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103 results for "leaving" in 26 films — see also departing | departure | escaping | exiting | fleeing | retreating

FilmTheme nameInstanceTags
All This, and Heaven Too (1940)Agitato0:06:49 - Henriette leaves the classroomagitated | appoggiatura | chromatic scale | distressed | establish character | hurrying | leading lady | leaving | minister | Neapolitan | principal | school | teacher | walking

All This, and Heaven Too (1940)

Henriette (Dolce)0:12:43 - Henriette talks to Henry64 chord | boat | chromatic mediant | conversing | deceptive resolution | gentle | leading lady | leaving | minister | peaceful | transition

All This, and Heaven Too (1940)

Rubato (Carriage)NIF - not in film9th chord | advance plot | carriage | child | cut from film | deceptive resolution | duchess | governess | leading lady | leaving | parallelism | passionate | street

All This, and Heaven Too (1940)

Desperation (Carriage Starts)NIF - not in filmadded-note chord | advance plot | carriage | child | cut from film | duchess | gentle | governess | leading lady | leaving | pedal tone | street

All This, and Heaven Too (1940)

Underscoring (Tense)0:37:37 - They rise from prayeradded-note chord | child | chromatic scale | chromatic wedge | conversing | deceptive resolution | duchess | duke | governess | illness | leading lady | leading man | leaving | priest | religious scene | room | somber | tense

All This, and Heaven Too (1940)

Desperation (Furioso)0:43:28 - The Duchess rushes out of the roomangry | child | despair | dissonant bass | duchess | duke | governess | hurrying | illness | illness scene | leading lady | leading man | leaving | room

All This, and Heaven Too (1940)

The Duchess (Con Moto)1:13:45 - Henriette watches the Duke and Duchessadvance plot | dramatic | duchess | duke | leading lady | leading man | leaving | painful | point-of-view shot | room | sequential modulation | watching

All This, and Heaven Too (1940)

Desperation (Dark)1:13:56 - Henriette watches the Duke leaving9th chord | advance plot | altered dominant | dark | dissonant bass | duke | leading man | leaving | parallelism | point-of-view shot | room | watching

All This, and Heaven Too (1940)

Desperation (Slow)1:48:58 - The Duke leavesconflict | duke | leading lady | leading man | leaving | ominous | room | tense

All This, and Heaven Too (1940)

Agitato 21:59:31 - Henriette is arrestedagitated | crowd | crying | double exposure | dramatic | fanfare | headline | leading lady | leaving | mob | montage | newspaper | soldier | street | suspect | yelling

All This, and Heaven Too (1940)

Henriette (Moderato Maestoso)2:16:29 - A hand signing a release formhopeful | leading lady | leaving | noble | prison | resolution | walking | writing

All This, and Heaven Too (1940)

Henriette (Dolschissimo)2:21:00 - Henriette kisses a child on the cheekchild | conversing | gentle | leading lady | leaving | minister | resolution | school | student | sweet | teacher
The Amazing Dr. Clitterhouse (1938)Doctor Leaves0:57:38 - Dr. Clitterhouse leavesadvance plot | doctor | door | exiting | gangster | hero | leading lady | leading man | leaving | linear chromaticism | opening | room | tense | wedge | whole-tone chord
Angels With Dirty Faces (1938)Underscoring (Mysterious)1:09:33 - Jerry leaves42 chord | gangster | leading man | leaving | money | montage | mysterious | priest | room | turning point
Are These Our Children? (1931)Dreams0:02:11 - Eddie and Mary talk11th chord | AABA structure | conductor score | establish character | gentle | leading lady | leading man | leaving | lovers | love scene | mode mixture | street | waiting

Are These Our Children? (1931)

Makes You Forget Your Troubles (Moderato)0:27:59 - Eddie walks outsidecheerful | leading man | leaving | source to score | street | transition
The Big Sleep (1946)Marlowe (Decisive)0:47:04 - Marlowe walks out the dooradded-note chord | advance plot | bold | decisive | leading man | leaving | pedal tone | private eye | room

The Big Sleep (1946)

Carmen (Violent)0:52:58 - Vivian and Carmen leaveblackmailer | conflict | criminal | dissonant bass | femme fatale | leading lady | leading man | leaving | mysterious | private eye | room | suspect | whole-tone | whole-tone chord
The Breaking Point (1950)Sad Boy1:36:44 - Sad orphaned boy looks onchild | climax | crowd | crying | harbor | leaving | somber | spiritual-like | triumphant | watching
His Greatest Gamble (1934)Morning Glory Waltz (Tender)0:02:35 - Philip in the casinocasino | child | conversing | establish character | gentle | leading man | leaving | transcribed by ear | waltz

His Greatest Gamble (1934)

Morning Glory Waltz (The End)1:10:18 - Philip leavesdetective | end title sequence | fugitive | leading man | leaving | mode mixture | secondary dominant | transcribed by ear | triumphant | waltz
City for Conquest (1940)A Girl Like You0:46:49 - Danny in Peggy's dressing roomboxer | conflict | crying | dancer | dressing room | leading lady | leading man | leaving | parallel double period | source music | upbeat

City for Conquest (1940)

Tone Poem A (Farewell)0:55:31 - Peggy bids farewell to Danny9th chord | appoggiatura | augmented sixth chord | conversing | crying | embracing | enharmonic respelling | farewell scene | leading lady | leading man | leaving | mode mixture | plagal cadence | romantic | sentimental | street

City for Conquest (1940)

Mysterioso1:13:36 - Googi leaves augmented triad | chromatic parallelism | criminal | gangster | leaving | locker room | manager | murder scene | mysterious | parallelism | whole-tone
Crime School (1938)Underscoring (Gentle)0:49:47 - Mark talks about making this room their homecomedy | deceptive resolution | gang | gentle | hero | leading man | leaving | pedal tone | reformatory | teasing | teenager | underscoring | whole-tone chord
They Made Me a Criminal (1939)On the Make (Appassionato)1:25:51 - Peggy wants to go with Johnnie9th chord | altered dominant | climax | detective | embracing | kissing | leading lady | leading man | leaving | linear chromaticism | mode mixture | pedal tone | romantic | room | sentimental | sigh gesture | tender
Deep Valley (1947)Libby (Rubato)0:08:13 - Libby at the kitchen tableestablish character | kitchen | leading lady | leaving | somber | tense

Deep Valley (1947)

Libby (Stormy)0:29:58 - Libby pulls away from Jeff's graspadvance plot | boss | dark | leading lady | leading man | leaving | lightning | room | running | storm | thunder

Deep Valley (1947)

Libby 30:30:31 - Libby watches the stormadvance plot | arriving | boss | hesitant | leading lady | leading man | leaving | lightning | room | storm | thunder | watching

Deep Valley (1947)

Libby (Slowly)0:34:53 - Libby leaves her motherconflict | dark | leading lady | leaving | lightning | mother | pleading | room | somber | storm | tense | thunder

Deep Valley (1947)

Triste (Stormy)0:35:16 - Shutters shaking in the windconflict | dark | leading lady | leaving | lightning | mother | pleading | room | somber | storm | thunder

Deep Valley (1947)

Libby 2 (Stormy)0:35:27 - Waves hitting the shoreconflict | construction site | crew | dark | leading lady | leaving | mother | pleading | storm | tense | waves | working

Deep Valley (1947)

Deep Valley (Sostenuto)0:56:17 - Libby turns to leavecabin | convict | dog | fugitive | gentle | leading lady | leading man | leaving | love interest | love scene

Deep Valley (1947)

Deep Valley (Lonely)1:18:43 - Barry looks aroundadvance plot | barn | leading lady | leaving | lonely | yard
Dust Be My Destiny (1939)Dust Be My Destiny0:38:38 - Joe and Mabel partcommon-tone diminished 7th | conflict | leading lady | leading man | leaving | runaway | somber | street

Dust Be My Destiny (1939)

Dust Be My Destiny (Parting Ways)0:38:56 - Joe and Mabel partaltered dominant | common-tone diminished 7th | conflict | dark | leading lady | leading man | leaving | mode mixture | pedal tone | runaway | somber | street
Flamingo Road (1949)If I Could Be With You (Ethereal)0:18:06 - Lane watches Field drive awaycommon-tone diminished 7th | falling in love scene | leading lady | leading man | leaving | love interest | pedal tone | police | porch | sentimental | source to score

Flamingo Road (1949)

Cheatin' on Me0:19:12 - Lane works at the caféAABA structure | advance plot | café | leading lady | leading man | leaving | police | source music | upbeat | waitress | working

Flamingo Road (1949)

Titus1:06:35 - Titus leavesadvance plot | dark | leading man | leaving | ominous | politician | room | self-borrowing | sheriff

Flamingo Road (1949)

Agitato (Angry)1:09:25 - Titus leavesadvance plot | agitated | angry | chromatic parallelism | chromatic scale | chromatic wedge | leading man | leaving | politician | polychord | sheriff | street | tense

Flamingo Road (1949)

Flamingo Road (Molto Expressivo)1:19:32 - Dan leavesconflict | husband | leading lady | leading man | leaving | politician | room | self-borrowing | tragic | wife

Flamingo Road (1949)

If I Could Be With You (Ecstatic)1:33:37 - Lane walks awayadded-note chord | altered dominant | artwork in score | chromatic parallelism | friend | husband | joyous | leading lady | leading man | leaving | prison | resolution | reuniting | romance | secondary dominant | The End | thematic transference | triumphant | wife
Hell on Frisco Bay (1955)Prison Gate0:01:25 - Steve exits the prison gateconductor score | establish character | friend | gate | leading lady | leading man | leaving | prison | serious | walking

Hell on Frisco Bay (1955)

Menace0:04:31 - Steve gets off the busdark | dock | establish setting | friend | investigator | leading man | leaving | menacing | transcribed by ear

Hell on Frisco Bay (1955)

Underscoring (Tense)0:28:03 - The gangsters leaveaction scene | conductor score | conversing | gangster | leading lady | leading man | leaving | room | tense | underscoring

Hell on Frisco Bay (1955)

Hell on Frisco Bay0:28:43 - Marcia talks to Steveaction scene | conductor score | conversing | leading lady | leading man | leaving | room | somber

Hell on Frisco Bay (1955)

Menace 20:28:55 - Marcia reacts to Steve's commentaction scene | conductor score | conversing | leading lady | leading man | leaving | room | upset

Hell on Frisco Bay (1955)

Disappointment0:36:18 - Steve leavesadvance plot | conductor score | dark | disappointed | investigator | leading man | leaving | somber | street

Hell on Frisco Bay (1955)

Kay1:28:35 - Steve leaves with Kaycomforting | gentle | investigator | leading man | leaving | love interest | room | turning point | witness

Hell on Frisco Bay (1955)

Hell on Frisco Bay1:29:23 - Marcia calls the policeagitated | calling | investigator | leading lady | leading man | leaving | love interest | room | turning point | witness
Her Kind of Man (1946)Underscoring (Dramatic [Waxman])0:42:19 - Approaching headlightsaction scene | criminal | dark | departing | dramatic | driving | henchman | leading man | leaving | reporter | street | stumbling | underscoring
In This Our Life (1942)Stanley (Maestoso)0:16:11 - Peter closes the dooradvance plot | brash | dark | leading lady | leading man | leaving | room | serious

In This Our Life (1942)

Stanley (Valse Triste)0:16:22 - Roy looks out the windowadvance plot | dark | leading lady | leading man | leaving | room | somber | waltz | watching | window

In This Our Life (1942)

Asa (Molto Expressivo)0:23:49 - Roy leavesconflict | dark | father | leading lady | leaving | room | somber

In This Our Life (1942)

Here Comes the Bride (A Little Shimmer)0:31:40 - A convertiblecar | courthouse | happy | leading lady | leading man | leaving | street | wedding | wedding

In This Our Life (1942)

Anger1:04:56 - Stanley gets angryangry | arguing | conflict | leading lady | leaving | room | running | tense | uncle | upset | widow | yelling

In This Our Life (1942)

Roy (Molto Modto)1:15:51 - Roy leavesangry | conflict | lawyer | leading lady | leading man | leaving | office

In This Our Life (1942)

Stanley Introduction (Extended 4)1:23:09 - Stanley and Craig leave the jailcar | conflict | criminal | lawyer | leading lady | leading man | leaving | street | tense
The Informer (1935)Katie (Hurt)0:06:58 - Katie is upset with Gypo and walks away upsetagitated | chromatic scale | crying | establish character | leading lady | leading man | leaving | street | tritone | upset

The Informer (1935)

The Informer (Suspicion)0:29:47 - Gypo leaves the wake64 chord | antagonist | coin | crying | dissonant bass | dropping | giving | leading man | leaving | mickey-mousing | money | mourner | pivotal scene | room | Scotch snap | sigh gesture | somber | staring

The Informer (1935)

The Informer (Tranquillo)1:16:35 - Gypo is taken awayantagonist | arresting | authentic cadence | climax | confessing | confession | courtroom | courtroom scene | crying | guilt | headquarters | hero | leading man | leaving | love interest | pleading | remorseful | room | traitor
Key Largo (1948)Sheriff Leaves1:13:51 - Rocco waits for the sheriff to leaveboss | conflict | deception | gangster | hotel | leaving | nervous | police | tense

Key Largo (1948)

Rocco (Packing Up)1:24:28 - Gangsters pack up their thingsadvance plot | boss | gangster | hotel | leaving | packing | preparing | tense

Key Largo (1948)

Underscoring (Tense)1:24:37 - Gaye watches Roccoadvance plot | boss | gangster | hotel | leaving | mysterious | packing | preparing | tense | underscoring

Key Largo (1948)

Rocco (Leaving)1:25:33 - Gangsters leave the hotel with McCloudadvance plot | boss | father | gangster | hostage | hotel | leading lady | leading man | leaving | moll | ominous | walking

Key Largo (1948)

Tension (The Boat)1:26:31 - McCloud tries to start the boatadvance plot | boat | boat | boss | dramatic | gangster | hostage | leading man | leaving | motor | sputtering | starting | stinger | tense
The Letter (1940)Underscoring (Mysterious)0:04:29 - Leslie leaves the roomDorian mode | home | leaving | murder scene | mysterious | servant | underscoring

The Letter (1940)

Letter (Sarcastic)0:22:41 - Leslie and Howard leaveadvance plot | chromatic sequence | dissonant bass | home | lawyer | leading lady | leaving | mysterious | passionate | sequence

The Letter (1940)

Leslie (Ominous)0:22:58 - The site of the murderadvance plot | augmentation | call and response | Chinese | dramatic | leading lady | leaving | mysterious | plantation | reveal | shadow | spying | stinger | tense | watching | widow

The Letter (1940)

Mrs. Hammond (Lawyer)0:30:45 - Ong speaks to Howardadvance plot | Chinese | lawyer | leaving | mysterious | office | pc set | tritone

The Letter (1940)

Leslie (Leaving)0:53:20 - Howard and Leslie leave the houseadded-note chord | fragmentation | lawyer | leading lady | leaving | mysterious | plantation | sequence | sequential modulation | transition

The Letter (1940)

Leslie (Screwyoso)0:53:35 - Howard and Leslie walk awaylawyer | leading lady | leaving | oscillation | plantation | sequence | tense | transition

The Letter (1940)

Underscoring (Dark)NIF - not in filmclimax | dark | home | lacework | leading lady | leaving | pedal tone
Lightning Strikes Twice (1951)Menace (Molto Misterioso)0:50:38 - Liza leaves the roomactor | car | leading lady | leaving | luggage | mysterious | packing | ranch | rancher | somber | tense | transition
Mildred Pierce (1945)Mildred (Murder)0:01:59 - Bullet holes in the mirror11th chord | augmented sixth chord | dark | death | dying | leaving | murder | murder scene | room | somber

Mildred Pierce (1945)

Bert (Triste)0:24:26 - Bert and Mildred separateaugmented sixth chord | breaking up | crying | establish character | fragmentation | heroine | husband | leading lady | leaving | Neapolitan | pedal tone | room | somber

Mildred Pierce (1945)

Kay and Veda (Sentimental)0:25:37 - Veda and Kay see their father leavingchild | establish character | interrupting | leaving | mode mixture | packing | sentimental | somber | stopping | street

Mildred Pierce (1945)

Work (Excited)0:42:35 - Mildred and Wally leave 9th chord | added-note chord | excited | excitement | friend | heroine | leading lady | leaving | room | self-borrowing | shadow | transition | work

Mildred Pierce (1945)

Bert (Sentimentale)0:48:03 - Mildred watches her children leaveheroine | husband | leading lady | leaving | oscillation | room | serious | somber | thinking | transition | whole-tone chord

Mildred Pierce (1945)

Bert (Dark)0:54:14 - Bert and Mildred rush off to see Kaybad news | conversing | dark | death scene | distress | ex-husband | heroine | leading lady | leaving | street | turning point

Mildred Pierce (1945)

It Can't Be Wrong (Uneasy)1:05:36 - Bert stares angrily at Monteadvance plot | dark | ex-husband | familiar tune | glaring | heroine | leading lady | leaving | love interest | pedal tone | popular music | restaurant | source to score | tense | uneasy

Mildred Pierce (1945)

Mildred (Angry)1:18:21 - Mildred walks out of an argument9th chord | aggressive | angry | arriving | chromatic parallelism | conflict | heroine | hurrying | leading lady | leaving | Neapolitan | room | walking

Mildred Pierce (1945)

Mildred (Tragic)1:24:04 - Veda watches her daughter leavealtered dominant | angry | ascending | conflict | heroine | leading lady | leaving | mickey-mousing | octatonic scale | room | stern

Mildred Pierce (1945)

Mildred (Breakdown)1:47:11 - Mildred tries to start her car9th chord | climax | crying | dramatic | emotional | foreign key modulation | heroine | leading lady | leaving | street

Mildred Pierce (1945)

Kay and Veda (Triste)1:49:37 - Veda is led out by the policeantagonist | conversing | daughter | defeat | detective | heroine | leading lady | leaving | mother | murderer | police station | resigned | resolution | sigh gesture | somber

Mildred Pierce (1945)

Mildred (The End)1:50:07 - Mildred leaves with Bertadded-note chord | ex-husband | heroine | leading lady | leaving | pedal tone | police station | resolution | triumphant
The Life of Vergie Winters (1934)Lullaby (Tender)1:05:45 - Ranny leaves with Joan13th chord | conflict | daughter | leading man | leaving | love interest | peaceful | pedal tone | room | wife

The Life of Vergie Winters (1934)

Lullaby (Doloroso)1:05:58 - John talks with his wife Laura9th chord | arguing | conflict | dark | leading man | leaving | reverse picardy | room | tense | wife
Kid Galahad (1937)Heart's Affair (Yearning)0:44:11 - Ward and Nick leave the farmadvance plot | altered dominant | car | deceptive resolution | driving | farm | leading man | leaving | manager | mother | not by Steiner | parting | sentimental | sister | transcribed by ear | yearning gesture
We Are Not Alone (1939)Frohe Botschaft (Crying)0:45:45 - Leni kisses Gerald9th chord | 64 chord | advance plot | antagonist | boy | child | crying | deceptive resolution | familiar tune | folk song | fragmentation | German | heroine | home | leaving | mode mixture | mother | quotation | room | sequence | somber | tritone

We Are Not Alone (1939)

Surprise Symphony (Turbulent)0:50:14 - Jessica reacts to David's departure11th chord | angry | antagonist | chromatic parallelism | classical music | conflict | crying | dark | familiar tune | Haydn | hero | home | husband | leaving | quotation | room | sad | tragic | wife
The Woman in White (1948)Pavan (Misterioso)1:23:21 - Marian and Walter leavecousin | dark | forest | leading lady | leading man | leaving | serious | spy | spying | transition

The Woman in White (1948)

Ann (Waltz)1:27:14 - Laura dashes awayantagonist | asylum | conversing | criminal | husband | hypnosis | hypnotist | leading lady | leading man | leaving | mad scene | murderer | nurse | tender | victim

The Woman in White (1948)

Ann 21:28:39 - The nurse takes Laura to her roomantagonist | asylum | criminal | husband | hypnosis | hypnotist | leading lady | leading man | leaving | mad scene | murderer | nurse | tender | victim | walking

The Woman in White (1948)

Hypnosis + Fosco1:30:32 - Count Fosco leavesantagonist | carriage | combination of themes | criminal | dark | husband | hypnotist | leading man | leaving | murderer | ominous | plotting | spy | spying | street | tense | transition

The Woman in White (1948)

The Self Banished1:31:42 - Walter Kisses Marianconversing | embracing | friend | gentle | kissing | leading lady | leading man | leaving | love interest | love scene | romantic | room | thematic transference
Caged (1950)Underscoring (Dramatic)1:32:09 - Superintendent office dooradvance plot | bold | conversing | leading lady | leaving | prison | prisoner | unpacking | walking

Caged (1950)

Underscoring (Tense)1:32:21 - Marie unpacks her belongingsadvance plot | leading lady | leaving | prison | prisoner | tense | underscoring | unpacking

Caged (1950)

Molto Expressivo (Rubato)1:32:37 - Marie checks outadvance plot | conversing | guard | leading lady | leaving | prison | prisoner | solemn | underscoring

Caged (1950)

Marie (Checking Out)1:32:47 - Marie opens an envelopeadvance plot | dramatic | guard | leading lady | leaving | looking | prison | prisoner | ring | solemn | throwing

Caged (1950)

Molto Expressivo (Slowly)1:32:59 - Marie's mugshotadvance plot | leading lady | leaving | looking | mug shot | prison | prisoner | solemn | throwing | warden

Caged (1950)

Molto Expressivo (Con Moto)1:34:42 - Marie leaves Mrs. Benton's officeclimax | dramatic | ex-convict | guard | leading lady | leaving | prison | prisoner | stinger | uneasy | warden

Caged (1950)

Molto Expressivo (Quasi Blues)1:35:01 - Marie leaves the prisonbluesy | bluesy | car | climax | ex-convict | freedom | leading lady | leaving | prison | smoking | street | warden | watching