John Williams's Film Music by Emilio Audissino

Author:Emilio Audissino [Audissino, Emilio]
Language: eng
Format: epub
Publisher: University of Wisconsin Press
Published: 0101-01-01T00:00:00+00:00

A further note on the Indiana Jones theme: Following the aesthetics of the serials, when the main theme is introduced for the first time (at the end of the opening South American Jungle sequence) it is immediately presented in its outright nature of heroic theme, without following the classical tradition requiring a gradual introduction of the protagonist and his evolution over the course of the narrative. A comparison with Star Wars and Superman can make the point clearer. In both cases the main theme is presented in the opening credits as an anticipation of the musical goal to be reached; we hear it again much later but only when the protagonist has attained a certain degree of evolution on the “heroism scale.” In Star Wars, after the opening title sequence, we hear the main theme again when we see Luke on Tatooine for the first time. The narration tells us here that the “Main Title” theme is Luke’s leitmotiv, but it is played as a horn solo, and then reprised by the woodwinds in a light orchestration— still an “immature” version. Only when Luke rescues Princess Leia from the prison and, pursued by the imperial guards, crosses a chasm with her in his arms, we now hear his leitmotiv played heroically by the trumpets: Luke has taken the first step toward his heroic maturity. Similarly, we hear the Superman theme again, played by the trumpets, when Clark Kent emerges from the spiritual retreat of the “Fortress of Solitude,” no longer a youngster and ready to be a superhero. As for Indiana Jones, the narration does not show the evolution he has made to become what he is now but introduces him directly as he already is: a shrewd hero (see chap. 10). Moreover, Luke’s and Superman’s leitmotivs are presented in the opening credits and only later associated with a particular character. Therefore, they are also perceived as the signature musical theme of the film in a more pronounced way and as musical equivalents of the idea of the Hero in general, besides the particular heroes featured in those films.30 On the contrary, in Raiders the main theme is not presented in the opening title sequence, but it always appears when Indiana Jones shows up. Undoubtedly, it has ended up with being associated with the film in the minds of the viewers, but it is primarily Indiana Jones’s “personal” leitmotiv. Again, Raiders is not about the Hero’s journey but about a hero’s journeys; the music has to represent not Heroism but one type of heroism. This may also explain why the Williams-trademark heroic perfect-fifth upward leap, which is the basis of Luke’s and Superman’s leitmotivs, is not used for Indiana Jones.

Indiana Jones also has another theme (featured in the Raiders March as the “B Theme”), which is linked not so much to the main character as to his reckless stunts. The Indiana Jones leitmotiv previously discussed appears in the films orchestrated in more subtle ways as well—for instance, for woodwinds with an emotive function.

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