The most recognizable piece of music in this film is heard during the opening credits, playing what has become the American carnival theme. As with the rest of the music in this film, the carnival music reflects the supposed mood of the boisterous scene which is sometimes contradicted by the actions of the characters. For instance the pre-existing ragtime music created by Scott Joplin does not totally fit with the start of movie which is apparently fun but also has angry looking thugs and con-artists. This opening was replayed over and over again throughout the movie, being predominantly light and happy.
During the film, some of the scenes definitely seemed shortened. For example, after Robert Redford cons the man trying to rob him and his friend, the music seems to be shortened when they are running away through one of the back alleys. Music in this film also seems to fade out during points when the scenes change. However, there are plenty of scenes where the music is not shortened for the scene and instead the theme carries over into the next scene. Generally, the pre-existing music works well with the movie. While sometimes shortened, the music still makes enough of an impact to convey the mood of the scene and because it is instrumental, it is much less noticeable when the tune is cut off.
Wednesday, February 25, 2009
Tuesday, February 17, 2009
To Kill a Mockingbird
The musical themes in To Kill a Mockingbird are spare and simple. Underscoring is only heard during transitions, leading up to moments of danger and behind Scout's narrations. Since To Kill a Mockingbird is a traditional courtroom drama, there is no music played when while the characters are in the courtroom. The text notes that a majority of the music contains an upbeat, childish melody because the film is scene through the eyes of the children. This style of music adds innocence to the film, as these kids are exposed to social issues such as race and prejudice. The music is fairly minimal and generally lacks intense emotion. For the most part, the music is not completely classical or the style of Bernard Hermann in Psycho. Instead it is more of a mix of the two.
Tuesday, February 10, 2009
Psycho
Without a doubt, Alfred Hichcock's Psycho is a classic, iconic film that has had far-reaching influence on other films that followed. Today, the famous string-crescendo during the shower scene has been repeated and imitated into a cliche, but that does not lessen it's impact in the film itself.
Compared to the other films we have viewed during this course, I found the most striking thing about Psycho was the emphasis on suspense. In Double Indemnity, the scene leading up to the murder of Mr. Dietrichson had music that was full of brass and slowly swelled until it reached it's peak during the killing itself. Later, when Walter Neff is shot by Phyllis and then kills her with the same gun, the music is at first silent and then there is a soft love theme playing in the background which is cut off when Walter kills Phyllis.
Psycho is distinctly different in this respect. For instance, when Marion Crane is taking her shower, unaware that she is about to be butchered, there is no underscoring and all we hear are the diagetic sound of her taking a shower. The falling water, the sound of soap wrapper, the shower curtain scaping on the pole all combine to put the audience directly in the scene with no distractions except what we see. As viewers we expect there to be some kind of musical cue warning us that something is about happen, like when the door opens in the background. Normally, this would trigger some kind of low string accompaniment, possible with drums. Instead, there is nothing but silence until Norman Bates pulls back the shower curtain to attack Marion. This has the effect of putting the audience in great suspense as to what is going to happen. We see this again when Bates murders Arbogast on the stairs. While Arbogast is sneaking around the house, the audience knows something is going to happen, but we have no indication as to when the attack will occur. There is no rising underscore, no ominous strings to serve as a cue. In this way, Psycho is very different from the other niors that remain dark and brooding throughout.
Compared to the other films we have viewed during this course, I found the most striking thing about Psycho was the emphasis on suspense. In Double Indemnity, the scene leading up to the murder of Mr. Dietrichson had music that was full of brass and slowly swelled until it reached it's peak during the killing itself. Later, when Walter Neff is shot by Phyllis and then kills her with the same gun, the music is at first silent and then there is a soft love theme playing in the background which is cut off when Walter kills Phyllis.
Psycho is distinctly different in this respect. For instance, when Marion Crane is taking her shower, unaware that she is about to be butchered, there is no underscoring and all we hear are the diagetic sound of her taking a shower. The falling water, the sound of soap wrapper, the shower curtain scaping on the pole all combine to put the audience directly in the scene with no distractions except what we see. As viewers we expect there to be some kind of musical cue warning us that something is about happen, like when the door opens in the background. Normally, this would trigger some kind of low string accompaniment, possible with drums. Instead, there is nothing but silence until Norman Bates pulls back the shower curtain to attack Marion. This has the effect of putting the audience in great suspense as to what is going to happen. We see this again when Bates murders Arbogast on the stairs. While Arbogast is sneaking around the house, the audience knows something is going to happen, but we have no indication as to when the attack will occur. There is no rising underscore, no ominous strings to serve as a cue. In this way, Psycho is very different from the other niors that remain dark and brooding throughout.
Tuesday, February 3, 2009
Double Indemnity
Like most film noirs, especially for this era, Double Indemnity is dark, stark and very light on cheerful tunes. The only time we hear something resembling a light tune, Walter Neff has not yet met Phyllis Dietrichson. This single scene is in vast contrast to the scene that can just before, as Walter slowly makes his way into the office. In this scene, the background violins paced quickly, backed by the slow, ominous march of the heavy drum.
Even when Walter sits at the desk, the fast violins does not slow but rather go quiet, keeping the sense of urgency and dissonence. The only other time the music is somewhat soft is both when he visits Phyllis for the last time. Even when Walter and Lola go into the woods on what should be a pleasent evening and the violins are slow and lilting to start, the tune still manages to sounds foreboding and dark, just as Walter is unable to shake the feelings he has about the murder of Mr. Dietrichson and his contemplation of murdering Phyllis. The violins quickly build into a cresendo in a move completely against the apparently peaceful scene on the screen. The tension is palpable, only to the audience who share Walter's secret and his constant anxiety of discovery.
As far as I can remember, the only instant of diagetic is when Walter goes to Phyllis's house to murder her. The music from up the street is soft, tender and sounds almost like a love song. This is especially fitting as Phyllis and Walter have reached the height of their hatred for each other, and the song is coming from far away up the street, almost from another world. It seems to be indicating what could have been between Phyllis and Walter.
Even when Walter sits at the desk, the fast violins does not slow but rather go quiet, keeping the sense of urgency and dissonence. The only other time the music is somewhat soft is both when he visits Phyllis for the last time. Even when Walter and Lola go into the woods on what should be a pleasent evening and the violins are slow and lilting to start, the tune still manages to sounds foreboding and dark, just as Walter is unable to shake the feelings he has about the murder of Mr. Dietrichson and his contemplation of murdering Phyllis. The violins quickly build into a cresendo in a move completely against the apparently peaceful scene on the screen. The tension is palpable, only to the audience who share Walter's secret and his constant anxiety of discovery.
As far as I can remember, the only instant of diagetic is when Walter goes to Phyllis's house to murder her. The music from up the street is soft, tender and sounds almost like a love song. This is especially fitting as Phyllis and Walter have reached the height of their hatred for each other, and the song is coming from far away up the street, almost from another world. It seems to be indicating what could have been between Phyllis and Walter.
Subscribe to:
Comments (Atom)
