Some of my very favorite film scores utilize incredible use of thematic development. In the main title (or sometimes the opening cue [s]), we are introduced to a particular theme and through the progress of the film, the theme is performed in different variations and sometimes includes a different mood or feel than the previous interpretation, depending on what's happening on the screen. In a lot of cases, a score like this will close with a mind blowing cue, performing the theme we were first introduced to earlier in the score, in it's full glory. I believe scores like this often have lots of impact on the listener and can't help but make the listener awe in amazement as the score closes in such a way as having the theme performed to it's fullest.

Some examples of scores like this:

The Day Time Ended: Richard Band. I consider this be a textbook example of traditional thematic development in a score. In the "main title" we are introduced to a theme, which develops quite amazingly as the score progresses. In the final cue, "Finale: City of Light," the theme is performed powerfully to it's absolute fullest and ends with a majestic and atmospheric feel.

The Mummy: Jerry Goldsmith. Though quite different than the one above, this also utilizes fine use of development in it's theme(s). Unlike The Day Time Ended, we are not introduced to a main theme in a title sequence or even the opening cue. The "hero" theme (one of two themes I consider main themes in this score) is introduced after the prologue, and is a pretty proper and strait forward introduction...not getting too powerful, but since it's the theme's first appearance, there is much room for development. The love theme I find to be at times spellbinding and is played in the film frequently when the hero and the lead female begin developing a relationship. Throughout the score, the romantic theme and the hero theme are played in different and unique variations. The sand storm cue, being played during a climactic battle between the hero (in a plane) and a giant, living sand storm interprets the hero theme quite nicely, with a sort of exciting and adventurous feel. A few moments into the track The Sand Volcano (on the album) the hero theme makes an appearance in it's finest variation, sounding a little swashbuckling and in a way pleases the listener because it plays without changing moods or styles (ex. in track 5 on the cd...the cue switches from the romantic theme to a swashbuckling interpretation of the hero theme and gets exciting and real Egyptian sounding as well...while being an enjoyable cue, it is a cue that switches styles and doesn't stay constant). The end credits of The Mummy (the last part of The Sand Volcano on the album) represents the moving love theme performed in it's full glory in a quite beautiful interpretation.

These are two examples. I am sure many people here appreciate, admire, or even prefer scores that develop there themes strongly such as the scores above do. Does anybody have a favorite score that utilizes awesome use of thematic development?

Also the developmen of the Luke theme on
Star Wars (Williams)(Oviously) is great.

Another nice development comes in THe Prince Valiant when, at the end He became a Man.

Not to mention Gone With The Wind.
Max Steiner, while he use leit motives a lot,usually are developed in some intrestings ways

I'm going to keep this in mind and poke around for some more examples. Great thread idea, Dylan.

Goldsmith seems to be one of the masters of thematically developed scores.

Gae NP The English Patient

Fenton, for his wonderful Dangerous Beauty score. The main theme is nice, but the theme for Veronica is ravishing. I love in particular how on the album the theme pops up, always in a differnt guise. In the finale it's givena triumphant rendering that'll make the walls shake. And in one cue in particular the theme is extended and becomes a powerful emotional statement of love.

JNH, for Restoration, where near the end of the film, during the Fire, the quaint theme becomes epic sounding.

Anyway, I watched Dark City recently and I think Trevor Jones' score contains precisely the type of thing Dylan was talking about in the first place. There is one theme in the score that is almost a love theme, in that it reflects a relationship that never seems to come together. Throughout the film there are only little hints and snippets of it. The melody is never heard in whole, only in portion. But at the very end, during Rufus Sewell's bug tuning scene, the music builds to a beautiful crescendo and the theme is finally played in all it's wondrous glory. the effect is nothing less than stunning.

It's unfortunate that this only applies to the score as heard in the film. On album, the snippets are so few that when the theme shows up at the end you're not aware that it had ever existed before then. In the film, however, it all comes together.