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.

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.

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.

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.