With the return of IndianaJones, it seems right to reflect on John Williams's legacy—and one of his most iconic themes.
For plenty of fans, though, a thorough appreciation of film music—or indeed, an appreciation of John Williams music—is an endpoint unto itself, constituting the bulk of a satisfying orchestral diet. Think of it as the classical music of our time, teaching its devotees to truly, deeply listen. But also, as the MTV placement suggests, it’s classical music that has struck a mighty chord with a sizable audience.By Janet Knott/The Boston Globe/Getty Images.
Williams defined the sound of a whole era of moviegoing. He paved the way for other symphonically minded film composers, with Jerry Goldsmith,and James Horner making estimable contributions to the form. Taking over the Boston Pops Orchestra in 1980, Williams single-handedly brought film music into the concert hall, legitimizing an art form previously dismissed by classical music critics as cultural junk food.
Movie music of this kind can cause the air in your lungs and the tissues in your chest to vibrate. But can it stir the soul like, say, the theme toWilliams’s possible retirement comes at a time when the future of movies themselves seems uncertain. A giant sauropod feeding on tree leaves, a fleet of BMX bikes soaring through the air: those scenes—exquisitely and sensitively scored by Williams—felt like shared cultural moments.
installment. Beyond saying goodbye to a certain fedora-wearing archaeologist, it will feel like the end of a crucial epoch in film music. Yet Williams’s body of work isn’t going anywhere. It will continue to enthrall and inspire whole lifetimes’ worth of listening, study, discussion, and obsession..
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