(seen at the afternoon performance on 31st October 2026)
What do the NBC Nightly News, Sunday Night Football, Harry Potter and the Olympic Game have in common?
All have music written for them by John Williams.
This two-hour tribute by the London Symphony Orchestra pays tribute to the man who tells a story better than most cinema directors.
If the opening film “vox-pops” from American visitors to a theme park does not convince, our host Edith Bowman and conductor Anthony Gabriele provide ample proof.
An overture includes music from “Harry Potter,” “ET The Extra Terrestrial,” “Jurassic Park,” “Raiders of the Lost Ark,” “Star Wars” and more.
“Enjoy” whispers Gabriele to Bowman. “I will enjoy,” she replies.
Endless statistics – 5 Oscars from 54 nominations (only Walt Disney has more with 60), 4 Golden Globes, 7 BAFTAs, the only American Film Institute Lifetime Achievement Award and an honorary British Knighthood.
The music speaks for itself as the first selection is from 1977’s “Close Encounters of the Third Kind.” Demonstrating how just five notes can constitute enough language for communication, an early example of Willams genius.
Just two notes turned 1975 “Jaws” into the first Summer Blockbuster movie. Shark “Bruce” (named for Steven Spielberg’s lawyer) is shown being hunted, an interesting change being that we do not endorse that so often any longer.
Still, the tension of just two notes underlines the impact great music has on a scene… though recognition at the “bigger boat” line also generates loud nostalgic laughter.
On to 1981’s “Raiders of the Lost Ark”. The Cave sequence as Indi steals the golden statue and releases the rolling rock. John Williams grew up with Saturday morning picture shows, and his love of the big adventure era shines.
Much closer to now, an audience whoops as “Harry Potter” is announced. Creating magic and memories, “Hedwig’s Theme” and “Harry’s Wonderous World” define Hogwarts, and we are appropriately wished a “Happy Halloween” from the stage.
May 1977. The London Symphony Orchestra recorded music for a small sci-fi movie that required a vast sound. 42 years, 18 hours of scores for 9 movies. “Star Wars.” Every note as fresh now as then, and the special effects still look good.
With the “Throne Room” and “Finale” from the original “Episode IV: A New Hope” ringing in our ears, the interval arrives.
Opening the second half with interview clips from Spielberg, George Lucas, Ron Howard and JJ Abrams, we learn that Spielberg first wanted Williams after hearing music from “The Reivers.”
That Williams was humble playing his scores to directors the first time, and that he understood sound and film as no others.
No wonder the first piece in the second half is “Superman,” with the “Olympic Fanfare and Theme” following – the Hall lit red, white and blue.
With his distinct American voice, who better to score 2012’s “Lincoln,” “With Malice Towards None” featuring a perfect solo cello from David Cohen. Lilting and reflective, a mellow moment.
By contrast, in 1993, music for “Jurassic Park” had us believing the illusion dinosaurs are real. Well, most of us. The monkey still feels they look like cartoons, but that sweeping theme is lush.
Kana Ohashi provides the violin solo for “Schindler’s List” drifting quietly as it contains six million lost souls, a little klezmer in the mix, perhaps.
Finally, the big stuff. 1982. “ET, The Extra Terrestrial.” Another soaring moment as those bicycles fly, again the effects standing up to time.
Two encores, the main theme from the Indiana Jones films, and the “Imperial March” from “Star Wars.”
If the introductions could have been a little less Wiki reference and warmer like his music, and the full “Star Wars” theme included, perfection.
Still, as we are informed, “he tells a story.” The London Symphony Orchestra confirm him as the Maestro of the Movies for sure.
4 stars.