John Williams

So, John Williams. We're guessing you've heard of him. Steven Spielberg credited him with saving his first massive hit, Jaws, and has used him in every single one of his subsequent movies except The Color Purple (Quincy Jones did that one) and his most recent, Bridge of Spies (Williams was ill during its filming). That's 26 films and counting. That means writing unforgettable scores to the likes of E.T., Close Encounters, Schindler's List, Saving Private Ryan, and Lincoln. In between then, he found time to compose one or two other themes you may be familiar with, including Star Wars (all nine of them), Harry Potter, Superman: The Movie, and NBC's Olympics theme (trust us, you've heard it). If that's not a drop-the-mike resume for a composer, it sure as heck ought to be.

His Raiders score makes a darn fine showing in that company and remains one of the most instantly recognizable themes in cinema history. (Seriously, has anyone ever scored something huge in their lives—winning the ballgame, A's on the midterms, a raise at work—and not heard that theme in their heads?) It works so well, in part, because of the exquisite way it cues emotions for the film. George Lucas said that he always considered the Star Wars series akin to silent movies, where the music makes the appropriate emotional point. Raiders follows the same pattern.

For example, Indy's theme is bold and brassy: a march, but something a little pluckier than your average military formation stuff. That pluckiness comes back whenever we need reminding how outgunned he is. Listen to the lone trumpet coming after the cacophonous thrashing right before the big truck chase begins, and why he might just pull this thing off. By composing the theme in that manner, Williams can adjust the tone to match what's happening on the screen and still have everything coming up Indy.

The theme of the Ark itself is much the same. It goes all minor key on us there, echoing both the mysticism surrounding it and the dangers it holds. It can play soft to just tug at us, like it does when Marcus mentions the Ark's power in Indy's house, and it can hit the roof like it does at the climax. It's always overt and direct, but that's not the same thing as simple. While we know exactly, precisely what we're supposed to be feeling at any time, Williams gives the film a lot of variation within that frame.

It adds up to a truly immortal theme, as much a part of Indiana Jones as the hat and the whip. In fact, we bet you're secretly humming it right now, aren't you?