My six favorite film noir scores


I love film scores. And since it’s Noirvember, here are six of my favorite film noir scores, in no particular order:

The Big Combo (1955, dir. Joseph H. Lewis) – Cool and jazzy, David Raksin’s score thrusts you into the ride that is The Big Combo as soon as it starts.

Double Indemnity (1944. dir. Billy Wilder) – The spooky theme by Miklós Rózsa (pictured) is particularly scary when you’ve got Fred MacMurray’s silhouette slowly coming at you in the opening credits.

The Third Man (1949. dir. Carol Reed) – Anton Karas’ masterpiece is deliciously catchy, fabulously unusual and as beloved as the film itself.

Laura (1944. dir. Otto Preminger) – Possibly the most iconic of them all, David Raksin’s score is as other-worldly and hauntingly beautiful as a film score gets.

Raw Deal (1948, dir. Anthony Mann) – As atmospheric as the movie itself, Paul Sawtell’s score is pleasantly intoxicating; almost ghostly. Coincidentally, it is eerily similar to theme from Rebecca (1940. dir. Alfred Hitchcock).

The Killers (1946, dir. Robert Siodmak) – Announcing the arrival of the killers wherever they go, Miklós Rózsa’s score is menacing, frightening and grand, and, if I had to choose, probably my all-time favorite film noir score.


4 thoughts on “My six favorite film noir scores

  1. Mike noonan

    Film scores are so important to the mood of a film, especially film noirs as you pointed out, Carol. Nice piece. I like that you have covered film noirs from so many different angles.

    Liked by 1 person

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