The Leitmotif Postwar and Today
As film genres became more diversified after World War II, so did film scoring. The leitmotif, although still used, lost its significance as a primary method, replaced by the film theme song, avant garde and atonal techniques and the notion that “less is more”. Rock & Roll, popular songs and the compilation score also contributed to the downswing of the classic leitmotivic practice, which consequently became more associated with big-budget productions.[1] Miklos Rozsa’s music for Ben Hur (1959) is a memorable example of a post-war film score which still employed lush orchestration and highly thematic material. The opening title introduces five themes; the "Anno Domini" motive, which represent the religious nature of the film, a theme of longing for Judea, a love theme, "Miriam's" theme (the lead female character), and a “friendship” motive.[2]
In the 1960’s the leitmotif, when used at all, was applied in its simplest form, a distant cry from the roots of Wagner. Literal repetitions of the exact same motif throughout the film became the common application, at times quite successfully. One of the most unforgettable examples from this era is Ennio Morricione’s two-note leitmotif from The Good, The Bad and the Ugly (1966), which was extracted from the film’s theme song and used to represent “evil”.
The leitmotif, while
perhaps more of an unspoken term post war, never fell into extinction, as it
continued to be used in reduced form in films such as Vertigo (Bernard Herrmann, 1958), Patton (Jerry Goldsmith, 1970), Predator
(Alan Silvestri, 1987), Field of
Dreams (James Horner, 1989), and The
Sixth Sense (James Newton Howard, 1999). The technique made a high-profile
comeback in the latter part of the twentieth century in tandem with full
orchestrated scores for epic films and film series, a rebirth brought about by
composer John Williams for the Star Wars
film series.[3]
Contemporary composers such as Danny Elfman (Batman, 1989), Howard Shore (The
Lord of the Rings, 2001) and Hans Zimmer (Pirates of the Caribbean, 2003) have joined Williams in returning
to the more Wagnerian “Gesamtkunstwerk” approach to film scoring. Contrary to
Hanns Eisler’s view that film leitmotifs are based on “reality”, all of these
film examples are fantasy themed, which ironically rings truer to the subject matter of
nineteenth century Romantic opera.
Today it would appear that anything goes in film music. From lush orchestration to synthesized and computerized methods to carefully planned silence, there is no clear formula for film scoring. Notable composers are hired by directors who envision a specific compositional style as enhancement to their film. Of course, theme song and soundtrack sales are frequently a driving force behind the choice of composer.
In the twenty-first century, use of the leitmotif has spilled into the genre of multimedia, including video and computer games,[4] although most definitively not in the Wagnerian sense. Regardless of the type of recurrence, the leitmotif continues to be a viable treatment in film scoring. It is an element of film music that results in its belonging to the audience, with all its connections to characters, places, emotions and ideas.[5]
Today it would appear that anything goes in film music. From lush orchestration to synthesized and computerized methods to carefully planned silence, there is no clear formula for film scoring. Notable composers are hired by directors who envision a specific compositional style as enhancement to their film. Of course, theme song and soundtrack sales are frequently a driving force behind the choice of composer.
In the twenty-first century, use of the leitmotif has spilled into the genre of multimedia, including video and computer games,[4] although most definitively not in the Wagnerian sense. Regardless of the type of recurrence, the leitmotif continues to be a viable treatment in film scoring. It is an element of film music that results in its belonging to the audience, with all its connections to characters, places, emotions and ideas.[5]
[1] Julie Hubbert, Celluloid Symphonies: Texts and Contexts in Film Music History. (Berkeley: University of California Press, 2011), 195-197. Accessed October 22, 2012. http://www.oakland.eblib.com.huaryu.kl.oakland.edu
[2] Erkelenz, Ralph. “Ben Hur: A Tale of the Score.” The Miklos Rozsa Society Website. Accessed
November 21, 2012. http://www.miklosrozsa.org.
[3] Irena Paulus, “Williams Versus Wagner or an Attempt at Linking Musical Epics.” International Review of the Aesthetics and Sociology of Music 31, no. 2 (December 1, 2000), 157.
[4] Joseph Defazio, “Leitmotif: Symbolic Illustration In Music.” The Online Journal of the New Media Caucus 2, no. 1 (Spring, 2006), 35.
[5] Royal S. Brown, Overtones and Undertones: Reading Film Music (Berkeley: University of California Press, 1994), 101.
[2] Erkelenz, Ralph. “Ben Hur: A Tale of the Score.” The Miklos Rozsa Society Website. Accessed
November 21, 2012. http://www.miklosrozsa.org.
[3] Irena Paulus, “Williams Versus Wagner or an Attempt at Linking Musical Epics.” International Review of the Aesthetics and Sociology of Music 31, no. 2 (December 1, 2000), 157.
[4] Joseph Defazio, “Leitmotif: Symbolic Illustration In Music.” The Online Journal of the New Media Caucus 2, no. 1 (Spring, 2006), 35.
[5] Royal S. Brown, Overtones and Undertones: Reading Film Music (Berkeley: University of California Press, 1994), 101.
