Emma, a 1996 film based on Jane Austen’s well-loved novel, centers on the darling title character, Miss Emma Woodhouse, and her mischievous matchmaking attempts. The film’s score, composed by Rachel Portman, empathizes with Emma by musically expressing the emotions of her caring heart and playful spirit. A sweet leitmotif for Emma, often played on clarinet and accompanied by an orchestra of strings, is reminiscent of her kind nature and good intentions, even as she meddles with the love lives of those around her. This cheery melody, heard in the video above, appears first in the title sequence and reoccurs in various moments throughout the film. The variations on this theme and the other music present in Emma reflect the plot’s constant fluctuation between romance and comedy.
The romantic side of Emma’s life and personality shines through when the brass-less orchestra produces lyrical melodies and delicate accompaniment. The legato playing of woodwinds and the crooning of stringed instruments displays the goodness of Emma’s thoughts and works. This musical style sings when Emma’s heart bursts with excitement, saddens with shame, and radiates with love. When the matchmaker believes her meddling has led to success and happiness, the flowing, joyous music describes her satisfaction. An orchestration similar in style but different in tone plays after Mr. Knightley proclaims his frustration and disappointment with Emma for her mean comment to Ms. Bates. In this moment, Emma’s remorse is heard in the gentle, somber melody of the strings. Beyond this point in the film, the music continually gains romanticism as Mr. Knightley and Emma’s love for each other grows. The orchestra plays sweetly, tenderly, and with caution until it crescendos into a stunning climax once Mr. Knightly asks, “Marry me?” This romantic music soars through the film’s conclusion as each character finds the love he/she deserves.
Emma’s humorous personality inspires bouncy, staccato orchestration. This music’s lightheartedly stealthy manner provokes an understanding within viewers of the mischievous game Emma so adores to play. It makes appearances in the score whenever Emma is up to her manipulative (though never cruel) antics, especially as she encourages Harriet to love Mr. Elton rather than Mr. Martin. This style of music also plays spiritedly in moments that display Emma’s hilarious distaste of certain fellow socialites, Jane Fairfax and Mrs. Elton. The lively, comedic music follows Emma’s playful gossip and excessive interest in the love affairs surrounding her.
Throughout Emma, Rachel Portman’s musical score consistently conveys the irresistible charm of Miss Emma Woodhouse’s personality, the sweetness of her heart, and the goodness of her intentions, despite the trouble she inevitably instigates.
emilymaeosborne 
Emoly, I like how you noticed that the score was brass-less. It is a simple observation but a very important one. It was something I noticed while watching the film and thought it was an interesting choice. It definitely added to the lightheartedness that is this film but even in the tense moments, Portman did not incorporate low brass that many of the other scores we analyzed did. Good job!!
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Emily, I liked how you focused on how the score focused on how the score followed Emma’s personality, I also noticed that! I think it adds a lot to the film and as you said, when the music is bouncy with staccato orchestration it hints to the audience that Emma is up to her mischievous matchmaking game. I think this makes the film more enjoyable and hints to the audience of what is to come. Great job!!
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Very well-said, Emily. I think the understated and somewhat mischievous music is a great accompaniment to the characters and action on-screen. She makes it seem effortless, but there’s a lot of craft involved. For your final post on Mr Fox, keep going in this direction–attention to detail, colorfully described
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