Tag Archives: Jurassic Park

Rocks In The Attic #728: John Williams – ‘Home Alone (O.S.T.)’ (1990)

RITA#728I’ve just re-watched Home Alone. It’s probably the twentieth time I’ve seen it, but it felt like the right time to finally show it to my three daughters, aged seven, five and three. The three-year old was a little scared, but the other two enjoyed it as much as I hoped they would.

It’s funny how much of an evergreen hit the film has become. Upon its release it was a throwaway comedy, albeit a very successful one, but in the last decade or so it seems to have become as synonymous with festive TV scheduling as The Great Escape was in my youth.

What’s not to like? The McAllister family are as ignorant and self-absorbed as you’d want late ‘80s yuppy suburbanites to be portrayed, Macauley Culkin’s acting is just on the right side of precociousness, and Joe Pesci and Daniel Stern’s wet bandit burglars are laughably moronic. But it’s the two white knights of the film that give it its heart: John Candy’s polka-playing airport saviour to Catherine O’Hara, and Roberts Blossom as the ominous neighbour Old Man Marley.

The film’s other secret weapon is its soundtrack and score by John Williams. Rehashing the childhood wonder / childhood danger motif that Williams has used many times, first with Close Encounters Of The Third Kind and E.T. The Extra-Terrestrial, but later with Jurassic Park and his Harry Potter scores, Home Alone stands alongside his seminal work from the ‘70s and ‘80s.

This expanded soundtrack release, from Mondo Records, includes the festive pop songs from the film. These are another highlight of the film, as they’re not the obvious, popular versions of the Christmas classics (and presumably selected for cost reasons): the Drifters’ version of White Christmas, Mel Tormé’s Have Yourself A Merry Christmas, and Please Come Home For Christmas by Southside Johnny Lyon.

Hit: Home Alone Main Title (‘Somewhere In My Memory’)

Hidden Gem: O Holy Night

Rocks In The Attic #709: John Williams – ‘Jurassic Park (O.S.T.)’ (1993)

RITA#709What does William’s score to 1993’s Jurassic Park have to do with Dies Irae, a latin hymn from the thirteenth century?

After watching the latest disappointing Jurassic Park sequel, it’s refreshing to wash my brain out with the score to Spielberg’s original film. At this point in his career, you’d be forgiven for thinking that Williams would be washed-up. Surely the composer of Jaws, Superman, the Star Wars trilogy, Close Encounters, the Indiana Jones trilogy – and many, many more – would have nothing left. Somebody that prolific can’t keep on being prolific, can they?

The answer seems to be a resounding Yes. Not only does Jurassic Park contain two distinctly memorable main themes – Theme From Jurassic Park and Journey To The Island – but the rest of the score is just as strong as his ‘70s and ‘80s output. But what’s all this about Gregorian Chant?

The answer is in a descending motif in the ancient hymn. For centuries, this doom-laden melody has been used as short-hand for evil or foreboding – Dies Irae itself translates to Day Of Wrath. A host of great composers have used the motif in their works – Tchaikovsky, Brahms, Holst, Liszt, Mahler and Rachmaninoff, to name but a few – but it’s its use in modern film soundtracks that interests me the most.

The tune is easiest to spot in the first few notes of The Shining’s opening Main Title, played by Wendy Carlos on the Moog Synthesiser. Here, the melody isn’t even disguised, it’s as clear as the day in which it’s used to soundtrack, as the Torrances drive up the mountain approaching the Overlook Hotel.

RITA#709b
Williams uses it to great effect in Jurassic Park, throughout the cues entitled Incident At Isla Nublar (from 3:32), and High Wire Stunts (from 0:00). But this isn’t the first time he’s referenced it. It can be found a couple of times in his iconic score to 1977’s Star Wars. Here it plays as the accompaniment immediately before Luke’s Force Theme rises up in The Burning Homestead (from 1:28), and is echoed in the doom-laden brass line (from 1:43) as Luke’s fate realigns.

And it’s not just John Williams sliding it into his scores, the musical equivalent of directors inserting the Wilhelm Scream into their sound mix. Other famous composers have “borrowed” the melody too. In 2001’s The Fellowship Of The Ring, Howard Shore uses it as the bassline thoughout the cue entitled Weathertop (from 0:18), as the Ringwraiths attack the Hobbits. Jerry Goldsmith utilises it in his 1982 score for Poltergeist, Hans Zimmer uses it briefly in 1994’s The Lion King, and Bernard Herrmann used it back in 1963 for Jason And The Argonauts. Unsurprisingly the tune also makes for good horror music fodder.

RITA#709aEven back in 1927, Gottfried Huppertz inserted the motif into his Dance Of Death cue for Fritz Lang’s Metropolis (from 1:17) – confirming that the appropriation of Dies Irae in cinema is as old as cinema itself.

Interestingly, John Williams does something sneaky with Dies Irae in Jurassic Park. Usually the sequence of the first four notes in the motif is enough to suggest doom and despair, but Williams takes just the first three notes and does something unexpected with them. They serve as the starting point for the Jurassic Park’s main theme – as positive and upbeat a film theme as could be, even when played on a Melodica.

Hit: Theme From Jurassic Park

Hidden Gem: Dennis Steals The Embryo