For nearly three decades of film making John Williams has fashioned a landmark for himself in composing film scores. His use of a symphony and how he contrives to place the viewer in the midst of the film's plot involves amazing talent in communication skills. In other words, when Williams creates the musical score for a film, the viewer feels that he rides with Han Solo aboard the Millennium Falcon. Williams succeeds in enticing the viewer through majestic, musical descriptions of the film's setting. By combining efforts with such directors as Steven Spielberg and others, Williams has brought films to life with three enhancing characteristics: tension, impact, and resolution.

Tension brews in the plot for most of the films Williams composes for. One of Williams' earlier projects Jaws exudes tension. As the swimmer swims at an imaginative beach, the viewer hears the deep violins, symbolizing the shark coming from way off in the distance. Gradually the violins become louder as the shark comes nearer. By this time the swimmer begins to panic, wondering how she will escape certain doom. And suddenly the camera on the beach floor shows the shark, a powerful monster of death that blocks out the sunlight as it passes overhead, symbolized in the music by the plucking of harp strings.

Impact hits the screen in varied shapes through Williams' scores. Star Wars launches with a regal, symphonic blast. Williams commands every flute, trumpet, horn, violin, and timpani to bring the viewer into a galaxy that existed "far, far away." This style represents an ancient way of getting attention: hitting the mule straight between the eyes. However, Williams may use tension like in The Phantom Menace to present a long awaited impact. In one of the scenes of the film, Jedi Knight Qui-Gon experiences his first encounter with Darth Maul. Horns and violins envelope their ensuing lightsaber duel as Williams crafts an excellent score to communicate the atmosphere, converging both horns and violins into a triumphant blast at the conclusion of the scene.

Resolution floods into Williams' scores generally at the end of the film, giving a sense of relief to the viewer. Yet Saving Private Ryan holds an example that diverges from Williams' normal routine. In the scene following the battle of Omaha Beach on D-Day, Williams' music floats through a grave and sober atmosphere to the viewer. Deep tones of violins accompanied by an occasional trumpet and booming of a timpani convey the utmost emotions of grief as the camera pans over the millions of bodies covering the beach. Although the viewer has not learned the main story of the film yet, Williams' music gives a sense of relief to the viewer, almost as if the worst has passed. Similar to resolution but different in form, Williams' musical serenity slides covertly into his themes. Serenity somewhat resembles the calm before the storm. In his introductory Jurassic Park theme Williams first strikes the viewer with the beating of a deep drum accompanied by a flute blowing wildly. Silence follows. Then very quietly, a French horn sounds the first few notes of the film's theme. And gradually the whole symphony joins the melody, rising in a crescendo of magnificent splendor.

To conclude, Williams' scores communicate tension, impact, and resolution themes. Each of Williams' scores possess a different twist. And although they present their own unique aspects, one can always tell what theme songs he has contributed to American film culture. You might refer to it as his own trademark. Or better yet you could call it his own song of tribute.