Some of the dependable items of Disney+‘s still-evolving model has been adulatory celebrity-driven commercials masquerading as “documentaries” whereas providing cheery and worshipful portraits of figures like Jim Henson, Mickey Mouse and the collective Imagineering occupation.

Laurent Bouzereau’s 105-minute Music by John Williams, premiering at AFI Fest forward of its Nov. 1 Disney+ debut, is probably the most creatively profitable of this style. Particularly within the first hour, it’s a richly satisfying tribute to an unimpeachable cinematic legend who, one may simply argue, has change into much more beloved than the long-lasting administrators he collaborated with or the film stars whose legends his themes and cues helped burnish.

There’s little doubt that evoking the title “John Williams” produces a Pavlovian response extra immediately visceral than the response to “Steven Spielberg” or “Tom Hanks.” And extra diverse as nicely! Bouzereau is ready to make the most of that psychological burrowing, understanding that any room of a dozen viewers may make a dozen completely different prompt associations with any point out of Williams’ title — from ideas of Superman or E.T. withdrawing to the subaquatic rumble of a shark’s strategy to the orchestral Yahrzeit candle of Itzhak Perlman’s plaintive violin solos to the surprise induced by a primary encounter with a resurrected dinosaur or an alien spacecraft.

With out all the time digging fairly as deeply as nerdier movie followers would possibly like, Music by John Williams honors the breadth of Williams’ influence and legacy, pushing each emotional button for an expertise that can produce tears, edification and a compulsive want to right away search out 25 completely different Williams-scored options. A lot of which, not coincidentally, occur to be accessible on Disney+.

Bouzereau, whose introspective Hollywood on Hollywood documentaries have included substantive movies just like the Emmy-winning 5 Got here Again and glorified promos like Disney+’s Timeless Heroes: Indiana Jones & Harrison Ford, is ready to leverage his exhaustive resumé for impeccable entry right here. Would Steven Spielberg be this totally comfy hanging out with a director who hadn’t made an uncountable variety of behind-the-scenes options with him over time? Not possible to know for certain, however the very best elements right here present Williams and Spielberg actually simply standing round chatting about their collaborations.

These sequences, in addition to footage from an apparently exhaustive filmed retrospective panel with Spielberg and Williams, make a persuasive argument that this might have been an excellent easier film than Bouzereau’s already easy strategy has product of it. Put Spielberg and Williams or Lucas and Williams in a room collectively, give them a snippet of music to debate, take two steps again and let the magic circulate. To Bouzereau’s credit score, that’s a number of what he does.

Along with Spielberg and Lucas, Bouzereau has assembled an intimidating roster of Williams’ filmmaking collaborators, together with J.J. Abrams, Chris Columbus, Ron Howard, Kathleen Kennedy and Frank Marshall, whose relationship with the maestro goes again to his personal childhood. The lineup of fellow composers and musicians is at the least equally spectacular, from colleagues like Alan Silvestri and Thomas Newman to a number of the most recognizable classical performers — Perlman, Yo-Yo Ma, Emanuel Ax, Anna-Sophie Mutter — and even Chris Martin of Coldplay and Branford Marsalis, whose giddy appreciation for the jazz bona fides of the Star Wars cantina band is contagious.

Music by John Williams‘ first hour, its only, is chronological. Making savvy use of Williams’ nostalgia-saturated rating from The Fabelmans, Spielberg’s most autobiographical function, Bouzereau traces a course by means of Williams’ music-driven childhood to his Hollywood introduction as a jazz pianist, session musician, orchestrator after which composer. None of it’s precisely revelatory, nevertheless it’s all the time useful to notice that Williams has had a journey that began with Gilligan’s Island and someway stretched all the best way to Schindler’s Checklist.

The memory-driven reflections on Williams’ first collaborations with Spielberg, which introduced him to work with Lucas, and the magical yr wherein Williams composed scores for Star Wars, Shut Encounters and Black Sunday are methodical. However owing to the heat of the storytelling and, in fact, numerous musical snippets, they by no means really feel dry.

Generally, the documentary even feels rigorous. Due to his ample entry to Spielberg’s dwelling films, Bouzereau is ready to give us behind-the-scenes treats like footage from numerous scoring classes, in addition to a number of valuable outtakes like music-free clips from Jaws and unused items from Star Wars. However I want there have been extra moments just like the one the place Williams blends musical idea and rhetoric to elucidate why the five-note central theme of Shut Encounters is simpler than the pages of extra five-note mixtures he experimented with.

There may stand to be extra precise dialogue of course of from Williams, and extra effort from the assembled musicians to nerd out about what makes Williams particular. As an alternative, we get David Newman giving a rudimentary definition of “leitmotif” and seeming nearly embarrassed at how fancy he’s getting. However there’s solely a lot that may be lined in a feature-length documentary.

It’s nearly inevitable that some items of Williams’ physique of labor will both be utterly ignored — depend The Fury and 1941 amongst my favourite Williams scores that don’t warrant a point out — or given quick shrift. I spent the latest Paris Olympiad pondering, not for the primary time, about how Williams’ Olympics fanfare is certainly one of his most important compositions. Right here, nevertheless, it’s introduced as first amongst equals in a “Listed here are a bunch of different issues Williams wrote for” phase.

A number of effort is put into making a long-since-settled argument about Williams’ important place as a cross-discipline titan of orchestral music in America, when it’s been perhaps 30 years since even the most important snob would have contended that John Williams was something aside from a boon to this nation’s classical music panorama. Williams’ personal classical work is absolutely acknowledged, although I’d have beloved extra commentary from artists like Perlman and Ma on the completely different variations of him that they’ve labored with over time, or from Marsalis on the proof of Williams’ earliest jazz work on subsequent scores like Catch Me If You Can. If the primary hour is extra point-by-point evaluation, the final 45 minutes are extra nebulous celebration, and I’ll state a choice for the previous.

With the movie’s focus on Williams the artist — at 92, he’s nonetheless composing and conducting at a tempo that defies cause — Williams the person is a little bit of an afterthought. There are a number of unhappy anecdotes concerning the loss of life of his first spouse and a few humorous notes on the significance golf to his present relationship along with his daughter, however Bouzereau and Williams determine that’s not what you’re anticipating.

You’ll come away from Music by John Williams feeling that Williams had been correctly celebrated — and that, if there’s any extra celebration required, it may be achieved by streaming Jaws, Lincoln, Saving Personal Ryan and Sugarland Categorical in a single wonderful and melodic night.