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10 Great Film Scores Snubbed By the Oscars

Flamehorse . . . Comments

The Academy of Motion Picture Arts and Sciences often doesn’t seem to understand what makes music great or what great film music is. Here are 10 unsung heroes of the film score world, all of which failed to receive nominations for the listed entries.


(1993) – Randy Edelman

Ted Turner’s labor of love bombed at the box office, probably because no one likes him, but the film is actually very good and very accurate. Edelman’s score is, by far, the greatest thing about it. They toned down the violence but still show tons of people getting blown up and shot down. The real theme of the film is intended to be the glory of the Union holding off the Confederacy, and the gentlemanly manner in which the sides fought (not true).

Aside from the single worst Southern accent in cinematic history courtesy of Martin Sheen as Robert E. Lee (this lister is Southern and knows what he’s talking about), the film’s got a bucket-load of infantry charges, men against men, men against cannon, men against horses, horses against cannon, and all are glorified in Edelman’s majestic music. The sounds of tragedy aren’t really heard until Pickett’s Charge, an extended centerpiece of Rebels getting cut down and obliterated with every cut of the camera. Edelman’s score is filled with long, sweeping lyrical melodies, a comparative rarity in film.


(1960) – Bernard Herrmann

The part of this score everyone remembers is the shrieking violins in the shower scene, and that might lead some to say the score didn’t deserve an Oscar nod, but the rest of the score is equally creepy, suspenseful, and just right for one of Hitchcock’s finest achievements. The main theme is not for the lead character, played by Janet Leigh, but for the crime she’s committing: larceny. She steals a wad of cash from her boss and takes to the road.

So unlike the demure law-abiding lady she appears to be, beneath it all we all have criminal tendencies, especially when gazing at cash. Herrmann’s music captures this, as well as Leigh’s growing dread that she’s about to be caught. Actually, no character in this film has his or her own theme, except perhaps if the shrieking violins are taken as the mental state of Perkins’ Norman Bates.


King Kong
(1933) – Max Steiner

You might not remember the score, only Kong fighting the biplanes atop the Empire State Building, but that’s because Steiner was a master at doing just what film scores were always intended to do: blend in with the film and enhance the drama. Steiner studied music in Vienna with Johannes Brahms and Gustav Mahler. So when he came to Hollywood, he had more than sufficient education to get the job done. His most famous score is Gone With the Wind (which should have beaten that of The Wizard of Oz).

Steiner, today, is nicknamed “the father of film music,” as one of the first to write primarily for films, but really, Richard Wagner deserves that epithet more. You can set many films to Wagner’s music, and actually improve them over the original scores. Steiner continued the Wagnerian tradition through Mahler.

As such, his score for Kong is classic in every way, and even today, when giant monster movies are made, the scores always pay homage to Steiner’s themes: the terrifying, bombastic bass theme for the monster; the lush, sultry baritone brass and strings for the jungle scenes; and of course, an overriding drive of tympani for the island natives. It’s possible that Hollywood simply didn’t know what to do with this, the first film of its kind. They didn’t have a category for special effects back then, and it failed to receive a single nomination for anything at all.


Ivan the Terrible
(1944) – Sergei Prokofiev

One of the greatest – and least known in the West – films ever made. Sergei Eisenstein’s two-part epic about one of the vilest rulers is fairly middle-of-the-road in terms of judgment for and against Ivan, but does not shy away from what happened. Every scene is mesmerizing. Add to this some of the finest music in all of film, from one of history’s greatest composers, and you’re in for some powerful drama.

Prokofiev’s music is some of his best work, so good in fact, that after his death in 1953, his music was rearranged into an oratorio, and then in to concert incidental music. Prokofiev scored both parts, and they are Opus 116 of his canon. Whereas, most film scores showcase three of four themes at most, and simply orchestrate these differently to suit various scenes, this is scarcely the style of a classically trained composer. His score for Ivan is perhaps the closest movies have ever gotten to genuine opera (along with John Williams’ E.T. The Extraterrestrial).


The Good, the Bad, and the Ugly
(1966) – Ennio Morricone

That’s right, everyone’s favorite whistling tune didn’t even get a nod. Neither did any other aspect of the film. It’s the quintessential quick-draw, stare-down music, parodied in hundreds of films after it. Morricone got the two-note motif in his head when he heard a coyote make the same sound on location in Spain. He thought it sounded as barren as the desert. Leone decided to use this idea: in the very first scene of the film after the credits, there is windy silence, and then a coyote bays the theme.

Then there’s the whirling Ecstasy of Gold near the end, when Eli Wallach, the ugly, is frantically searching for Arch Stanton’s grave, in which $200,000 in gold are waiting. Wallach, as Tuco, knows that Eastwood’s Man with No Name is hot on his trail, having just shot a cannon at him, and runs around the cemetery, reading the gravestones while the music whirls and rises euphorically, faster and faster to keep pace with him.

And who can forget the classic Mexican standoff – the one according to which all others are judged? It’s maybe the greatest Western ever made. Quentin Tarantino thinks so. When Lee Van Cleef joins the pair, Eastwood reveals that Stanton’s is the wrong grave, so they have to have a three-way shootout. The survivor gets the gold. While they stand still, famously glaring at one another, the music becomes unbearably intense, and that’s precisely what a film score was always supposed to do: enhance the drama in question. Who’s going to shoot whom? No one can be sure. That’s what the Mariachi-style music expresses, complete with Mexican guitar and gunfire.


The Great Escape
(1963) – Elmer Bernstein

One of the most exciting action epics ever, still able to hold its own against today’s modern, computer-enhanced masterpieces, and Bernstein’s score does it justice in every way. A strong, heroic march complete with snare drums to start things off, followed by some halfway playful determination that magnificently captures the Allied POWs devil-may-care attitude about escaping. The opening march instills an abiding sense of dread behind the story.

The point throughout the film is that they are not escaping for their freedom, but rather to cause the Nazis as many headaches as they can, hindering the Wehrmacht however possible: this true story is quite accurate, and based on the escape of 76 POWs from Stalag Luft III, in the Middle of Absolutely Nowhere, Germany. Many of these men attempted to escape from every prison they were sent to, up to 20 times for some, and the prisons treated them rather well as soldiers (compared to the Jews at other camps). Nevertheless, they considered their attempts to escape a matter of duty, and Bernstein’s score reflects this.


Quigley Down Under
(1990) – Basil Poledouris

One of the very finest Western scores ever composed. It’s light, almost humorous, and rustic, with the main theme announced by an easy, solo clarinet. The bass line is a bouncy, horse-clopping tuba, almost like a slow march, and then the banjo plucks in. It’s such a perfect Western score that it could be used for any Western there is. Star Tom Selleck is 6’4″, just like John Wayne, so that tuba in the bass suits them both. The banjo would work great in any Jimmy Stewart picture, who sounds a little like a banjo.

The music for the villains is simple strings in unison, rising, pure intensity, that can be punctuated just right by that massive Quigley rifle. This film deserves better than its critics gave it. Some of them said it was sorely missing John Wayne, but this lister frankly thinks Wayne ruins most of the films he’s in. At least Selleck doesn’t know everything or walk with a borderline zombie swagger. And because the critics were unmerciful on it, everyone seems to have forgotten Poledouris’s music. He nailed everything, and of special importance are the Aborigines, who are the only real reminder that this Western doesn’t take place in the West, but in the Australian outback. Poledouris uses flutes to give them an ethereal, spirit-of-nature simplicity.


The Ten Commandments
(1956) – Elmer Bernstein

The most Wagnerian of this list’s entries. Film composers will always be quick to tell you how indebted their colleagues are to Richard Wagner, who pushed the theory of leitmotifs to its pinnacle. Every character, every emotion, setting, even weapon, gets its own little melody, themes that can be spliced together in all sorts of combinations to express what goes on on stage or screen.

Bernstein stuck to the classic ideals everyone seems to have about God and Moses and biblical scenes. God’s theme is powerful, bass, a little frightening or at least respectable. Heston, as Moses, gets the hero’s theme, and then, of course, there is the driving, frantic music for the Israelites’ flight before Pharaoh Yul Brynner’s army. Not only should this film have flat out won the Best Picture Oscar, the only Oscar it won was for special effects, and that was just for the Red Sea Crossing. All the music has a decidedly Jewish flair about it. Bernstein pulled out all the stops, using the whole brass section as the Red Sea closes on the Egyptian army.


(1983) – James Horner

Horner actually composed the original version of this score for Star Trek II: the Wrath of Khan, and when he finished it, he was offered the scoring of Krull, with a promised release date of spring 1983, in time with Return of the Jedi. But post-production of Krull stretched into development hell, and Horner did not get a rough cut of the film to work with until there were only 7 weeks left before its release on July 29.

Not one to turn down a pay check early in his career, he simply reworked his Star Trek score to fit the rough cut, which in various places was especially easy given the screen depictions of outer space, with Freddie Jones’ weighty narration, “…and their son shall rule the galaxy.” The score is incredibly exhilarating. The driving dactylic beat gives you no choice but to think of a hero riding a galloping horse, which is how the main character makes his entrance. Cue the French horns. Music appreciation 101: French horns always equal the hero. The villain has to make do with the lowest instruments. For seven weeks worth of labor, this one is astounding. And it’s the only part of the film anyone really remembers anymore. The story is obviously meant for the younger crowd. Don’t look for the potholes or you’ll find them.


Conan the Barbarian
(1982) – Basil Poledouris

One of the most unfairly under-appreciated films ever made. It’s not Casablanca, but it’s entertaining. The sword fights aren’t as brilliantly choreographed as those of The Mark of Zorro, The Last Samurai, or The Lord of the Rings, but somehow, they work better in their own way. They’re incredibly brutal, and all power, with little finesse, as they should be given the gigantic size of the actors. When Arnold slashes someone across the gut, blood goes everywhere. He cuts James Earl Jones’ head off with two hacks, not just a clean slice. It’s raw, gory, and still original.

Thus, it needed equally full-force music, and got everything just right from Poledouris. One of the most vibrant, fearless, unflinching fantasy scores ever. The famous horseback charge against the good guys near the end is accompanied by music just as powerful as that of Howard Shore in the Lord of the Rings. It takes the swords and sorcery seriously.

Sidenote: If ever there were a film in which an actor managed to look the part of a comic book character with over-the-top muscles, this is it. Schwarzenegger decided to get in shape for the film by training for yet another Mr. Olympia competition, this one in 1980, which he won, and took a few months off training to be in the film, which explains his freakishly superhuman physique.

  • Usj


    • say it – you know this list is spot on! Conan was snubbed. End of story :\

      • formerly known as Dangsthurt

        Great list!

        Glad to be one of the first posters. I got up early to make it to the top.

  • ListverseRocks

    second !! !! !

  • Geko

    Conan is one of my favorite movies ever. It has so much depht and the score is MY all time favorite.

    Aaaah, Going to listen to Theology/Civilization now.

    Great list, BTW.

  • AviatorZero

    You failed to mention that Conan’s music was epic enough to be used in several Legend of Zelda trailers.

  • tonyleadholm

    James Horner’s, “GLORY” not being nominated i feel is one of the greatest score travesties in Oscar history. Such passion and heart – alongside battlehyms and wartime tunes. Otherwise great list!

    • blue jacket

      Another gem from Horner was the score to Star Trek II: The Wrath of Khan.

  • Will Trame

    I agree with you on #9. The film score for “Psycho” perfectly complimented the eerie ambience of the film.

  • perftectgirl

    Wow Krull deserves it’s spot on this list, damn that score is good

  • New superstar


    • So what are you trying to say? I do not understand.

      • New superstar

        I am not trying to say, i am saying this list is LAME LAME LAME LAME LAME LAME LAME LAME LAME LAME LAME LAME LAME LAME LAME LAME LAME LAME LAME LAME LAME STUPID STUPID STUPID STUPID STUPID STUPID STUPID STUPID STUPID… Pointless, dull, boring, useless list…. Now u understood ok??? Peace…

        • Are you fkn serious? You are calling a list on an internet site called Listverse pointless? Does this not complete your existance? Is there not closure to your concept of existance? Wow, I just spent as much time rebutting your retard post as you spent typing it. BTW, Tscharke wines, good to go.

  • Headmire

    C.rap list for about the tenth day on the bounce. Sort it!

  • Renee

    Very interesting list, most movie scores are taken for granted. After all, no horror movies would be scary without them.

  • Reggae

    Conan? Really??

    • Yes, really. You can hate the movie (which is bad-good) but the soundtrack is one of the best there is.

  • Ni99a

    Just so you guys know, the way Oscars works is by having 8000++ rich white male or female individual voting for the movies.

    Of this 8000, only 17 percent of them ever won an Oscar. Oscar is really overrated and biased.

    The more you know…..

  • Amrendra

    Conan is an epic. One of the best movies ever made. The new one was not even a light years closer to the original.

  • castaridis

    The Conan soundtrack is indeed one of the best written ever. Even if you don’t like the film, the soundtrack is truly the greatest achievement of the movie and Polydouris himself.

    • castaridis
      • Geko

        Damn! No “like” button on LV! This is my favorite, along with Theology/Civilization.

      • joshuawright1988

        Good tune. If you listen to a lot of game music from World Of Warcraft, Skyrim, and a few others. Movies like Conan really influenced that theme for them.

  • Billy bob joe

    Arnie was suppose to be done, but them secretly began training. Disputable win in 198″, but nonetheless hes my idol, and conan rocks shit

  • The list is 100% pure opinion and should be treated accordingly.

    Having said that, I think you’ve pointed out some decent, epic scores. Conan the Barbarian is a fantastic collection of music that’s as powerful as the movie it accompanies. I really, really wish Frank Herbert’s Children of Dune would’ve been theatrical (instead of a TV miniseries) because it’s probably one of the best soundtracks of the past 30 years. I could quibble over the order of the pieces, but all in all, it’s not a bad selection.

    One thing I would do, however, is to replace Psycho (a decent, but otherwise unremarkable score) with the score from Terminator 2 by Brad Fiedel. I would also consider Elliot Goldenthal’s Alien 3. But that’s just me.

    • ni99a

      I thought the Church released some kind of “fatwa” like order that states that TV are blasphemous and are tools of Satan?

      Aren’t you afraid of going to hell?

      • Are you afraid of making sense? You shouldn’t be.

      • Sgt. York

        don’t you get tired of trolling?

  • Ana

    More recently, Daft Punk’s soundtrack for Tron: Legacy. It was all techno/house but it had nuance and beauty and it was completely original.

  • frankiethemc

    Hate to say it, but “Ivan the Terrible” is generally considered to be one of the world’s worst movies. Eisenstein knew that himself after riots almost broke out in the film’s Paris premiere. Audiences were EXTREMELY vexed and frustrated by the movie.

  • Jake

    There Will Be Blood, The Assassination of Jesse James by the Coward Robert Ford, Eternal Sunshine of the Spotless Mind.

  • Sister Morphine

    oh i love this list…for the Conan reference. I also loved the music in Conan the Destroyer. Both favorite movies of mine since I was a very young girl.

  • andrewtpepper

    I’d nominate the Dambusters March – I don’t think it was even nominated.

  • Leeanne

    Ennio Morricone’s The Mission certainly deserved an Oscar.

  • Emily

    Well done!

  • undaunted warrior 1

    Well done Flame a good solid list. and I agree with most of them.

  • sgw

    Mark Knopfler’s score for “Local Hero” – just beautiful throughout. Here’s the end: , all the way from the rather wistful last scene in Scotland to the much livelier version of the “Going Home” theme over the credits.

  • BlueFox94

    Any of the scores from Hayao Miyazaki films, many of which composed by Joe Hisaishi

  • I completely agree about Conan the Barbarian score.

    It’s not only one of the most underrated soundtracks, but one of the best ones overall.

    Good list.

  • Ortho_Fan

    Hi Flamehorse

    Max Steiner’s score for King Kong wasn’t snubbed by the academy.

    The award for “best score” didn’t exist in 1933 when King Kong was released. The first year it was presented was in 1935, for the films made in 1934.

    SEE —

    ALSO —



    • flamehorse

      Oh, no kidding. Didn’t know that. Thanks.

  • Yuri

    Silent Hill deserves a mention.

  • The Good, the Bad, and the Ugly

    The Great Escape

    They are unforgetable and it’s unforgivable if you forget haha :D

  • Lynnwood

    Tombstone? Hello? Star Wars? River Kwai?

    • Maggot

      Star Wars? River Kwai?

      “Hello?” right back atcha…

    • flamehorse

      Star Wars and Bridge on the River Kwai won the Oscar for score.

  • John son of John

    The ten commandments was a great film I first saw it when I was little and I thoroughly enjoyed it and I still do.

    God bless

  • Steve-O

    Pretty much any Jerry Goldsmith score that wasn’t nominated for an Oscar should be on this list.

  • ParusMajor

    Ok. I’ll just say one word: Suspiria.

    • Canadianguy

      I like progressive rock quite a bit…But, really?

      • Canadianguy

        And just so you don’t misconstrue what I’m saying…Huge fan of Dario Argento, been watching his movies since the 70’s.

  • Jon

    Wow. Listverse how why are you even still postin things? You’re clearly washed up an relegated to postin garbage like this. Who cares about academy awards? No Country for Old Men won picture of the year and it’s awful. Lots of flicks get screwed but that’s nothing compared to the recording industry. I feel like I could make a list called “Top 10 bands I like that other people don’t” and people would debate about it and say “good list”. What happened here?

    • ParusMajor

      No. I was was with you when you said “who cares about academy awards.” I agree that most of the winners are awful, why don’t they give the award to truly interesting films like “A Serbian Film” or “The Human Centipede”? But then you went and spoiled your comment by dissing the best film that has won in the recent years, “No Country for Old Men”. That film is NOT awful, it’s one of the BEST Academy Award winners in decades! Are you f*ing stupid, pardon my French??? Did you even watch that film?!?

  • Jon

    And before all the grammar nazi’s come running to invalidate my point, I am using an iPhone and this is the comment section of a grade D website.

    • ParusMajor

      You had an extra apostrophe there.

      -Grammar Nazi-

    • fendabenda

      Oh, wow! You are using an iPhone, meaning you are rich (or your daddy is, more likely.) But you cannot spell, let alone use upper case and lower case letters properly. And you call this site a grade D website? Maybe you should go back to the Elementary School of whatever jungle you came from. Come back when you have learned to read and write. Mmmkay?

      • Fanny McGubbins

        You really are a gaping waste of cells and organs….

        • ParusMajor

          LOL that was a great insult… may I steal that and use it on someone? Like, for example, you, Fanny? Fanny, what a great name. Obviously you knew what you were right from the start when you chose your name. Fanny. :)

  • acer panthera


  • Blackhawk

    I know it’s not a movie but I think Halo’s score is the best!

  • Joe

    The original Conan is under appreciated not just for its score, it is barbarian awesomeness incarnate . It is my favorite Arnold film, although Terminator is incredible. The new Conan film was just Khal Drogo kicking ass, who is awesome in his own right but has NOTHING on the original!

  • Egon

    Alien 3 has one of the best musical score I have ever listened to. I own over 300 OSTs and Alien 3 stands out from the crowd!

  • I’d also like to mention with Prokofiev’s ‘Ivan the Terrible’, Mikhal Chulaki arranged a hauntingly beautiful score for a ballet by the same name with Youri Grigorovitch choreographing that’s really superb.

    Unfortunately, there isn’t a stand-alone CD except for one recent performance of the ballet itself by the Opéra National de Paris, and another older recording of the ballet, again, from the 1970’s when the ballet first premiered in Russia – this was the better version, dancing and music wise, with Natalia Bessmertnova and Vladimirov (dun know his first name, sorry!) in the lead roles. Grigorovitch’s choreography isn’t the greatest, so I simply watch the ballet for the music alone…

  • fendabenda

    I liked Christopher Young’s soundtracks for Hellraiser and Hellbound:Hellraiser 2. :)

  • chrissywissy

    dave grusin – 3 days of the condor

    lalo schifrin – sudden impact

  • Good list. I would add Requiem For A Dream as least as an Honorable Mention.

  • Flamehorse must be drunk when he put this list in the Music category instead of in the Movies category.

    • flamehorse

      FlameHorse does not categorize anything on LV.

      • fendabenda

        You should, though, Flamehorse. Your lists are mostly quite good. If I may say so.

  • Lifeschool

    Completely and utterly rubbish. We’ve seen a million ‘snubbed by the Oscars’ lists already and this is beyond the bottom of the barrel when it comes to soundtracks. Krull, by the authors own admission, was a rip-off version of the Star Trek II / Aliens / Abyss etc theme – and non of the other versions deserved an Oscar. Conan?? #1??? Any list which puts Conan at the number 1 spot is DOOMED to FAILURE – even on a list of top Arnie movies or even top 10 Muscle-Bound movies!

    • Lifeschool

      edit: oh, didn’t notice it was a Flamehorse list. Nothing personal Flame – I usually love your lists – just sayin.

  • amnyc

    “Music appreciation 101: French horns always equal the hero.”

    Except in Prokofiev’s Peter & The Wolf, where the theme for the villainous wolf is played by the French horns.

  • One other incredible score that was overlooked: Last of the Mohicans (1992).

  • Apolsc

    I entered just to see “A Single Man” in the top. BAAAD list (or just old)

  • joshuawright1988

    I agree with Conan. Once Upon A Time In The West had an excellent score for it’s time and the Western Theme. The Good, the bad, and the ugly was impressive though. I’m 24 years old by the way. So I’m not some old head speaking on experience. I don’t know if Braveheart’s scores won any oscars. Or if Nyman’s scores with Ravenous won any oscars. But they should have if they didn’t.

  • Bob

    Conan! What is best in life? To crush your enemies, see them driven before you, and to hear the lamentation of their women.

  • Tolkien

    I thought another great Basil Poledouris soundtrack was Starship Troopers. He ranks up there with Howard Shore and John Williams in my opinion.

  • Ryon

    James Horner also scored Titanic and Braveheart, just sayin’!

  • Sgt. York

    Totally with you on “Conan”, but I gotta say, even better than the music you picked is the waltz from the scene where the three heroes sneak into Thulsa Doom’s chamber…that bit of music is beyond epic.

  • wtb2612

    The biggest snub of all is Dragon: The Bruce Lee Story. That theme is mindblowingly good.

  • Candi Campbell

    I agree with most of these song – I have Gettsburg/Krull and Conan which I first got in cassette tape when the movie first came out and then hunted up the CD.

  • Sardondi

    Flamehorse, I too am a Southern lister, and it just makes me want to tear my hair out to hear Martin Sheen’s ludicrous attempt to sound like a 19th-century northern Virginian. But then the very idea of Martin Sheen playing Lee, and playing him as some sort of mad, fevered mystic, nearly unhinges me. What a waste.

    But to me the whole movie is a waste, made all the more terrible because this was the only shot at it: there will never be another. That’s probably a good thing, since I can only imagine what today’s Hollywood would do to it; especially since apparently the movie men think American history can only be played by English and Australian actors.

    So much of it is just wretched to me. From the straitjacketed bullet-points-of-history narrative arc, complete with laughable historical fabrications (the movie has the combatants expressing contemporaneous belief that they fought to free/keep the slaves), to the generally mediocre casting, school-play exposition, and the historical anachronisms of speech and style which litter the landscape. I find Jeff Daniels as Chamberlain almost as dismal a choice as Sheen. Between the script’s ponderous and literally incredible “why we fight” speech concocted for Chamberlain, and Daniels’ decision to play the down east professor of Classics as a surfer dude looking for a burger, he comes off like a clown. Tom Berenger is a non-entity.

    There are a few acting bright spots. Stephen Lang pulls out all the stops in a bravura portrayal of George Pickett. He comes close to being a cartoon, but I think it works. Robert Jordan was affecting in his last role before he died, and Sam Elliott was credible – of course Elliott has a pretty limited range, and he may have just been playing himself.

    I particularly agree with you about the Southern accent of Sheen, but would apply it to most of the non-Southerners playing Confederates. I do wish actors, and their damned idiot dialect coaches would take into consideration the myriad of Southern accents, which varied noticeably from region to region, particularly in the 19th century. Southern speech was almost as distinctive and varied as that of the British Isles, although much less so today, and for the same reasons of birth and class.

    Indeed, planters of south Georgia sounded much more like plantation owners of tidewater Virginia, some 700 miles away, than they did to farmers of the red-clay region of north Georgia just 100 miles north. All because the planters so often came from southern English aristocracy, but the “poor folk” were almost all of Scots and Irish descent, if not themselves emigrants from those lands.

    Thus the monied families tended to be southern English. They settled in coastal Virgina and South Carolina, and ultimately in coastal parts of Georgia and Alabama and moved southwest and north somewhat, respectively. They spoke, like their forbears, the cultured and educated English, with that characteristic “soft r”, which came out “ah”. Think historian Shelby Foote from Ken Burns’ Civil War on PBS.

    But so much else of the South was taken over by the descendants of the Celts. And when they pronounced “r”, it came out “arrrr”, as whangy and brittle as a crosscut saw. This would be Holly Hunter, who try as she might still can’t get all that north Georgia out of her voice.

    But what am I telling you? You know what I mean. It’s the careless buffoons in Hollywood I want to pay attention. Instead of making me listen to another movie where people in the same family speak like one is from from west Texas,one New Orleans, one north Alabama and one a classic Foghorn Leghorn cartoon accent.

    And it all matters to me because the 1993 movie was the one and only shot. There will never be another movie made about Gettysburg. It’s just too expensive, and The Great Historical Stupidity has bored too deep into the national unconscious for anyone to give much of a damn. Not while there’s another cat meme to search out.

    What a shame.

  • Giorgio Moroder should’ve got a nod for the 1984 Metropolis re-release.

  • Jason Meranto

    I have been telling people this for years.. It is thee best musical score up to date!

  • Mabel

    Cool list. Go to, which has almost all of these, and listen to some great film, TV and game scores.

  • Matthew

    “Tommy” by Pete Townshend.

  • syncbonse


  • Jack

    Crom, I have never prayed to you before. I have no tongue for it. No one, not even you, will remember if we were good men or bad. Why we fought, or why we died. All that matters is that two stood against many. That’s what’s important! Valor pleases you, Crom… so grant me one request. Grant me revenge! And if you do not listen, then to HELL with you!


  • derircuiferog


  • occadadraintY