in the movie. Additionally, much pre-recorded music is used, especially in public places, like diners, inside the police station, etc., in part to give a realistic ambience for the time period (post-WWII). The sharp contrast between the orchestral parts used in flashbacks to the Little household and the jazz used throughout Malcolm's adolescent and early adult life clearly show that Malcolm has strayed from his upbringing. Jazz vocals, trumpet, and saxophone proudly accompany adolescent Malcolm as he struts in his colorful garb to the barbershop. He then gets his hair straightened--Baines later tells him that he was just subconsciously conforming to white culture because whites don't have nappy hair--and the music picks up again as he and his friend, Shorty, strut out of the shop. During the dialogue in the barbershop, the music becomes quieter and possibly even diagetic though no radio is prominently seen. The scene then flips back to the Little household as members of the KKK surround their house. The orchestral music here and the use of powerful, ironic brass as the evil KKK ride off into the moon image recalls more classical Hollywood techniques. The less modern music here also helps set the countryside Little house from the Urban clubs where adolescent Malcolm parties.

Blanchard uses the snare drum in military rhythm noticeably in two places in order to evoke a serious atmosphere already provided by the action. First, the drums accentuate the discipline of Malcolm's crowd outside the hospital. They have been awaiting news on Brother Johnson, whom the police have unduly battered with a nightstick. The crowd is organized in lines, just like military formation, and turns as a unit--except for one admirer--when Malcolm signals them to leave. This usage does, however, allow the audience to presume that the crowd will follow his direction and leave peacefully. Later, the snare are used with footage of Kennedy's death and funeral. Rather than using "Taps," Blanchard uses the snares to demonstrate the gravity of the assassination. The snares, unlike "Taps," represent more than solemnity: they also represent marching, perhaps to war. Shortly thereafter, Malcolm makes controversial, misconstrued statements on Kennedy's assassination, blaming the white race and saying that he is not surprised they have used their violent powers against one of their own leaders after doing the same for hundreds of years to other peoples. He is subsequently discredited by the Nation of Islam and his battle to survive and protect his family begins.