Nov 2, 2025
A Small Town - oil on canvas 12”x14”
seen from Netherlands
seen from Brazil
seen from China
seen from Sweden
seen from United States
seen from United States
seen from Malaysia
seen from United States
seen from Netherlands
seen from United Kingdom
seen from Türkiye
seen from Türkiye
seen from Türkiye
seen from United States
seen from Poland
seen from China
seen from Sweden
seen from China
seen from United States
seen from Türkiye
A Small Town - oil on canvas 12”x14”
Movie Music Tournament Round 2
Composers have a huge responsibility when they're hired to write music for movies. They need to set the right tone for not only the scene itself, but for the whole arc of the movie's storyline. Submitters sent in their favorite choices for movie music that set the tone in this way, and now you get to vote for the best one!
Which track is better?
Star Wars V: The Empire Strikes Back: The Imperial March
Much Ado About Nothing: The Gulling Of Benedick
Star Wars V: The Empire Strikes Back was the second movie in the immensely popular Star Wars franchise, which spans movies, series, and books. Set three years after the events of Star Wars, the film recounts the battle between the malevolent Galactic Empire, led by the Emperor, and the Rebel Alliance, led by Luke Skywalker and Princess Leia. As the Empire goes on the offensive, Luke trains to master the Force so he can confront the Emperor's powerful disciple, Darth Vader.
The music for this movie was written by John Williams.
Propaganda from the submitter, @discoonthegrass:
The most iconic movie villain theme of all time. Within the first two notes of this march, your ears are perked, because you know something is about to go down. Utterly menacing and epic beyond proportion, The Imperial March played a huge role in making Star Wars an enduring cultural relic.
1993's Much Ado About Nothing is a Kenneth Branagh production of Shakespeare's play. The play is a comedy and love story in which several Spanish nobles visit with their friends in the Italian city of Messina and scheme to win over the hearts of the ladies they have fallen in love with. It was one of the most financially successful Shakespeare films, starring Branhagh himself as Benedick, the main character.
The music for this film was composed by Patrick Doyle.
Sense and Sensibility premiered in Hollywood, CA on 4 December 1995.
Producer Lindsay Doran began thinking about adapting Jane Austen's 1811 novel for the screen in 1989, and looking for a suitable writer, she came across the comedic sketches written by Emma Thompson. Doran and Thompson would work together on 1991's Dead Again, and a week after completing that film, Doran approached Thompson (who had never written a film script before).
Thompson spent 5 years writing the screenplay (her first draft was more than 300 pages) and credits Doran with teaching her the craft of screenwriting.
Doran then hired Ang Lee to direct (although he was not familiar with Jane Austen). "The idea of a foreign director was intellectually appealing even though it was very scary to have someone who didn't have English as his first language," Doran recalled.
"I thought they were crazy," Lee said. "I was brought up in Taiwan, what do I know about 19th-century England? About halfway through the script it started to make sense why they chose me. In my films I've been trying to mix social satire and family drama. I realised that all along I had been trying to do Jane Austen without knowing it. Jane Austen was my destiny."
Sense and Sensibility was the first English-language film adaptation of a Jane Austen novel in 50 years, and it was both a commercial and critical success. It appeared on numerous "best of" lists at the end of the year and receive numerous awards and nominations, including 7 Academy Award nominations (Best Picture, Best Actress for Emma Thompson, Best Supporting Actress for Kate Winslet, Best Cinematography for Michael Coulter, Best Original Score for Patrick Doyle, and Best Costume Design for Jenny Beavan and John Bright).
Emma Thompson received the only Oscar, for Best Adapted Screenplay, making her the first person to receive the award for both acting and writing (she received Best Actress for 1993's Howard's End).
Patrick Doyle is the goat amongst movie score composers. Sense and Sensiblity (1995)? A classic. Cinderella (2015)? Absolutely gorgeous. Harry Potter and the Goblet of Fire? I could go on. Particularly his pieces for dances are some of the loveliest things I've ever heard. Everyone should go now and listen to La Valse de L'Amour immediately, it is the embodiment of fairy tale in music.
I love these last 3 songs to pieces, but I am going to be torn to shreds listening to them with my new headphones. Emotionally, that is. (My hearing is fine.)
What should we do with Balthazar (Much Ado About Nothing)?
Hug
Kiss
Marry
Kill
I genuinely believe the live action Cinderella is not only the best live action Disney has made but also it's one of the best films of the last 20 years period!
Gif credit: @omniavincitamor
Now there's many reasons for this but on my latest rewatch I was struck by how perfectly it balances between being a children's movie for little girls to watch at their pajama parties with friends and being the kind of movie like Pride and Prejudice that grown women sit together and drink wine while they watch and swoon over the hero and the dresses and cry at the emotional parts.
It is simultaneously a film any adult can appreciate while still capturing all of that wholesome childhood joy and Innocence. And Ella perfectly captured those two things too. She keeps her child's heart that believes in goodness and magic but also she's growing up. Lily played the part perfectly, all those little moments where she's kinda astonished by her proximity to the prince and what that's making her feel. She calls herself "just a girl" but she's also feeling woman feelings and her portrayal of growing up is really beautiful because it doesn't make it seem like a bad thing. So much media makes the end of childhood seem sad but Ella brings the best of childhood with her into her unfolding adulthood as we watch her grow up.
Also the foley artists/sound editing also did a MAGNIFICENT job with the sound effects. Because while they could have just had the sweeping score for the waltz with none of the ambient sound, instead you get all those swishes of the skirt and caught breaths which adds so much texture and intimacy to the dance. Like the sexual tension between Ella and Kit is at 11 in all the scenes at the ball and afterwards (Richard's blue eyes doing 80% of the work there) but it's still innocent. This isn't a children's film trying to "get away" with mature themes. It's the kind of film you could use to explain adult feelings to children coming up on puberty in a way that wouldn't make them feel shameful or dirty. It's Wholesome Sexual Tension. Which is something there is far too little of in modern cinema.
It's both a film for grown ups and a film for children and it didn't cut corners to accomplish both. It's equally both and they didn't kiddie-ify the adult parts like the abuse or the grown-up feelings Ella and Kit have for each other but nor did they try to make it an adult themed film. It is still a princess movie but it's one for grown ups as much or more than it is for little girls and that's beautiful. I for one find it deeply healing for my inner child and my adult self and I feel I'm not the only one.
