| All This, and Heaven Too (1940) | Falling Snow | 1:12:39 - Henriette watches the falling snow | advance plot | conversing | duke | governess | leading lady | leading man | mickey-mousing | point-of-view shot | room | snow | snow globe | snowing | uneasy |
All This, and Heaven Too (1940) | Henriette (Sad Waltz) | 1:12:55 - Henriette watches the people dancing | advance plot | ballroom | crowd | dancing | dissolve | governess | leading lady | point-of-view shot | room | somber | watching |
All This, and Heaven Too (1940) | Underscoring (Dramatic) | 1:13:19 - Henriette watches the falling snow | advance plot | arriving | butler | dramatic | duchess | duke | leading lady | leading man | outside | panning shot | point-of-view shot | room | underscoring | watching |
All This, and Heaven Too (1940) | The Duchess (Con Moto) | 1:13:45 - Henriette watches the Duke and Duchess | advance plot | dramatic | duchess | duke | leading lady | leading man | leaving | painful | point-of-view shot | room | watching |
All This, and Heaven Too (1940) | Desperation (Dark) | 1:13:56 - Henriette watches the Duke leaving | advance plot | dark | duke | leading man | leaving | point-of-view shot | room | watching |
| Angels With Dirty Faces (1938) | Underscoring (Mysterious) | 1:09:33 - Jerry leaves | 42 chord | gangster | leading man | leaving | money | montage | mysterious | priest | room | turning point |
Angels With Dirty Faces (1938) | Tossing money | 1:09:33 - Jerry throws Rocky's money on the table | 42 chord | gangster | leading man | mickey-mousing | money | mysterious | priest | room | tossing | turning point |
| Arsenic and Old Lace (1944) | Jonathan | 0:23:14 - Mortimer reacts to the reveal | calling | conversing | dialing | diminished 7th chord | groom | leading man | ominous | pc set | quartal chord | reveal | room | sinister | stinger | telephone effect | thinking | turning point |
Arsenic and Old Lace (1944) | Here Comes the Bride (Elaine Whistles) | 0:23:44 - Elaine whistles out of her window | agitated | bride | cheerful | chromatic scale | dark | diminished 7th chord | familiar tune | groom | leading lady | leading man | on-screen music | room | scored source music | source music | turning point | whistling |
Arsenic and Old Lace (1944) | Here Comes the Bride (Running) | 0:23:58 - Mortimer runs to the door | 9th chord | 13th chord | aunt | bride | child | chromatic scale | crazy person | dark | familiar tune | groom | Halloween | intervallic expansion | leading lady | leading man | murderer | room | running | rushing | source music | source to score | trick-or-treating | turning point |
| They Made Me a Criminal (1939) | Underscoring (Dramatic) | 0:56:17 - Johnnie sees his picture in the paper | angry | arguing | chromatic parallelism | dissonant bass | dramatic | fighting | half-diminished 7th chord | hero | leading man | mickey-mousing | photograph | ranch | teenager | tense | turning point | underscoring |
They Made Me a Criminal (1939) | On the Make (Tenderly) | 1:07:57 - Tommy talks to Johnnie | 9th chord | ABAB structure | altered dominant | arguing | chromatic mediant | conversing | direct modulation | foreign key modulation | hero | leading man | room | tender | turning point |
They Made Me a Criminal (1939) | On the Make (Lohenblueish) | 1:09:07 - Johnnie decides that he will stay | added-note chord | augmentation | chromatic mediant | direct modulation | foreign key modulation | hero | hopeful | hopeless | leading man | linear chromaticism | passionate | room | thinking | turning point | zoom in |
They Made Me a Criminal (1939) | The Fugitive (Religioso) | 1:09:41 - Johnnie looks at a picture | 9th chord | hero | leading man | Neapolitan | room | tender | thinking | turning point |
They Made Me a Criminal (1939) | Inspiration | 1:09:53 - Johnnie has an inspiration | boxing | foreign key modulation | gentle | hero | idea | inspiration | leading man | pedal tone | pump-up modulation | room | shadow | thinking | turning point |
| Dust Be My Destiny (1939) | Dust Be My Destiny (Fateful Decision) | 0:26:17 - Joe and Mabel decide to run away together | barn | confused | deceptive resolution | fragmentation | hopeful | leading lady | leading man | mode mixture | runaway | turning point |
| Each Dawn I Die (1939) | Frank (Parole Denied) | 1:07:58 - Frank's parole is denied | 9th chord | common-tone diminished 7th | dark | despair | foreign key modulation | half-diminished 7th chord | hopeful | leading man | letter | prison | prisoner | reading | sigh gesture | solemn | turning point |
| Hell on Frisco Bay (1955) | Kay | 1:28:35 - Steve leaves with Kay | comforting | gentle | investigator | leading man | leaving | love interest | room | turning point | witness |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 1:28:48 - Marcia wakes up and answers the door | gentle | leading lady | room | turning point | waking |
Hell on Frisco Bay (1955) | Kay | 1:29:11 - Steve enters with Kay | arriving | entering | investigator | leading lady | leading man | love interest | room | somber | turning point | witness |
Hell on Frisco Bay (1955) | Hell on Frisco Bay | 1:29:23 - Marcia calls the police | agitated | calling | investigator | leading lady | leading man | leaving | love interest | room | turning point | witness |
Hell on Frisco Bay (1955) | Underscoring (Tense) | 1:29:55 - Marcia talks to Kay | conversing | leading lady | love interest | room | tense | turning point | witness |
| Illegal (1955) | Morning | 0:00:08 - Point of view of a mysterious person opens a bedroom door and looks around a bedroom | bedroom | door | morning | point of view |
| In This Our Life (1942) | Phone Call | 0:47:29 - Asa answers the phone | bad news | conversing | dark | eerie | father | mysterious | phone call | room | telephone | tense | turning point |
In This Our Life (1942) | Funereal | 0:48:25 - Asa calls for the others | bad news | conversing | father | leading lady | leading man | room | solemn | stinger | turning point | uncle |
In This Our Life (1942) | Underscoring (Somber) | 0:48:46 - Asa relates the bad news | bad news | conversing | father | leading lady | leading man | room | somber | turning point | uncle | underscoring |
In This Our Life (1942) | Underscoring (Dark) | 0:49:21 - Asa tells them Peter committed suicide | conversing | dark | father | leading lady | leading man | room | stinger | suicide | turning point | uncle | underscoring |
In This Our Life (1942) | Stanley B (Agitato) | 0:49:32 - Uncle Fitzroy asks about Stanley | agitated | arguing | father | leading lady | leading man | room | suicide | tense | turning point | uncle |
In This Our Life (1942) | Roy (Morendo 2) | 0:49:54 - Roy reacts to the bad news | conversing | father | leading lady | leading man | room | serious | somber | suicide | turning point | uncle |
| The Letter (1940) | Leslie (Tragic) | 0:14:31 - The scene of the crime | advance plot | changing meter | composer reference | dramatic | home | leading lady | oscillation | point of view | recounting | sequence | sequential modulation | suspension | tense |
The Letter (1940) | Leslie B (Screwyoso) | 0:14:42 - The bottom of the stairs | advance plot | common-chord modulation | dramatic | emotional | home | leading lady | point of view | recounting | sequence |
| Mildred Pierce (1945) | Kay and Veda (Misterioso) | 0:54:01 - Bert tells Mildred that Kay is sick | bad news | conversing | dark | death scene | distress | ex-husband | heroine | leading lady | mysterious | ominous | stinger | street | turning point |
Mildred Pierce (1945) | Bert (Dark) | 0:54:14 - Bert and Mildred rush off to see Kay | bad news | conversing | dark | death scene | distress | ex-husband | heroine | leading lady | leaving | street | turning point |
Mildred Pierce (1945) | Pneumonia | 0:54:25 - A doctor works on Kay | child | dark | death scene | doctor | dying | ex-husband | heroine | illness | leading lady | mickey-mousing | nurse | patient | room | sick person | somber | tense | treating | turning point | waiting | watching |
Mildred Pierce (1945) | Kay and Veda (Dying) | 0:55:05 - Kay's family waits and watches | child | dark | death scene | doctor | dying | ex-husband | heroine | illness | leading lady | nurse | patient | room | sick person | somber | tense | treating | turning point | waiting | watching |
Mildred Pierce (1945) | Pneumonia (Dying) | 0:55:24 - Kay passes away | child | dark | death | death scene | doctor | dying | ex-husband | heroine | illness | leading lady | nurse | patient | room | sick person | somber | tense | treating | turning point | waiting | watching |
Mildred Pierce (1945) | Mildred (Mourning) | 0:56:07 - Mildred mourns Kay's death | child | death | death scene | doctor | ex-husband | heroine | leading lady | mourning | nurse | patient | room | sick person | somber | turning point |
Mildred Pierce (1945) | Kay and Veda (Tenderly) | 0:56:34 - Veda and Mildred mourn for Kay | calm | child | death | death scene | ex-husband | heroine | hopeful | leading lady | mourning | room | somber | turning point |
Mildred Pierce (1945) | It Can't Be Wrong (Molto Misterioso) | 1:42:42 - Mildred learns that Monte has betrayed her | bankruptcy | betrayal | dark | familiar tune | friend | heroine | leading lady | love theme | memory | mysterious | popular music | realizing | room | somber | turning point |
Mildred Pierce (1945) | Mildred (Mad) | 1:43:19 - Mildred makes a phone call | anger | angry | calling | heroine | leading lady | room | tense | turbulent | turning point | walking |
Mildred Pierce (1945) | Hopes Crushed | 1:43:38 - Mildred realizes Monte has left her | dark | heroine | leading lady | lost hope | mickey-mousing | realizing | room | tritone | turning point |
| The Woman in White (1948) | Fosco (Spying) | 0:31:31 - Fosco spies on Laura and Walter | advance plot | garden | leading lady | leading man | mysterious | point-of-view shot | snooping | spying | watching |
| Beyond the Forest (1949) | Underscoring (Dramatic) | 1:08:24 - Moose warns Rosa | anger | dramatic | friend | harsh | leading lady | observing | room | stinger | turning point | underscoring | warning | warning |
Beyond the Forest (1949) | Chicago (Harmonics) | 1:08:31 - Rosa reacts to Moose's warning | anger | angry | contemplating | familiar tune | harsh | leading lady | ominous | popular tune | reacting | room | turning point |
Beyond the Forest (1949) | Underscoring (Dramatic) | 1:08:36 - Rosa hits the table | anger | angry | contemplating | dramatic | harsh | hitting | leading lady | pounding | reacting | room | turning point | underscoring |
Beyond the Forest (1949) | Rosa (Violent) | 1:08:54 - Rosa slowly turns | anger | angry | contemplating | harsh | leading lady | ominous | reacting | room | turning point |
Beyond the Forest (1949) | Rosa (Violent) + Chicago | 1:09:01 - Rosa heads outside | anger | angry | combination of themes | contemplating | departing | familiar tune | harsh | leading lady | ominous | popular tune | reacting | room | turning point |
| Out of the Fog (1941) | Speeding Car | 1:12:30 - A car racing down the street | action scene | car | double exposure | dramatic | driving | leading lady | point-of-view shot | police | rushed | rushing | street | tense |
Out of the Fog (1941) | Speeding Car | 1:13:32 - A car racing down the street | action scene | car | crowd | double exposure | dramatic | driving | leading lady | point-of-view shot | police | questioning | reporter | rushed | rushing | street | tense |
| Her Kind of Man (1946) | Underscoring (Dramatic [Deutsch]) | 0:54:59 - Cop takes a witness | departing | dramatic | leading man | letter | mysterious | police | police station | reporter | signature | tense | turning point | typing | underscoring | waiter | witness |
Her Kind of Man (1946) | Burning paper | 0:55:22 - Burning paper | burning | fire effect | leading man | mickey-mousing | reporter | room | tense | turning point |
Her Kind of Man (1946) | Candy (Dark) | 1:12:58 - Candy leaves | bar | calling | conversing | criminal | dark | double-cross | gambler | henchman | husband | leading man | murderer | ominous | stinger | telephone | turning point | warehouse |
Tag Search Results