9 Favorite Foreign Film Scores

With decades of international cinema at my disposal, picking nine favorite foreign film scores feels like a foolish and pointless gesture at best. And yet I’m giving it a shot.

Because so much of my foreign film viewing over the years has been relegated to Oscar-nominated films (once again, never an indication of quality), I readily admit that I’m severely deficient in this area. I originally thought of making the list country by country (i.e., French film scores one month, Italian the next, etc.), with separate monthly posts devoted to each. But then I realized I simply didn’t have enough knowledge of the scores from any specific country to do that. So, although this list is by no means complete, it’s a start. Hopefully, there will be later installments in the future. Until then, here are nine film scores from around the globe that I can wholeheartedly recommend.

9. WAR AND PEACE (1966)

This past weekend, in preparation for this post, I re-watched this 7-hour Russian epic of Tolstoy’s masterpiece. The first time I saw it years ago, I watched it all in one day, long before I’d read the book. I was hopelessly confused by the numerous characters and didn’t know enough about Russian history to appreciate it. Since then I’ve read the book and plenty of other Russian books so I was able to follow it much easier…and splitting up the viewing over two days didn’t hurt either. This 1968 Oscar winner for Foreign Language Film shows its age but it’s sumptuous to look at and the logistics of filming it are staggering. Vyacheslav Ovchinnikov was still in his 20’s when he was tapped to compose and conduct the massive score. While it’s not synced as smoothly as many modern film scores (cues sometimes just drop in or out), there are some marvelous music set pieces–dances in a classical Tchaikovskian style, a capella male chorus, intense action music for the battle sequences and a haunting, lyrical intermezzo that serves as the love theme. The overall score is not as cohesive as it could be, but it’s a bold effort from a young composer who is basically unknown outside of the motherland. This is one score I’d love to see released on CD someday, though I can’t even imagine the licensing logistics nightmare. Beware of the digital release of the LP (the only release of the score that I know of), which is full of annoying battle sound effects.

8. CHARACTER (1997)

This Oscar winner is a Dutch thriller about a young man who fights against his rich father, who will have nothing to do with him, and his poverty to become the lawyer he wants to be. I can’t do justice to the plot, but it’s a marvelous, ahem, character study, rich in Dickensian details of the Netherlands of the ’30s, featuring taut direction and superb acting. Adding to the excitement of the film is the score by the collective Paleis van Boem, aka Martin Vonk and Jaap de Weijer. The score impresses from the dramatic main titles as the camera skims the cramped Dutch canals and swirls around the bustling activity on the docks. While the music is minimal within the film, it makes a definite impact. This is another title I’d love to see released someday.

7. BURNT BY THE SUN (1994)

Another Russian Oscar winner, this time set during the time of Stalin’s purges in 1936, in which the arrival of Cousin Dmitri upsets the idyllic summer for revolutionary hero Colonel Kotov and his family. Like WAR AND PEACE, the more you know of Russian history, the more depth the film has. But the family drama remains universal and the final goodbye between Kotov and his 6-year-old daughter is heartbreaking. Through it all Edward Artemyev provides a score that conveys period atmosphere, dramatic military might and genuine emotion. I can do without the electronic elements, but considering Artemyev’s pioneering work in the area in film music and its popularity during the ’80s, it’s to be expected. The score is only available on an out-of-print French pressing with its French name, SOLEIL TROMPEUR.

Juliet of the Spirits soundtrack
The Umbrellas of Cherbourg soundtrack


Nino Rota’s music for Fellini’s films defines Italian cinema in the 1960s. With his blend of quirky orchestrations and melodic invention, plus a charming circus-like atmosphere, Rota’s music spawned countless lesser imitators over the years. But no one can match the maestro’s unique sound of throbbing sentimentality whose period datedness somehow still keeps it sounding fresh decades later. Out of this list, this is the only film I have yet to see, starring the great Giulietta Masina as a woman struggling to leave her cheating husband. While other films like 8 1/2 and AMARCORD might have more recognizable themes, this Rota gem is more consistently entertaining, at least on the album. And its delightful combination of period organ and vocals can’t help but put a smile on your face.

5. BREATHLESS (1960)

When I was writing my series of Jazz Score articles for FSM Online a couple of years ago, BREATHLESS was one of the big discoveries out of the numerous films I watched. Godard’s film is unlike anything I’ve ever seen and its improvisatory lack of pretension seems just as fresh as it did 50 years ago when it helped usher in the French New Wave. Martial Solal‘s legendary jazz score backs up this breezy crime caper with energy, wit and a tender love theme that captures the chemistry between Jean-Paul Belmondo and Jean Seberg with ease. One of those unforgettable international classics in which every element is every bit as good as its reputation.


Through-sung musicals are rare and Jacque Demy’s cinematic experiment must have been quite shocking in its day. It remains an odd film, but the combination of Demy’s candy-colored visuals, the lovely performances of Catherine Deneuve and Nino Castelnuovo, and Michel Legrand‘s jazz score is unbeatable. Yes, it’s strange to hear people singing about carburetors, but the real human emotions and the simplicity of the story shine through. This is a musical treat that breaks your heart.

Cinema Paradiso soundtrack
Un Homme et Chien
Ballad of a Soldier soundtrack


A love letter to films, Giuseppe Tornatorre’s Oscar-winner was a huge art-house hit, even severely trimmed by almost an hour for ADD American audiences. The magic of cinema on a small Italian town is heartwarming and often very amusing, but it’s the relationship between Philippe Noiret’s humble projectionist and Salvatore Cascio’s little scamp that provides the emotional heart of the film, and Ennio Morricone‘s score brings out all of these qualities in spades. Morricone’s music goes from humor to heartbreak and succeeds on every level. If the final kiss montage doesn’t bring a tear to your eye, you’re made of sterner stuff than I.


Philippe Rombi‘s beautiful score topped my list of favorite scores of 2009. Since then I’ve seen the film which stars Jean-Paul Belmondo as a lonely old man and his dog who find themselves suddenly living on the streets. The film isn’t much in the way of plot, character development or anything else for that matter, but Rombi’s score still generates heart-tugging emotion. Obviously he was inspired by something beyond what shows on the screen. With its heartbreaking main theme and an emotional pull that won’t let go, the score is still just as powerful as it was when I first heard it a year ago.


For a country so far removed for most of us, there is something universally human that Russians capture in their filmmaking. And few stories are more human than this simple tale of a young hero during World War II who, instead of a medal, gets leave to visit his mother and fix their roof, traveling the vast breadth of Russia by train and falling in love. The visuals are haunting, the performances by the two beautiful young leads are affecting, and the finale is gut-wrenching. Mikhail Ziv‘s poignant score captures war, home, and love in music that overflows with emotion. The film and the score haunted me for years before I ever found a performance of the music. A 20-minute concert suite conducted by Sergei Skripka with the Russian State Symphony Cinema Orchestra can be downloaded at for under $6! Both the film and score are highly recommended.

What are some of your favorite foreign film scores?

  1. Off the top of my head: Amelie and Pan’s Labrynth are excellent. I love just about all of Morricone’s scores for Tornatore. House of Flying Daggers, The Beat that My Heart Skipped, The Double Life of Veronique and The Three Colors trilogy, East-West, Picnic at Hanging Rock,Gloomy Sunday (although not really original music…

    1. AMELI and PAN’S LABYRINTH were on the longer list. I don’t know some of the others. That’s what I like, new films and scores to discover. :) Thanks for the recommendations.

  2. In the tradition of Hollywood and the Academy Awards, I assume we are excepting the Brits from “foreign”. With that in mind I would put Z on my list by Mikis Theodorakis. Topkapi by Manos Hadjidakis is another, (and much lighter Greek score).

    1. Brits and English-language films are exempted from the list. Though a list of British film scores is a cool idea for another month. :)

      Haven’t seen/heard Z in years. Love TOPKAPI though, both film and score. Gotta love Melina Mercouri in basically anything.

  3. Way too difficult to narrow to nine, but I’ll give it a shot (leaving out the extraordinary ones already mentioned):

    (1) ORPHEU NEGRO (BLACK ORPHEUS) – Luis Bonfa/Antonion Carlos Jobim
    Very few music scores are as integral to the visual image as this one – samba becomes part of the populist music vocabulary.

    (2) LAST TANGO IN PARIS – Gato Barbieri
    Gato needed to bring his own brand of heat to Bertolucci’s psychosexual flare up – and so he did.

    (3) STAVISKY – Stephen Sondheim
    An evocative score for Alain Resnais’ French period piece that makes you wonder why more film directors didn’t get the Sondheim habit.

    Lai composes and performs a haunting melody for the ages – this is his masterpiece.

    A beautifully orchestrated score built around a superbly cinematic melody for Yves Robert’s charming film. Cosmas first score, and a terrific start to a great film music career.

    (6) LES VALSEUSES (GOING PLACES) – Stephane Grappelli
    The violinist shines with his comedic chamber pieces for Bertrand Blier’s mean-spirited road movie.

    Jacques Demy’s tribute to Hollywood musicals with more Legrand melodies – arguably more complex and impressive than their CHERBOURG collaboration.

    (8) LE GUERRE DU FEU (QUEST FOR FIRE) – Philippe Sarde
    Powerful, primieval symphonic music – counter balanced by a most beautiful love theme.

    Quite possibly Morricone’s most playful score – goodtime listening.

    1. I totally forgot about STAVISKY! Wonderful Sondheim score. LAST TANGO IN PARIS and GOING PLACES are also excellent choices. The rest of them, except for BLACK ORPHEUS, I’m not familiar with. Some (like THE YOUNG GIRLS OF ROCHEFORT and QUEST FOR FIRE) have been on my list to listen to for years. The rest will all be new to me. Thanks for a great list.

  4. Check out this odd but strangely affecting Judy Carland version of MORE from the movie Mondo Cone.
    This haunting even romantic score accompanies an often bizarre Italian documentary made in 1962. The contrast is mesmorizing.

    1. I’d forgotten about “More.” I’ve never seen the film, though I hear “bizarre” is a pretty accurate description. LOL Nonetheless, it’s a beautiful Oscar-nominated song.

  5. Desplat: Read My Lips
    Barbieri: Last Tango in Paris
    Morricone: 1900
    Delerue: The Woman Next Door
    Sarde: Cesar and Rosalie
    Sondheim: Stavisky
    Iglesias: Bad Education
    Esteve: Confidences Trop Intime (U.S.title: Intimate Strangers)
    Sarde: Coup de Torchon

    1. Anybody that puts Sondheim AND BAD EDUCATION in a list must be doing something right. :) LAST TANGO IN PARIS and 1900 are both good scores. Never seen the latter film, though I have it here somewhere. The rest are unknown to me. Will have to check them out.

  6. Don’t forget Prokofiev! IVAN THE TERRIBLE and ALEXANDER NEVSKY, dude!

    Also, Gottfried Huppertz’ METROPOLIS and DIE NIBELUNGEN are two outstanding entries from the 1920s.

    1. I’d never forget Prokofiev, John (though I think I did when I was writing the post). The forgetting is even worse since I wrote a big article on IVAN for FSMO. Ugh. The mind…

      I only saw METROPOLIS with the Giorgio Moroder score back in the ’80s. I have the new version they showed on TCM on my DVD with Huppertz’s score. Looking forward to watching it. I don’t know DIE NIBELUNGEN at all. I assume it’s the Wagner tale?

      1. Either I missed that IVAN article, or it hasn’t been published yet! Either way, I look forward to reading it … my old Prokofiev feature from back in the day is in dire need of updating (I was much younger, it was one of the first big film music articles I attempted, and some bad scholarship slipped through).

        Glad to hear you have Kino’s new version of METROPOLIS, which is much more complete than the previous version. DIE NIBELUNGEN was a few years earlier, and is a massive five-hour epic based on the same mythic saga that inspired Wagner. It’s another incredible Huppertz score … a bona fide Epic Orchestral Fantasy Score from 1924! The recording does suffer from some audio defects and much tracking, but I understand a new version is in the works, also from Kino.

    1. Hi Austin. Yes, I have. Wonderful scores. I guess my focus here was more on live action foreign films (though it wasn’t deliberate) rather than animated, which is what I usually associate Hisaishi’s music with. If you check out my 9 Favorite Animated Scores from the month prior to this post, you’ll find Hisaishi on there. :)

  7. That’s a great list.
    I would put “Perfume – Story of a Murderer” up there; I think the Berlin Philharmonic did a superb job playing this.

    I tend to love scores for Indian movies, though sadly they rarely see a release and are overlooked because everybody only looks at the songs.

    I also like Yann Tiersen’s score for Goodbye, Lenin, I think it’s even better than Amélie.

    By the way, I love your site, even though I don’t love John Williams and Jerry Goldsmith as much as you do ;).

    1. Hi Anne, thanks for commenting and thank you for your nice words about the site. I’ll have to check out GOODBYE, LENIN. I know I saw the movie a few years ago but don’t remember the score.

      I’m woefully deficient on Indian films. The only one I can think of off the top of my head is LAGAAN. If you have any suggestions… :)

      1. Most of Rahman’s scores are good; I myself have a thing for SWADES and JODHAA AKBAR. (Didn’t get the fuss about Slumdog, since he’s done much better scores thant that ;)).
        I also like TAARE ZAMEEN PAR (by Shankhar-Ehsaan-Loy).
        Sadly, none of these scores have been released (not that I know of at least) – as I said, they get overlooked because of the songs.

  8. I love Zbigniew Preisner’s scores for Krzysztof Kieslowski’s “Trois Coleurs” trilogy. I also love Vladimir Cosma’s scores for the French films “My Father’s Glory” and the follow-up film “My Mother’s Castle.” But one of my favorite foreign film scores is Wojciech Kilar’s score for the French animated film “Le roi et l’oiseau.” I was lucky enough to see this film in Paris in 1981 and before I returned to the U.S. I managed to track down a copy of the soundtrack on vinyl which I brought home on the plane, carefully packed between the clothes in my suitcase. I know this film has recently been restored and is being shown in limited release around the USA. There are several versions of this film, including a 1952 English language version that has the voices of Peter Ustinov and Claire Bloom. The version I saw was in French and utilized Kilar’s score. I don’t know if the English language version has a different score or not. Kilar’s score is available to purchase on iTunes though and is well worth checking out.

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