Since the early 2000s,Jonny Greenwoodhas proved himself as far more than just the eccentric guitarist of English rock band Radiohead. The multi-instrumentalist - whose talents include the guitar, bass, piano, viola, drums and many others - is also an extremely accomplished film composer, whose legacy continues to prevail. Frequently working with appraised auteurs such as Paul Thomas Anderson and Lynne Ramsay, Greenwood has crafted some of the most riveting,memorable film scores of the 21st century. He is unafraid to explore a variety of genres and sounds, from electronic to free jazz to a daring rebrand of classical. Here are the composer’s best film scores, ranked.
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6Spencer (2021)
Pablo Larrain’s tense, haunting historical dramaon Princess Dianawas one of the standout features of last year. The film, which surrounds a frigid Christmas at the queen’s estate, is full of violence and despair under its whispers and pale elegance. Greenwood’s frenetic, jazzy score captures the essence ofSpencer- both person and film - perfectly; it is sprawling and panicked, but restrained and subtle at points, precisely mimicking Diana’s own trapped mental state.Spencer’stitle theme is a deeply haunting one, with a spare piano track that feels eerily reminiscent of Greenwood’s score forPhantom Thread. However, whereas in that film, Greenwood sticks to a more classical and subdued tone, here he goes all out, utilizing both a string quartet and a free jazz ensemble.
5You Were Never Really Here (2017)
One of Joaquin Phoenix’s lesser-known triumphs, Lynne Ramsay’sYou Were Never Really Herefollows a mysterious enforcer on a rescue mission for a missing teenage girl. Phoenix’s character, Joe, is a jaded, traumatized man of few words, whose acts of violence speak for the unmitigated brutality of his past. Greenwood’s score for the film is much different from most things within his cinematic repertoire - and it also sounds most like a Radiohead song. As opposed to imposing string ensembles, it is synthesizers that abound here, adding darkly moody, textured layers to Ramsay’s film. It becomes impossible to imagine Phoenix cruising around at night without a piece like “Dark Streets” lurking in the background. Despite its heavy electronic elements, Greenwood also uses luscious orchestral pieces to bookend the film.You Were Never ReallyHeredefinitely shows Greenwood to be a true master of contrast.
4The Power of the Dog (2021)
Jane Campion’s arty Westernmade quite the ripple across the awards circuit last year, despite itsOscar’s Best Picture “snub.“The film follows a cruel rancher’s quiet rampage against his brother, the brother’s wife, and her son, as dark secrets begin to unfold about the entire party. It’s hard to put a label onThe Power of the Dog- anyone aware of more than its basic plot knows that Campion has madean extremely subversivefilm that challenges nearly every aspect of the Western genre. Although Greenwood’s score is quite grand, made using a chamber ensemble of piano, winds, brass, and more, it still manages to capture the unnerving, brooding nature of the film. Whereas most Western scores bottle up the epitome of the American spirit, Greenwood’s undermines it with tormented dissonance.The Power of the Dogsaw Greenwood nominated for an Oscar, as well as at the Golden Globes and Critics Choice Awards.
3The Master (2012)
When it comes to the sixth film from household auteur Paul Thomas Anderson, there is never anything easy to say aboutThe Master.It is perhaps one of thedirector’s most controversial films, with a weighty premise that, at the end of the day, might not deliver for everyone. However, what the film might lack in clarity, it completely makes up for in its transfixing pairings of music and visuals, sealing the legendary status of Greenwood-Anderson collaboration. Greenwood has said that the track"Alethia” fromThe Masterhas been his favorite composition for an Anderson feature - and this is afterPhantom Threadwas already in thepicture. Greenwood’s orchestral score for Anderson’s immense effort is wild, strange, and unpredictable. He has made being inside Freddie Quell’s head feel absurdly possible.
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2There Will Be Blood (2007)
It’s hard to pick just one thing that has madeThere Will Be Bloodone of the most iconic films of the 21s century - its score is undoubtedly one of them. In the DanielDay-Lewis-helmed film, we witness the merciless plight of a ruthless oil man whose greed knows no bounds. Some words used to describeThere Will Be Blood, as well as Day-Lewis’s character, over the years include, but are not limited to, “insane,” “menacing,” “monstrous,” etc. These things are all, at least, in part, due to Greenwood - his atonal score creates an unsettling mood for the entirety of the film that is impossible to shake. The film’s opening, which is an immediate harsh blaring of strings, feels like the auditory equivalent of looking directly into the sun. Even when he dials down from eleven throughout the film, Greenwood adds tension to every single scene.
When evaluating music for sheer beauty, it’s hard to go with anything other thanPhantom Threadfor the top of this list. Yet another masterful collaboration between Greenwood and Anderson, Greenwood’s score feels like something that should be put in a museum this time. It is romantic, yearning, complex, and full of nuance and subtlety, just like the film itself. Unlike within Greenwood’s other works, where the music has the power to completely overcome a scene, here it feels softly omnipresent throughout the whole film - it is part of the mood ofPhantom Threaditself. Greenwood’s soundtrack transports us to a dreamlike state, where anything is bound to happen. The composer rightly saw his first Oscar nod for this magnificent triumph.
