When you think about classic films like Star Wars, Jurassic Park, and Indiana Jones, odds are the imagery that comes to mind is attached to unforgettable music. The scores from these films are so ingrained in the total experience that it’s hard to imagine key scenes without the music we know and love. And that, in essence, is what Music by John Williams says over and over for 96 minutes. If you expect more than a celebratory Wikipedia-style overview of the maestro’s composition catalog, you’ll be disappointed.
(Lucasfilm)
Music by John Williams is about as prestigious of a fluff piece as they come. Directed by Steven Spielberg’s close collaborator Laurent Bouzereau and with producers including Spielberg, Brian Grazer, Ron Howard, Kathleen Kennedy, and Frank Marshall, Music by John Williams hails from a troupe of filmmakers who know the composer extremely well. The film, however, feels less interested in the composer’s life, legacy, or even the themes that connect most of his work. Instead, it’s just a journey through the scores, with a few anecdotes about them and talking head interviews from people who don’t always feel like they have much to add to the conversation (there’s a lot of Chris Martin from Coldplay with a seemingly thin reason for his presence)
The best moments of the doc come from interviews with John Williams at his home piano, particularly when Steven Spielberg crashes the session. And of the talking head interviews, the filmmakers who worked with him tend to add the most relevant bits, including Spielberg, George Lucas, Ron Howard, and Chris Columbus. There is some commentary from fellow film composers, including Thomas Newman, but the film otherwise depicts John Williams as the end of an era, failing to acknowledge some of the talented composers that have stepped in on some of the franchises that Williams created a musical language for. The lack of torchbearers in the film is another odd choice.
The runtime is by no means exhausted by all of John Williams’ greatest hits, and fans will likely be confused by the absence of several of his iconic scores, including Hook (it at least plays over the end credits) and The Witches of Eastwick. I appreciated the way his body of work was grouped together by thematic similarities, such as his work in comedy or jazz being grouped together. However, Music by John Williams also avoids anything close to a musicology examination of his work. For example, the way he approaches themes related to flight in scores for Superman, Hook, and Harry Potter. Viewers who are drawn to the film are likely already fans, and the filmmakers don’t seem to make much of an effort to expand their appreciation of Williams’ composition styles.
(Lucasfilm)
Most frustratingly, Music by John Williams feels like it keeps the composer’s life at an arm’s length from viewers. Williams shares anecdotes from his upbringing and early years recording music, but there are several poignant bookends the film somehow misses, such as connecting one of his earliest jobs on a film score (West Side Story) with his role on Spielberg’s 2021 remake. Or, when focusing on John’s private life and reaching the tragic death of his first wife in the first act, leaving his second (and current) wife out of the narrative until the very end. The film paints a picture of a musical legacy that John Williams inherited from his parents but makes no effort to showcase how it carries on through his children.
Having kicked off this year’s AFI Film Festival in Hollywood and receiving a limited theatrical release alongside its Disney+ debut, Music by John Williams seems to think it’s the definitive documentary about the maestro’s life and career. Ultimately, it’s simply the first. No doubt other filmmakers will come along and give him a documentary more deserving of his rich tapestry of compositions. This one plays more like a greatest hits album, which is fine, but likely not what most fans were expecting.
I give Music by John Williams 2 out of 5 stars.
Music by John Williams premieres Friday, November 1st, on Disney+ and on the big screen in New York, Los Angeles, and London.