Exercise 1.4
Music Maketh the Movie?
The scores for A Fist Full of Dollars and its two counterparts are undoubtedly some of the most iconic music in cinema history. They blend seamlessly with the films, driving the action forward without overwhelming the viewing experience.
From what I understand, Morricone composed much of the music before filming began, as Sergio Leone wanted the score to be integral to the movie. In fact, some scenes were even timed to the length of the music to ensure the score didn’t end prematurely. This approach results in a powerful soundtrack that arguably elevates what might otherwise be a fairly average film.
In contrast, the heavy score in Yojimbo felt intrusive to me. My flatmate, who was working in another room during my viewing, even commented that the music didn’t seem to fit the Japanese setting at all. While the score does complement the action—building anticipation for key moments—it sometimes feels overbearing. There’s a definite Western influence in Yojimbo’s music, which to me stands out quite prominently.
As for Last Man Standing, I must say the score left me cold. It neither added to the film nor did it build tension or drive the action. In fact, I barely noticed it at all.
Overall, Last Man Standing felt lackluster, and the uninspired score was a major factor in that, alongside the unbelievable characterization of the protagonist. Unlike the dramatic, even overpowering score of Yojimbo or the hauntingly effective tones of Fist Full of Dollars, Last Man Standing’s music failed to lift the film or make its runtime flow smoothly. Watching it was like running through treacle.
Unfortunately, after extensive searching here in Hong Kong, I was unable to find and compare the alternative soundtracks by Elmer Bernstein and Ry Cooder for Last Man Standing.
