The music in this film is quite varied and ranges from traditional modern scoring to the music reminiscent of the Middle East. At the opening of the film as well as in subsequent scenes in Afghanistan, the music sounds exotic with percussion and what sounds like chimes or bells. This music serves to portray time and place and also gives the viewer a sense of adventure in the foreign land. The music during the kite tournament is not completely like this exotic music in that it is mostly strings and gives the modern sound of anticipation and hope. In the background though, some exotic elements still remain.
Once the film changes back to scenes in America, the music becomes altogether more traditional and usual underscoring from this period. This in a way also sets time and place in contrast to the music of the Middle East.
Diagetic music can be found both at Amir's birthday party and at the wedding. This music is what would be appropriate for their culture at this time period, so this underscoring gives a sense of legitimacy to the film.
Wall to wall music is not found in this film, yet a wide ride of music is used. Near the beginning humming/singing is used and a while later when Amir returns to Afghanistan an actual song with words is used as underscoring rather than diagetic music. This is an element of the score which has not occur ed very often. But the song's lyrics described the scene perfectly and added to the emotional heightening of the scene. Overall the music was good, not too much to distract from the film but just enough to give it the realistic, cinematic quality.
Wednesday, April 22, 2009
Tuesday, March 31, 2009
Big Fish
Nothing makes the story book, fairy tale quality of Big Fish come alive like the music. Although there is a relatively large amount of music used throughout the film, most of the music is used during the story telling scenes, denoting the magical feeling that the stories convey. The music always starts at the present scenes and then continues as the story begins. The music usually lasts throughout most of the story too, with few exceptions.
Most of the music is not triumphant of full orchestral, but mostly just soft and slow piano along with a few string instruments. Percussion and brass are also employed, but only for certain scenes that require these sounds. Many of the same melodies are played, keeping the underscoring simple and repetitive, but effective.
The interesting thing about the music in the film is the underscoring that comes in the form of popular music. This music helps the audience be aware of time and place. At the beginning when the Father is being born, music of the age, probably the 30s or 40s plays as underscoring, not diegetic as many may expect. Then when he goes off to war, Elvis plays in the army place, letting the audience know that this is the Korean war of the 50s. Similarly, after he returns and is looking for a job popular music of the 70s play. This underscoring of popular music allows the audience to go through the periods of his life with him.
A last notable component of the music in this film is its uplifting quality. Only during certain dramatic scenes does the music turn dark and low. For the most part, it has a hopeful, cheery quality to it. This music seems to be playing off of the plot: although the film is about a man dying, the music reminds that it is in fact a happy story and that through his stories, the father will live forever.
Most of the music is not triumphant of full orchestral, but mostly just soft and slow piano along with a few string instruments. Percussion and brass are also employed, but only for certain scenes that require these sounds. Many of the same melodies are played, keeping the underscoring simple and repetitive, but effective.
The interesting thing about the music in the film is the underscoring that comes in the form of popular music. This music helps the audience be aware of time and place. At the beginning when the Father is being born, music of the age, probably the 30s or 40s plays as underscoring, not diegetic as many may expect. Then when he goes off to war, Elvis plays in the army place, letting the audience know that this is the Korean war of the 50s. Similarly, after he returns and is looking for a job popular music of the 70s play. This underscoring of popular music allows the audience to go through the periods of his life with him.
A last notable component of the music in this film is its uplifting quality. Only during certain dramatic scenes does the music turn dark and low. For the most part, it has a hopeful, cheery quality to it. This music seems to be playing off of the plot: although the film is about a man dying, the music reminds that it is in fact a happy story and that through his stories, the father will live forever.
Wednesday, March 25, 2009
Titanic
Like most box office hits, Titanic relies heavily on the use of music to create a powerful cinematic experience, one that will attract audiences and awards alike. More than anything else, Horner relies on themes and leitmotifs in his composer of the score. Of course the Titanic ship itself has a very dramatic leitmotif, as this is the object that the whole film is centered around. The theme is triumphant with a full orchestral sound. Ironically, this theme is not heard again after the ship hits the iceberg, a comment on its loss of magnificence.
There is also a leitmotif for the love that Rose shares with Jack. This theme is loving, soft, yet full of emotion and volume. The motif reaches its height when Jack and Rose stand together at the bow of the ship and kiss for the first time. Everyone can remember the whistling sound that ends this leitmotif and the realities of the plot encompass the lovers secret world.
Diagetic music is used, mostly notably when Jack and Rose dance together in the bottom of the ship with the poor and common people. The music playing is that of an Irish jig and everyone is dancing and having a good time. The music serves as a contrast between the fun and joy that poor people have without the frivolities of life while the aristocrats upstairs live stiffly and unhappily, though they are quite wealthy.
Titanic, like more recent films, employs a theme song, sung by Celine Dion: My heart will go on. This theme song adds the timeless and memorable quality to the film, draws in viewers and keeps them coming back. The song fits the plot perfectly, probably why it became so popular. The music in Titanic is what makes a real life story a cinematic fairytale.
There is also a leitmotif for the love that Rose shares with Jack. This theme is loving, soft, yet full of emotion and volume. The motif reaches its height when Jack and Rose stand together at the bow of the ship and kiss for the first time. Everyone can remember the whistling sound that ends this leitmotif and the realities of the plot encompass the lovers secret world.
Diagetic music is used, mostly notably when Jack and Rose dance together in the bottom of the ship with the poor and common people. The music playing is that of an Irish jig and everyone is dancing and having a good time. The music serves as a contrast between the fun and joy that poor people have without the frivolities of life while the aristocrats upstairs live stiffly and unhappily, though they are quite wealthy.
Titanic, like more recent films, employs a theme song, sung by Celine Dion: My heart will go on. This theme song adds the timeless and memorable quality to the film, draws in viewers and keeps them coming back. The song fits the plot perfectly, probably why it became so popular. The music in Titanic is what makes a real life story a cinematic fairytale.
Tuesday, March 10, 2009
The Color Purple
The music used in the film The Color Purple changes and grows just as the plot and characters do. It is also used a tool to mirror or highlight the action in the movie. At the beginning there is a lot of music, although it is not wall to wall. Ironically, however, the music stays along the course of string and orchestral sound that is upbeat, lively, and surprisingly hopeful considering the harsh and violent scenes that accompany them. Even when the sister is being torn from the home, the music is only somber for a little but and ends on a high, uplifting note. The music stays calm and low, not becoming too dramatic or intense.
There was also so playful uses of the instruments in the film. Some illustrating was used throughout, perhaps to show that Celie wasn't always down-trodden despite her situation. When Sophie and Celie are gardening, the music mirrors their actions. Likewise, when Shug is arriving again Celie rushing upstairs around the room and the music emulates her actions.
Leitmotifs are somewhat used, at least in the case of Shug. Whenever she is in a scene, brass instruments and jazz like sounds follow. When she is singing at the club she sings jazz as well, mirroring her loose and wild lifestyle.
The music ranges to not only string, orchestral underscoring but also covers other areas as well. Diagetic music is used during all the church scenes and when Shug is taking a bath and singing. the composer makes an interesting move by having diagetic Christmas music play at the store when Sophie is there with her boss. This music continues as underscoring as they get in the car. Only because of this music does the audience question the time of year or realize why she would be so happy to go home and see her kids. Similarly, African music and tribal music is played when Celie is reading the letters from her sister. This realm of the plot is tied together with Celie's point of view most notably when she is about to shave her husband's face and the sound of the razor on the belt mirrors the sound of the African instruments.
Overall, the music in this movie was very diverse and eclectic but served its role very well. it aided in the many dimensions of the movie and helped with the progression of the plot as well as the personal progression of the characters.
There was also so playful uses of the instruments in the film. Some illustrating was used throughout, perhaps to show that Celie wasn't always down-trodden despite her situation. When Sophie and Celie are gardening, the music mirrors their actions. Likewise, when Shug is arriving again Celie rushing upstairs around the room and the music emulates her actions.
Leitmotifs are somewhat used, at least in the case of Shug. Whenever she is in a scene, brass instruments and jazz like sounds follow. When she is singing at the club she sings jazz as well, mirroring her loose and wild lifestyle.
The music ranges to not only string, orchestral underscoring but also covers other areas as well. Diagetic music is used during all the church scenes and when Shug is taking a bath and singing. the composer makes an interesting move by having diagetic Christmas music play at the store when Sophie is there with her boss. This music continues as underscoring as they get in the car. Only because of this music does the audience question the time of year or realize why she would be so happy to go home and see her kids. Similarly, African music and tribal music is played when Celie is reading the letters from her sister. This realm of the plot is tied together with Celie's point of view most notably when she is about to shave her husband's face and the sound of the razor on the belt mirrors the sound of the African instruments.
Overall, the music in this movie was very diverse and eclectic but served its role very well. it aided in the many dimensions of the movie and helped with the progression of the plot as well as the personal progression of the characters.
Wednesday, March 4, 2009
E.T.
Although the music in E.T. relies heavily on strings instruments and an orchestral sound, it is not like the classic Hollywood music because it is not a full orchestra nor is it wall to wall music. The film score is more like that compositions of Hermann. Hermann also extensively used strings but in a minimalistic way, just as in E.T. Hermann used strings in a new and innovative way for his time. In the same way, the music in E.T. treats the strings in such a way that eerie and frightening sounds are produced, not like the usual sound that is expected from string instruments.
The score in the film is manipulated in such a way that it mirrors the feelings of the characters and the action going on. For example, at the beginning of the film when Eliot first discovers E.T. the music is foreboding and intense, just like the way that the character must be feeling at finding an alien near his home. By the end of the film, Eliot manages to capture E.T. back and bring him to his spaceship. He is hopeful and glad and the music that accompanies this scene exerts the same feeling. It treats the strings in the traditional way and conveys an upbeat, triumphant sound.
The music in E.T. is not ground breaking or from a new era, yet it fits the film and gives it the feeling and emotion it needs. And the music in turn gives the audience this feeling.
The score in the film is manipulated in such a way that it mirrors the feelings of the characters and the action going on. For example, at the beginning of the film when Eliot first discovers E.T. the music is foreboding and intense, just like the way that the character must be feeling at finding an alien near his home. By the end of the film, Eliot manages to capture E.T. back and bring him to his spaceship. He is hopeful and glad and the music that accompanies this scene exerts the same feeling. It treats the strings in the traditional way and conveys an upbeat, triumphant sound.
The music in E.T. is not ground breaking or from a new era, yet it fits the film and gives it the feeling and emotion it needs. And the music in turn gives the audience this feeling.
Wednesday, February 25, 2009
The Sting
The music in "The Sting" does not use orchestral, classic scoring but rather moves ahead and employs already existing music, that of Scott Joplin. While the music is from a different time period than the movie is set in, it still works for the film and its playful, upbeat nature mirrors the entertaining and unpredictable plot.
Although there is not much music in this movie, it is used to entertain at the appropriate moments. While the plot of the movie is about con artist and deceit, it is still playful and funny. The music adds to this quality. For instance, when the transitions come on screen ("the hook", "the wire", "the set-up") the music plays varying Joplin piano melodies. The opening and closing credits both offer "the entertainer" as the underscoring. This music gives the audience something different than just the usual strings and brass. Diagetic music is present in the film, but not prominently so. When the woman is performing on stage, diagetic music plays but there are not other significant examples. The music is mostly underscoring.
The music does seem to fade out when the scene is about to start or when the transition screens change but nothing too noticeable. The music is definitely shortened or at least sparse pieces are chosen for the scenes. Certainly, whole songs are not used nor it is realistic to think they could be. But the parts that are used and heard are fitting and give the movie an entertaining quality.
Although there is not much music in this movie, it is used to entertain at the appropriate moments. While the plot of the movie is about con artist and deceit, it is still playful and funny. The music adds to this quality. For instance, when the transitions come on screen ("the hook", "the wire", "the set-up") the music plays varying Joplin piano melodies. The opening and closing credits both offer "the entertainer" as the underscoring. This music gives the audience something different than just the usual strings and brass. Diagetic music is present in the film, but not prominently so. When the woman is performing on stage, diagetic music plays but there are not other significant examples. The music is mostly underscoring.
The music does seem to fade out when the scene is about to start or when the transition screens change but nothing too noticeable. The music is definitely shortened or at least sparse pieces are chosen for the scenes. Certainly, whole songs are not used nor it is realistic to think they could be. But the parts that are used and heard are fitting and give the movie an entertaining quality.
Wednesday, February 18, 2009
To Kill a Mockingbird
The music in the film To Kill a Mockingbird has an odd quality; it is in the same style that Herrmann uses, yet the introduction of different instruments off sets it just enough to make it different. The same basic elements are there: repeated and creative use of strings to create the mood. For example at the beginning of the film the opening music is mostly strings, treated lightly and playfully to give a cheery musical back drop, reminiscent of the sounds that birds make. Similarly, when the camera first shows Boo Radley's house, the music turns and the strings are treated harshly much like in Psycho, giving a suspenseful, fearful tone.
Much like with Herrmann, there are many parts of the film where notes are repeated, with few variances. The music does not change during the scene but keeps its same rhythm and tone to keep the audience in the same emotional state for as long as the scene lasts. When the kids sneak over to see Boo Radley's house, and one is peeking in the window, the music does not change but instead starts and stops and then repeats until they run away in fear.
But the music does turn away from this style in the frequent use of the piano. In past movies and film genres the piano does not play as large as a role as it does in this film. Woodwinds are also evident and even a xylophone can be identified, so prominent is its sound. illustration is present in the music as when the children are sneaking onto Radley's property: the music emulates the movements that the children make. While these elements may not be totally new and innovative, the way they are employed strays away from what Herrmann was doing.
During this time period, many filmmakers were stressing minimalism in the musical score, playing barely any music and mostly diagetic at that. This film, however, does not seem to be following this trend. There is not wall to wall music by any means, but music is often employed, especially during scenes of suspense. Of course no music occurs in the courtroom, but the score is still and essential part of the film.
Much like with Herrmann, there are many parts of the film where notes are repeated, with few variances. The music does not change during the scene but keeps its same rhythm and tone to keep the audience in the same emotional state for as long as the scene lasts. When the kids sneak over to see Boo Radley's house, and one is peeking in the window, the music does not change but instead starts and stops and then repeats until they run away in fear.
But the music does turn away from this style in the frequent use of the piano. In past movies and film genres the piano does not play as large as a role as it does in this film. Woodwinds are also evident and even a xylophone can be identified, so prominent is its sound. illustration is present in the music as when the children are sneaking onto Radley's property: the music emulates the movements that the children make. While these elements may not be totally new and innovative, the way they are employed strays away from what Herrmann was doing.
During this time period, many filmmakers were stressing minimalism in the musical score, playing barely any music and mostly diagetic at that. This film, however, does not seem to be following this trend. There is not wall to wall music by any means, but music is often employed, especially during scenes of suspense. Of course no music occurs in the courtroom, but the score is still and essential part of the film.
Wednesday, February 11, 2009
Psycho
Psycho is a film which finds itself at the cusp of the new American cinema: that which detaches itself from the established classic Hollywood films as well as film noir. Although the music in the film is similar to preceding genres in that it heavily uses a string orchestra with elements of woodwinds and percussion thrown in, it differs greatly because of how the instruments are used. Herrmann treats the strings harshly and violently creating a whole new sound altogether, one that portrays fear, intensity, and anticipation. The chords are dissonant and clashing, enhancing this feeling in the audience.
The heavy use of the harsh sounding strings was ground breaking at the time Psycho was made; however, this element of the score has become somewhat of a clichetoday. For instance, the whole time Marion is trying to leave with the money, driving in her car, high pitched, harsh strings are repeated. This music is meant to instill her fear and anticipation of being caught in the viewer, but its overuse and obvious nature has become cliche to current audiences. Also, the murder music employed whenever Norman kills someone is a tell tale sign of what is going to happen next. Audiences today have just become numb to the themes which are attached to these sounds.
Overall, the music used in Psycho was new and innovative for its time. If it weren't for the unique use of string instruments and the odd, eerie sound they created, this film may not have been as popular as it was. The piercing murder leitmotif used during the famous shower scene most certainly was the defining characteristic which made this part so terrifying and the fear of the murderer most real. Not only was the music essential for this film, it laid the ground work for the future of horror movies' film scores.
The heavy use of the harsh sounding strings was ground breaking at the time Psycho was made; however, this element of the score has become somewhat of a clichetoday. For instance, the whole time Marion is trying to leave with the money, driving in her car, high pitched, harsh strings are repeated. This music is meant to instill her fear and anticipation of being caught in the viewer, but its overuse and obvious nature has become cliche to current audiences. Also, the murder music employed whenever Norman kills someone is a tell tale sign of what is going to happen next. Audiences today have just become numb to the themes which are attached to these sounds.
Overall, the music used in Psycho was new and innovative for its time. If it weren't for the unique use of string instruments and the odd, eerie sound they created, this film may not have been as popular as it was. The piercing murder leitmotif used during the famous shower scene most certainly was the defining characteristic which made this part so terrifying and the fear of the murderer most real. Not only was the music essential for this film, it laid the ground work for the future of horror movies' film scores.
Wednesday, February 4, 2009
Double Indemnity
The film Double Indemnity opens with a somewhat typical string, orchestral sound which is present as underscoring during the opening and first few minutes of the movie. This music is somewhat reminiscent of the classic Hollywood sound but not as dramatic or over the top. The majority of the music in the film is underscoring with the only diagetic music occurring at the very end when Walter questions Phyllis about the music that is playing.
The music used in this film is somewhat cliche in that soft, romantic music with a feminine, string sound is used when Walter and Phyllis interact or when a romantic scene is being played out. On the other hand, when a scene of intensity or drama is presented, the music becomes low pitched, fast paced, with a heightened volume. This is mirrored by the cliched nature of the movie and plot in general.
Double Indemnity displays the characteristics of a film noir in that it displays a dark, suspenseful tone and the music mirrors this. While some soft music is played during the feminine scenes, the majority of the music is dramatic and creepy, signaling the mysterious and dark nature of the film itself.
The music used in this film is somewhat cliche in that soft, romantic music with a feminine, string sound is used when Walter and Phyllis interact or when a romantic scene is being played out. On the other hand, when a scene of intensity or drama is presented, the music becomes low pitched, fast paced, with a heightened volume. This is mirrored by the cliched nature of the movie and plot in general.
Double Indemnity displays the characteristics of a film noir in that it displays a dark, suspenseful tone and the music mirrors this. While some soft music is played during the feminine scenes, the majority of the music is dramatic and creepy, signaling the mysterious and dark nature of the film itself.
Wednesday, January 28, 2009
The Anatomy of a Murder
The anatomy of a murder is a film which brings to the forefront themes which were considered taboo in the 1950s: courtroom drama, murder, rape, and women's sexuality. Jazz during this time period in turn was used to express sexuality, drama, and violence. These two elements of the film then, go hand in hand. The jazz music used in the movie, although not used during the courtroom scenes, is used during points of the film in which sexuality and intensity are desired. For example, jazz music is always playing at the bar in which Barney worked, the place where he plays pinball with Laura, the place where he is killed by Manion. All of these moments of intensity are mirrored by the jazz music playing in the background.
While the jazz music is used as underscoring in the some parts of the movie but overall it is used as diagetic music. For instance, Paul plays the piano at the beginning of the movie, Laura plays jazz records when she visits Paul's home, and jazz music is continually playing at Barney's bar. Underscoring occurs rarely in comparison to the volume of diagetic music used. The use of diagetic music directs the viewer to perceive the plot and the lives of the characters as just as real and dramatic as the jazz music that fills their lives.
Something unique about the music in the film is the way in which it starts at the beginning of a scene but doesn't always end at the appropriate time. The music seems to spill over from scene to scene. For instance, when Paul meets Laura outside of the jail by her car, jazz music is playing as an underscore. When they begin to speak, it is expected that the music would end but it in fact does not. It continues for a few seconds as they converse. Similarly, when Paul enters his house and Laura is playing his records, he addresses her but the music is still playing since he has to physically go turn off the record. In these ways, the music breaks the barrier of simply background music or underscoring but becomes part of the characters' lives.
In effect, the jazz music used in the film is quite important as well as appropriate. It gives the film the intensity and sexuality it needs without being too obvious or cliche.
While the jazz music is used as underscoring in the some parts of the movie but overall it is used as diagetic music. For instance, Paul plays the piano at the beginning of the movie, Laura plays jazz records when she visits Paul's home, and jazz music is continually playing at Barney's bar. Underscoring occurs rarely in comparison to the volume of diagetic music used. The use of diagetic music directs the viewer to perceive the plot and the lives of the characters as just as real and dramatic as the jazz music that fills their lives.
Something unique about the music in the film is the way in which it starts at the beginning of a scene but doesn't always end at the appropriate time. The music seems to spill over from scene to scene. For instance, when Paul meets Laura outside of the jail by her car, jazz music is playing as an underscore. When they begin to speak, it is expected that the music would end but it in fact does not. It continues for a few seconds as they converse. Similarly, when Paul enters his house and Laura is playing his records, he addresses her but the music is still playing since he has to physically go turn off the record. In these ways, the music breaks the barrier of simply background music or underscoring but becomes part of the characters' lives.
In effect, the jazz music used in the film is quite important as well as appropriate. It gives the film the intensity and sexuality it needs without being too obvious or cliche.
Tuesday, January 20, 2009
Robin Hood
What makes The Adventures of Robin Hood a classic Hollywood film score? From start to end there is full orchestral music, giving the movie an over the top, intense musical sound. At the beginning the overture is supplemented with a full orchestra giving the start a triumphant and significant tone. From this point on music plays a huge role in the movie, giving it meaning as well as aiding in the triumphant, loud, bold style and plot of the film.
Aside from underscoring a large portion of the movie, the music is also used in other various ways. In many scenes music is played in sequences: short tunes played over and over in differing pitches. This allows for tension to build, for the viewer to anticipate something and it also gives the filmmaker space to let the plot unfold without losing the attention of the viewer. For example, when Robin Hood escapes the hall of Prince John and his men are chasing him, sequences are used over and over anticipating whether Robin Hood will be found and giving the plot time to unfold.
Illustration is also used frequently in the film. For example, when Robin Hood draws an arrow in the forest the strings in the orchestral music also pulls a long note mirroring the action of the character. Near the end also the music mirrors the sword fight going on playing a score that has similar notes and tempo as the swords themselves.
While there are a few instances of diagetic music, for the majority of the movie music is used exclusively in the underscore. This is what makes the movie a blockbuster, an over the top film that brings all the emotions and cliches of Hollywood and extravagant movie plots. The full orchestra and large, loud sound of the music gives the movie the exact feeling it needs.
Aside from underscoring a large portion of the movie, the music is also used in other various ways. In many scenes music is played in sequences: short tunes played over and over in differing pitches. This allows for tension to build, for the viewer to anticipate something and it also gives the filmmaker space to let the plot unfold without losing the attention of the viewer. For example, when Robin Hood escapes the hall of Prince John and his men are chasing him, sequences are used over and over anticipating whether Robin Hood will be found and giving the plot time to unfold.
Illustration is also used frequently in the film. For example, when Robin Hood draws an arrow in the forest the strings in the orchestral music also pulls a long note mirroring the action of the character. Near the end also the music mirrors the sword fight going on playing a score that has similar notes and tempo as the swords themselves.
While there are a few instances of diagetic music, for the majority of the movie music is used exclusively in the underscore. This is what makes the movie a blockbuster, an over the top film that brings all the emotions and cliches of Hollywood and extravagant movie plots. The full orchestra and large, loud sound of the music gives the movie the exact feeling it needs.
Wednesday, January 14, 2009
Casablanca
Music is an integral element in the movie Casablanca. It is the vehicle for introducing certain tones and dramatic moments as well as flashbacks. The film itself is one of mystery, danger, romance; music only adds to these elements and heightens their intensity. One important aspect of the music is the prevalence of diagetic music, that which both audience and actors can hear.
The most important and frequent of the diagetic music is the song "As Time Goes By," the song which represents Ilsa and Rick's past romance. This song plays many times throughout the movie by Sam the piano player in the diagetic manner. It first makes an appearance when Ilsa comes to Rick's bar and sees her old friend Sam. As he plays it, Ricks himself enters and he and Ilsa lock eyes, allowing the audience to see the connection between the two, the connection that is strengthened by the song that is playing. Later on, Rick asks Sam to play it for him while he is reminiscing about Ilsa and lamenting about seeing her again. Whenever this song plays the audience knows that it represents the lost love of Rick and Ilsa, and brings whatever dramatic moment they are in back to the old days of their love.
Other types of diagetic music also play a significant role. Sam is constantly playing piano throughout the movie, whenever a scene takes place in the bar area. Rick or the police chiefs may be having a serious, dramatic conversation, the camera might pan over the outside with guards and planes, but whenever the scene returns to Rick's cafe the piano keeps playing. This establishes the theme of Rick's cafe overall: that it is an escape from the outside world, an escape from the war and tragedy that is going on outside. As long as the people stay at Rick's, listening to the piano and drinking and laughing, they don't have to deal with the hardships and reality of life. Even after gun shots are fired in the bar, the piano keeps on playing like nothing happened, keeping everyone in the fantasy world of Rick's cafe.
As far as the underscore is concerned, several different tunes are used for plot transitions. Dramatic. high pitched music plays when the planes fly over Casablanca as well as during Rick's flashback to Paris when the occupation is coming in. This kind of underscore is used to signal to the audience the danger and intensity the scene carries with it. Similarly, slow paced, lower pitched music is used to invoke a love scene or a tender moment. Finally at the end of the film, the underscore plays a slow, yet somewhat upbeat tune to announce the end as well as a resolution to the plot.
Overall, music is a very important element in the movie Casablanca. It announces major transitions and signals emotions in the characters and audience. Without the signature song "As Tome Goes By," Rick and Ilsa's love connection and pain of lost love would not have been as deeply felt by both the characters themselves and the audience as well. The piano playing of Sam constantly reminds the audience of the location and plot of the film. And finally, the underscore helps the audience to know when an important or dramatic scene is taking place. Without the music, Casablanca might not have been the outstanding film that it is.
The most important and frequent of the diagetic music is the song "As Time Goes By," the song which represents Ilsa and Rick's past romance. This song plays many times throughout the movie by Sam the piano player in the diagetic manner. It first makes an appearance when Ilsa comes to Rick's bar and sees her old friend Sam. As he plays it, Ricks himself enters and he and Ilsa lock eyes, allowing the audience to see the connection between the two, the connection that is strengthened by the song that is playing. Later on, Rick asks Sam to play it for him while he is reminiscing about Ilsa and lamenting about seeing her again. Whenever this song plays the audience knows that it represents the lost love of Rick and Ilsa, and brings whatever dramatic moment they are in back to the old days of their love.
Other types of diagetic music also play a significant role. Sam is constantly playing piano throughout the movie, whenever a scene takes place in the bar area. Rick or the police chiefs may be having a serious, dramatic conversation, the camera might pan over the outside with guards and planes, but whenever the scene returns to Rick's cafe the piano keeps playing. This establishes the theme of Rick's cafe overall: that it is an escape from the outside world, an escape from the war and tragedy that is going on outside. As long as the people stay at Rick's, listening to the piano and drinking and laughing, they don't have to deal with the hardships and reality of life. Even after gun shots are fired in the bar, the piano keeps on playing like nothing happened, keeping everyone in the fantasy world of Rick's cafe.
As far as the underscore is concerned, several different tunes are used for plot transitions. Dramatic. high pitched music plays when the planes fly over Casablanca as well as during Rick's flashback to Paris when the occupation is coming in. This kind of underscore is used to signal to the audience the danger and intensity the scene carries with it. Similarly, slow paced, lower pitched music is used to invoke a love scene or a tender moment. Finally at the end of the film, the underscore plays a slow, yet somewhat upbeat tune to announce the end as well as a resolution to the plot.
Overall, music is a very important element in the movie Casablanca. It announces major transitions and signals emotions in the characters and audience. Without the signature song "As Tome Goes By," Rick and Ilsa's love connection and pain of lost love would not have been as deeply felt by both the characters themselves and the audience as well. The piano playing of Sam constantly reminds the audience of the location and plot of the film. And finally, the underscore helps the audience to know when an important or dramatic scene is taking place. Without the music, Casablanca might not have been the outstanding film that it is.
Subscribe to:
Posts (Atom)