John Williams and the Soul of Film
- storybyteskendall
- Feb 6
- 2 min read
Updated: Feb 15
Written By: Maria Victoria Almarza
Opinion Column
Feb. 6th, 2026
MIAMI – “So much of what we do is ephemeral and quickly forgotten, even by ourselves, so it’s gratifying to have something you have done linger in people’s memories”
- John Williams
The soul of my childhood rests in the hands of one man: John Williams. Every Sunday my family would sit on the couch and watch a film chosen by my father. As a result, instead of Disney or Pixar movies, my youth was filled with films like Star Wars, Jurassic Park, E.T. and Indiana Jones. Sandwiched between my mom and my little brother, I watched in awe the adventures I would embark on once I went back to America. For hours afterward I would stay up, projecting myself into each universe, humming the motifs that carried each film. Looking back at those experiences, I realize that the soul of every film lies in its score. Could you imagine Darth Vader without his ominous Imperial March? Or Indiana Jones without his blazing brass fanfare? The score is intrinsic to their characters and, therefore, their stories. Williams’s compositions bring films to life and nurtures them in our hearts.
Ten years later, I still turn to his work when I need hope or strength. Sometimes I’ll put on the “Flying Theme” from E.T. and imagine myself at One First Street. As Williams makes the violins soar, I feel as though I am a constitutional lawyer clerking for, litigating against, or sitting with the Supreme Court. The childlike joy and excitement central to E.T. comes back and infiltrates my dreams. Very few songs can do that, yet John Williams manages to inspire profound emotion each and every time. His motifs for Harry Potter have defined the entirety of the series and is a phenomenon in its own right. His music for Jaws, known for a simple minor second interval repeated in acceleration, can send chills down one's spine. I have witnessed his solo violin piece for Schindler’s List bring an entire auditorium to tears. Despite the grandiosity of his work, very few recognize his name. This is a symptom not of his quality of work but of his job itself.
Film scores in general are gravely unappreciated. This year the Golden Globes, one of the biggest award shows in the film industry, presented its award for Best Original Score during commercial breaks. However, the organization felt it had enough air time to create a new category for Best Podcast. It’s frustrating to see such a powerful artform neglected. Music defines films and, since La La Land, I feel that has been forgotten. That is why I have chosen to create this essay series. I wish to share my adoration for film scores with you in hopes it will evoke fascination akin to mine. Opening oneself to this entire genre of music creates doors to worlds one could never imagine alone.
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