![]() There is highly dramatic battle music with a striking choral part, the "Duel of the Fates." There are also plenty of attractive new themes, some of which are fated to recur in later films, particularly those associated with Anakin and Queen Amidala. Some familiar themes recur: The Force, Yoda, and The Emperor, but Darth Vader's Imperial March is only a hint, a little codetta to Anakin's pretty theme. The music is symphonic throughout, except for about four cues of "desert music" played by tabla-like drums, oud or lute, and wooden flutes, and there is a Caribbean ambience in the percussion parts of the music associated with the underwater Gunga people. It robbed Williams of a central structure on which he could shape his score. He also had the handicap that Menace lacks the central dramatic focus of a main developing character. Williams overcame the difficult task of avoiding many of the well-loved themes from the original three films. This score has more moments that are dissonant and "modern" than the original series. Williams maintains the tone of the original series, based on the sound of Erich Wolfgang Korngold's great 1930s action scores for Errol Flynn swashbucklers. The music of The Phantom Menace is similarly bold and symphonic. John Williams' three original Star Wars scores had historic effect: The very first one immediately redeemed symphonic film scores' standing in Hollywood after nearly 20 years when song-based scores were the norm. After employing Williams again to make small additions to the music tracks of the three earlier films after he re-did many special effects and added a few scenes, writer George Lucas considered no other composer when he filmed Star Wars: Episode I - The Phantom Menace. This is John Williams' fourth score for a Star Wars film. ![]()
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June 2023
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