Max Steiner

9 Favorite Film Scores of Max Steiner

“The Father of Film Music”… How’s that for a moniker to live up to? I don’t know when or where that title was given to Max Steiner, or whether it gave him pause or not. Probably not. But few titles are more apropos. Sure, there was film music prior to Steiner’s arrival in Hollywood. But his score for KING KONG in 1933 arguably “invented” the modern film score and set a new standard for dramatic film music.

This month celebrates the 75th anniversary of the publication of Margaret Mitchell’s GONE WITH THE WIND, arguably Steiner’s most famous score. So what better time to honor the Father of Film Music with a “9 on the 9th” post of his own?

Steiner gets a bad rap these days from non-Golden Age lovers (and probably from some GA fans as well). Complaints about the wall-to-wall scoring and Mickey Mousing are all valid issues in Steiner’s music. But film music in the 1930s and ’40s was still finding its way in the sound era, and to dismiss these films and scores because of a learning curve on the part of the filmmakers is doing a disservice to some of the best films ever made. And those complaints lobbied at Steiner’s expense? They’re still prevalent in today’s film music, and I doubt there’s a composer out there who hasn’t been “guilty” of one or both (or more) of these at some point in his/her career. So it’s time we as fans cut Steiner some slack and view his music as a product of its time, but one that still holds up remarkably well over half a century later.

Steiner was never less than a superb melodist and top-notch dramatist, and these nine scores support that rather broad, sweeping statement. With so many classic films to choose from, narrowing down the list to nine was, as usual, difficult. But all nine of these scores (and many beyond this list) have brought and continue to bring me years of enjoyment, some thirty-odd years after discovering film music’s titular father figure.

The Flame and the Arrow soundtrack
The Adventures of Mark Twain soundtrack


Mandolin gives Italian flavor to the galloping main theme from this costumer in Medieval Lombardy as a Robin Hood-like figure (Burt Lancaster) and his loyal followers fight against their Hessian conquerors. Lancaster, a former acrobat with the Kay Brothers circus, is at his athletic best. It may not match the best of the earlier Errol Flynn swashbucklers, but it’s thoroughly enjoyable, thanks in no small part to Steiner’s rousing music.

8. THE INFORMER (1935)

Director John Ford’s first Oscar also brought Steiner the first of his three Oscars, and the first purely dramatic score to win the award. (1934’s ONE NIGHT OF LOVE featured underscoring based mainly on famous opera tunes.) Based on the 1925 novel by Liam O’Flaherty, Victor McLaglen stars as the brutish Gypo who informs on his best friend, a member of the Irish Republican Army, in order to collect the reward money and sail to America with his girlfriend. Bleak and atmospheric, the film plays out in the mists and shadows of war-torn Ireland. Steiner’s music is appropriately dark, with brass chords that plod alongside Gypo’s grief-stricken tread. The choral redemption finale is particularly moving.


If Mark Twain stretched the truth, so did the filmmakers in this historically shaky, yet thoroughly entertaining, biopic. Fredric March makes a fine Twain, but Steiner’s Americana score rises above the Hollywood-isms to create something truly special. Based on a four-note call of “Mark Twa-a-ain” (yes, four) that is called on the riverboats of Twain’s early career, the music is steeped in 19th-century harmonies and banjo strummings. Throw in some unlikely, and delightful, bassoon solos, and you have one of Steiner’s underappreciated jewels.

Casablanca soundtrack

6. CASABLANCA (1943)

There’s no such thing as a perfect film, but CASABLANCA comes pretty damn close. The perfect (oh, there’s that word again!) marriage of acting, direction and script, the film is simply ageless, emotionally involving no matter how many times you see it, and able to withstand the closest of scrutiny. The score is often mistaken as nothing more than rehashing “As Time Goes By” over and over again, though Steiner never wanted to use the tune. But in the hands of a pro like Steiner, something so seemingly insignificant as a source cue is skillfully and subtly woven into the score, and a decade-old song becomes not only a standard, but movie musical magic.


This delightful adaptation of the long-running stage hit stars William Powell as the imperious, yet loveable, head of his exasperating, carrot-topped family. Steiner’s score weaves in period tunes like “Sweet Genevieve” into a sweet, sentimental score. With a charming main theme that clip-clops along with the horse-drawn carriages of turn-of-the-century New York, Steiner’s music is a major holy grail of mine that I hope sees the light of day at some point.


Popular CAPTAIN BLOOD co-stars Errol and Olivia de Havilland reteamed for this recreation of the famous charge of the Crimean War, based loosely on Alfred Lord Tennyson’s famous poem. The score is one of Steiner’s finest, weaving in quotes of “Rule Brittania” with a memorable march for the British soldiers and rousing (and frightfully difficult) action cues that give the orchestra musicians a real workout. Tribute Film Classic’s restoration of the complete score is definitely worth an honored slot on your shelf.

Johnny Belinda soundtrack
Now, Voyager - The Classic Film Scores of Max Steiner
Gone With the Wind soundtrack


Jane Wyman’s Oscar-winning performance as a raped deaf mute who must contend with the reactions of her seaside Nova Scotia town grounds the film with lovely, understated work. Steiner rises to her level, contributing a score of heartbreaking tenderness and, on occasion, brutal cruelty. The sweet theme on celeste for the baby captures Belinda’s maternal instincts and inherent goodness.

2. NOW, VOYAGER (1942)

Steiner’s second Oscar is a prime example of the kind of melodramas that Warner Bros. did best. Containing one of Bette Davis’ signature performances as the ugly duckling who turns into a swan away from her overbearing mother (the superb Gladys Cooper), Steiner’s music contains enough drama for three scores. Anchored by one of Steiner’s most famous themes, the score surges passionately in the strings as Davis’ mousy Charlotte finds love from within and without. The drama is beautifully played and that memorable theme tugs at the heartstrings.


Whether you like or hate the film—or like or hate the music—you have to give Steiner credit for pulling together such an intricate, interwoven tapestry of musical invention. Weaving together 11 primary themes and numerous period tunes, Steiner’s musically rich score is dramatic and engaging from beginning to end. Anchored by “Tara’s Theme,” arguably the most famous theme in film music, Steiner and his crackerjack music department (which included orchestrators Hugo Friedhofer and Adolph Deutsch) had only 12 weeks to compose and orchestrate the lengthy score. What emerged was a true film music classic, number one on my list and one of the top film scores ever written.


  1. Great list as always Jim. I have to stop myself form reaching for “Amazon” or “iTunes” each time you do one of these as it prompts me that I do not have a particular score in my collection (“Now Voyager” in this case). I do have to put in a “da! da! da! da!” vote for “King Kong”. I know it is overly melodramatic and bombastic but that’s why I love it. It is loads of fun and the Finale/It was Beauty Killed the Beat is a beautiful and poignant cue, particularly on the Macro Pool/Naxos Stromberg recording.

  2. Great and necessary post Jim. Steiner’s “flaws” (mickey mousing etc)should mean nothing, compared to his remarkable achievements. He’s justifiably famous for King Kong, Gone With the Wind, Now Voyager and A Summer Place, but his output is full of wonderful scores, some of them written for obscure films like Gold Is Where You Find It, A Dispatch from Reuters, Shining Victory, The Voice of the Turtle, Distant Drums, Mara Maru and Susan Slade. I suppose it’s not commercially interesting but these and other Steiner scores (Miracle of Fatima, for example) deserve to be recorded.

      1. There must have been something in the stars compelling me to write this post. Thanks for pointing this out. Time to celebrate!

      2. Solid list, but King Kong MUST be on any Steiner list, or any list of greatest scores ever, as the first great integration of filmed motion and music…when Noble Johnson steps toward the Skull Island expedition each footfall landing on a Steiner quarter note…

    1. Both DISTANT DRUMS and FATIMA were on my original list. The acetates for FATIMA are in decent shape. Hopefully it will be released at some point. NOW, VOYAGER, on the other hand, is not (unless there’s a decent copy hiding somewhere). That would need a re-record.

  3. I have loved Max’s music since I was 10 and heard Gerhardt’s Now Voyager and GWTW. Death of a Scoundrel is a great score — I would have to have The Big Sleep on a top 9. Sierra Madre contains that letter reading scene with a theme that tears your heart out. But my reason for positing is we need a new recording of GWTW — not a complete re-recording, but a much fuller suite than the Gerhardt –(still my favorite re-recording of all time). I want to here the finale in digital just once in my life. When Bonnies theme soars after the red earth of Tara sound snippets and the chorus enters. I go crazy. All the suites use the end of part 1 as a finish. For single movies, GWTW is still the greatest score. I know about all the other composer’s help, but Max is the master. My 2 cents. Great site.

  4. Still a lot to discover for me, but I’ve listened to 6 so far. Here’s my top 6:
    1. The Searchers
    2. Band Of Angels
    3, The Adventures Of Mark Twain
    4. Son Of Kong, The
    5. The Adventures Of Don Juan
    6. Distant Drums

  5. First of all, no one can compare to the great MAX STEINER. I know there was Bernard Hermann,Alfred
    Newman,Miklos Rosa,Eric Wolfgang, plus a few others. There was no one conductor who was more
    prolific. Of course, he had the advantage of belonging to one studio Warner Bros. I know he worked into
    the 1960’s. He was the BEST!!!.

    1. Don’t rule out Franz Waxman. He wrote the score from the 1959 Audrey Hepburn movie, “The Nun’s Story” — one of the most stirring opening movie themes I’ve ever heard.

  6. I especially love the scores he did for many Bette Davis films, particularly Dark Victory and Jezebel.
    I’d love to see the score for Jezebel released on a cd one day.

  7. I would add Steiner’s superb score for “Jezebel,” from 1939, to the list.

  8. I just saw your list, Jim, and am thrilled to find someone who loves Max Steiner’s scores as I do. No one I know even knows who he was (“Oh, the horror! The horror!”). What an age we live in, eh, where everyone knows P. Diddy but the name Max Steiner evokes a blank stare?

    I just saw the film on TCM “Of Human Bondage,” and it’s not the 1934 one with Bette Davis/Leslie Howard or the 1964 version with Laurence Harvey/Kim Novak. Instead it’s Paul Heinreid playing Philip Carey and Eleanor Parker playing Mildred.

    The production was the least known of the three and the least faithful to the novel, yet the music was the best — it recycled Steiner’s love theme from the film “Juarez.” Beautiful!

    Thanks for your site and your insight!

  9. His greatest for me is “A Stolen Life”. I will probably get “Beyond the Forest” sound track. You cannot buy the movie or see it on TV. I like the original sound track. I hope someday a great musical conductor will put together a comprehensive song book of all Max Steiner’s music and take special care in putting it together. Instead of running around being miserable because of the COVID and political issues. Max Steiner’s music made you think and put a special positive feeling throughout your mind and body.

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