Some elements of Lost will always be controversial, even among the most die-hard fans. We’ll spend an eternity quibbling over which season was the best, which character’s death was the most emotionally traumatizing, and who had the wackiest flashback plotline. (IMHO: Season four, Mr. Eko, and Richard “The Count of Monte Cristo” Alpert.) But there’s one thing we can all agree on: the musical score by Michael Giacchino has never been less than incredible. Giacchino deserves his own private island as reward for services rendered to humanity, but this is a good start: Variety reports that, on May 13, the composer will be holding a Lost concert at UCLA.
During Lost‘s run, Giacchino’s gone from being “that guy who scored Alias and Medal of Honor” to Pixar’s go-to composer — he even won the Oscar for Up. Has anyone ever deserved success more? Giacchino’s eclectic sonic stylings gave Lost a truly distinctive vibe, as surely as John Williams gave the Star Wars movies an injection of mythic grandeur.
I think it’s fair to say that Giacchino’s music has even carried the show over some rough patches. Remember the infamous Hydra subplot in season 3? While the show’s creators were wrestling with how to move the plot forward, Giacchino’s music was swelling with new and wonderfully bizarre twists. (I especially loved the jazzy horn section that came to define the Others, with its slight nod toward Jerry Goldsmith’s Planet of the Apes score.)
Giacchino’s done a beautiful job of incorporating running themes and tweaking them over the years. Consider “Credit Where Credit is Due”, which played over the pilot episode’s credits sequence, and plays throughout the series during emotional moments. You can hear twisted echoes of it in “Jack’s Swan Song,” a mournfully weird track that played during the apocalyptic season 5 finale. (If those two tracks were movies, they’d be The Godfather and The Godfather: Part II.)
My helplessly geeky question to you is: which recurring Lost theme is your favorite? My first instinct is to nominate “Hollywood and Vines” (a.k.a., “The Adventure Song”), which I invariably find myself humming at random intervals during the day. However, as was proven yet again by the Desmond-centric episode last month, the Desmond-and-Penny love theme (best used in “The Constant”) is brings me to tears every time I hear it.
Which Lost themes do you like, PopWatchers? And don’t you wish more TV shows had their own distinctive musical scores? Wouldn’t NCIS: L.A. go down a whole lot easier with some trombones mixed in?