The Kite Runner

The music within the film "The Kite Runner" is a fusion between East and West and it invokes both the excitement and joy reflected in elements of the story as well as the terrible sadness represented in others.

The opening credit is underscored with lively Middle Eastern music with woodwinds, strings, and percussion. In the beginning scenes in Afghanistan there is a sort of mystic Middle Eastern sounding chant as the camera pans over the landscape. This conveys the beauty of Afghanistan in the 1970s and is in contrast with the desolate wasteland that Amir returns to later in the film. Several elements of classical Hollywood score are also used is this film; for example, when the boys run after the kite in the first scene (the kite scene before Amir wins the tournament) the drum pounds in time with their feet and serves as an example of illustration. During the second tournament illustration is used again as the kite takes off the music goes up in pitch as if it is also "taking off".

Unlike a traditional Hollywood score, the music within "Kite Runner" is not wall to wall. During dialogue there are many moments of silence. One can notice that during the more serious scenes silence is used to convey the heaviness of situations while lively music is used during scenes of excitement or danger.

While most of the music is underscoring, there are also several examples of diegetic music. At young Amir's birthday party the band plays traditional Middle Eastern Music, which is played at older Amir's wedding. When Amir graduates from college, however, the music played at the bar on the jukebox is eighties American pop music. The differences between traditional culture and American culture serves as an interesting contrast in Amir's life, especially when he returns to Afghanistan and the music reflects that.

The end credits of the film are also Middle Eastern sounding as where the beginning credits, but it is a much more soulful representation which illustrates a maturity and wealth of experiences, some happy others sad. Strings allow this soul and depth to come through.

The music within "The Kite Runner" is a good reflection of both the joy and sadness of the film and the conflict between two different cultures.

Big Fish

Danny Elfman's score for "Big Fish" has elements of the classic Hollywood score. The music is primarily underscoring and is wall to wall during the fantasy "flashback scenes" but is not wall to wall during the scenes in real life except when the story is being told. The score differs from the classical Hollywood score in that it is not a full orchestra, only subtle strings and piano. There is a slight fairy tale aspect of the film, and the music reflects that invoking elements of mystery, awe, and wonder.

Music also establishes time and place in scenes where popular music is used it is music of an era to establish that time. For example, the Siamese twins are singing a typical lounge type song that establishes the setting. In addition, in the circus scenes, there is an amount of typical circus music one would expect to hear which establishes the scene.

The coolest element about the music in "Big Fish" is it's ability to connect the reality of life with the mystical story through the music. While the score differs from whimsical to somber, like the story, it is able to tie them together to create a really seamless transition between reality and fantasy.

Titanic

Anyone who was old enough to remember cannot think of "Titanic" without thinking of Celine Dion belting out "My Heart Will Go On" on the radio.   It is a classic example of a song being used to mass market a film and increase it's popularity.  The film's iconic score can also be heard instrumentally at several parts throughout the film.  For example, during the scene where Rose and Jack are at the bow of the boat, "Flying".  Also, the song can be heard instrumentally when an adult Rose drops her necklace in the ocean at the film's climax.

Other than "My Heart Will Go On", music plays a huge role within the film.  The music, beginning with Rose's flashback, is light and characterized by an almost humming sound.  The human sounding whispers convey that Rose's memory is akin to a whisper from the past.  The music becomes more vivid and intense at times when strong emotion is conveyed; for example, excitement when Jack watches the Dolphins jump alongside the ship, or fear when Rose wades through the sinking ship to rescue Jack from the Master of Arms.

In addition to conveying emotion, music in "Titanic" also serves to establish time and place.  It also serves to highlight the contrast between the passengers in first class and those in steerage.  When Rose is in the company of her mother and their group, the music is soft chamber music, waltzes, mostly played by string quartet, which incidentally plays a large role later in the film.  In contrast, during the party below deck, the music is loud, with foreign instruments to convey that the people listening are not of one nationality.  Also the instruments heard are less "traditional" than those in the string quartet; things like fiddles, bag pipes, and drums.  

Diegtic music plays a large part in "Titanic."  The earlier mentioned String Quartet serves as a powerful and emotional reminder of the power of music when they play together even as the boat continues to sink.  Another interesting little quirk of the music in "Titanic" is the little song, "come see Josephine in her flying machine..." which Jack sings to Rose during the height of their love affair, and which Rose sings to herself, as she clutches to life and freezes on the floating door.  

The music within "Titanic" is both powerful and poignant, and it serves the purpose of conveying emotion as well establishing time and place.

The Color Purple

Just like the plot of the film, the music within "The Color Purple" is characterized by emotional lows and joyous highs. The music in the beginning of the movie is innocent and childlike, characterized by instruments that invoke emotion, such as strings and woodwinds. Underneath the seemingly childlike music, the music has a deep emotional complexity that foreshadows the trials and tribulations Celie will grow through.

At the beginning of the film the music is mostly underscoring,with the exception of a wedding scene in which the organ music is diegetic. Also, to establish time and place, some more folksy instruments are used, such as the harmonica which can be heard clearly during the scene in which a young Celie cleans the house, or the banjo, which is present during the cloudy day when in Celie sees a drunken Shug Avery for the first time.

Certain characters don't necessarily have a leitmotif, but the music changes drastically to represent them. Sofia, for example, spunky and sassy, especial in comparison to the meek Celie, is represented with equally spunky music. Shug Avery, the sexy jazz singer, is characterized by a saxophone music. One hears her music even before she appears on screen, when Mister gets ready to visit Shug as he leaves, the nightclub music is played. Throughout the film, that nightclub music is played whenever Shug is around, and sometimes it is diegetic, such as the record player when she's in the bathtub or when she sings to miss Celie at Harpo's club.

As the Miss Celie grows and the time period changes, the music also matures to indicate the passage of time. When the time is shown as 1922, I first noticed that the music began to change from the strings and woodwinds of the beginning of the movie to Ragtime music, which is more appropriate for the time period.

In another scene to establish time, a record player plays "Noel" over the radio and then the diegetic music changes to underscoring and plays during the period when a considerably less spunky Sofia, broken by circumstance, is greeted by her family.

Overall, the music in "The Color Purple" reflects the joie de vivre of certain characters and moments while simultaneously representing the tragedy of the characters lives.

E.T.

The Music from E.T. is a a return to the classical Hollywood score. Instead of using popular pre-existing music, an odd combination of only a few instruments, or extreme dissonance, E.T. uses a full orchestra. One could also recognize that E.T.'s score was composed by the same man who composed the Star Wars score, John Williams, because in several scenes they sound very similar.

Throughout the movie the music is most often whimsical and childlike, characterized by many woodwinds to emphasize innocence. I was not able to pick up on noticeable leitmotifs, but there was most definitely a theme, and it is varied throughout the film. The first time we hear this E.T. theme is when Elliot looks out the window. The whimsy of the music represents the way in which E.T. symbolizes wonder and childhood innocence.

In addition to the more magical aspects of the theme, it is also used to convey sadness and tragedy, such as during the death scene, and also to convey fear, such as in the scenes in which Keys and the Federal Agents are chasing after E.T.

The most memorable scene from E.T. is the scene in which the children ride bicycles which E.T. then makes fly. The music is a full orchestral bicycle theme, one that is easily recognized as one of the most famous in all movie music.

The Sting

While in reading the blogs of my fellow classmates I have noticed that a fair amount found the music a strange choice in this movie. I can understand that point of view, the music is out of place historically, ragtime was pre-1900s, and this is set in the mid 1930s. In addition it's hard to associate the danger and suspense depicted in the movie with a tune we most commonly hear via ice cream truck. However, the music choice, in a lot of ways, reminded me of another classic action flick, "Pulp Fiction".

The first reason I made this comparison is that the music, as previously mentioned, is historically out of place in both "The Sting" and "Pulp Fiction". While "The Sting" features ragtime, "Pulp Fiction" has funk music from the seventies such as "Jungle Boogie" and Rock music from the 1950s such as Chubby Checker's "Never Can Tell" which is played during the iconic Jack Rabbit Slim's Twist Contest.

Another comparison I draw between the two movies is that while the music fits in pace and excitement with the plot, it is in contrast with some of the depictions of suspense and violence because of it's lighthearted nature. When one thinks of ragtime one doesn't usually thing of Mobsters. In the same way, a low-key mellow song such as "Jungle Boogie" seems out of place in a film about hit men.

While I note similarities between the films, there are several contrasts. For instance, in "The Sting" there is not very much music during scenes, and very little diegetic music. Instead the music is used mostly in transitions and obviously at the beginning and end of the film. In "Pulp Fiction" the music is almost continuous. Also, in "The Sting" in contrast to other films we have watched, the music is played solely by piano, a far cry from the full orchestra classical films we viewed initially. Comparing this with "Pulp Fiction's" score of mainly contemporary is apples and oranges.

While the music of "The Sting" is perhaps an odd choice, it's playfulness and upbeat nature provide a contrast with the subject matter, one which reminds me of the contrast within another film, "Pulp Fiction".

To Kill A Mocking Bird

The music in to "Kill a Mocking Bird "is representative of the childhood innocence. In the beginning of the film the children are running around in the summer and the this music is characterized with tinkling piano music. When their play is interrupted by something ominous and scary, such as when Scout rolls into the Radley yard, the piano music turns ominous and horns and strings and percussion in low tones become more noticeable and add suspense. The town is also represented in the music, the music is very up and down, almost like what would be played during a square dance, with music more like "a fiddle" and less like a violin.

Other than the music, also notable are the silences. When Atticus gives his "to kill a mocking bird" speech at the dinner table music is absent. It is also absent during the confrontation in front of the courthouse and again during the entire trial proceedings. The silence emphasizes the importance of the words, and since the screenplay is based largely upon the novel, the rhetoric certainly has reason to claim center stage.

Another cool feature in the music of "To Kill A Mocking Bird" is the idea of a literal mocking bird is represented with a flute during key moments. After the courtroom scene before the verdict is announced one can hear the flute music. Again, after the final climatic scene in which Boo Radley saves the children from Bob Yule again the flute "mockingbird" can be heard.

Psycho

Even before I knew anything about film music, I knew about the music in "Psycho". As a young child, it was not uncommon for my sister to sneak up on my in the shower wielding an imaginary knife and shrieking "EE EE EE EE." Other than the iconic "chee chee chee aw aw aw" from "Friday the 13th" no other film music so distinctly dominates my childhood nightmares.

Upon re-watching "Psycho" listening specifically for the music, what struck me the most was not the music, but instead the long silences. During most dialogue scenes there is absolutely no music at all. I noticed that also within Film Noir, the silences serve as a sharp contrast against the intense fast-paced music that occurs during the high drama scenes. Obviously being a horror film, the music has a lot of dischord. The music is not pleasing to the ear and it makes the listener sort of cringe upon hearing it, heightening the sense of fear. The music is often dominated by strings but it sounds at times as if they're being plucked rather than played with a bow. The sound produced is more violent and abrasive and less melodious.

Obviously one cannot talk about the music within Psycho without talking about the iconic shower scene. After a completely music free conversation with Norman Bates, the unsuspecting Marion takes a shower. There is silence as she lets the water run and relaxes, until suddenly the silence is broken as we see a knife wielding mother and hear the ear drum shattering, EE EE EE EE. Again, the contrast between the silence and then the dischord laden murder theme heightens the sense of fear. All the music within Psycho, or absence there of, contributes to the terror of the audience so much so that it has become cliche in slasher films--the villain has his own killing leitmotif, for example, as I mentioned earlier, Jason in "Friday the 13th".

Double Idemnity

The first thing that struck me when I first heard the music begin to play in this film was that I found it incredibly similar in feeling to that of another film, Mildred Pierce. This is a logical comparison in that both films were made in relatively the same time period and are of the same genre.

The music is underscoring throughout the film, with only one exception, when Walter confronts Phyllis for the last time at her home. There is also a lot of music in the film, I noticed that there were very few spaces of silence. The music was most prominent, however, when Walter's voice is narrating into the Dictaphone. The music serves to convey the mood of the scene we are about to enter.

One may notice through watching this movie that it's a tad dated, there are some very prominent cliches, certainly in dialogue and behavior of the characters--and these cliches are also noticeable in the music. For instance, when Phyllis and Walter are arguing at the grocery the music goes up in pitch to suggest heightening anger, and perhaps, to suggest that Phyllis is on the verge of becoming shrill. Other cliches, such as illustrative music. When Phyllis is shot in the climax, the music illustrates her fall. Similarly, when Walter slumps after being discovered by Keyes, the music again serves as an illustration of this.

While perhaps a bit cheesy, this film, and especially the music in it, convey the deception and drama typical of a film of this genre.

Anatomy of a Murder

From the opening credits on, the use of Duke Ellington's jazz music does a lot to establish the mood of the film. As is typical with jazz music, there is an emphasis upon the saxophone, and itinvokes a sense of mystery while at the same time seeming less intense then, for instance, how a horror movie would start out. The danger is real, yet at the same time it's playful.

One notices this especially when the character of Laura Manion is first introduced. A curvy hourglass seductress, the music emphasizes this with heavy saxophone in a sort of melody that invokes "va va voom", a cliche often used when a male notices a beautiful female in a smoky nightclub. The fact that its daylight and this woman is supposed to be a rape victim offers a sense of irony. It also gives it a clue to the viewer that perhaps this woman is not exactly as she seems.

The majority of the movie, the courtroom scenes, do not offer music. If the jazz music is meant to establish one's opinions of the characters, then it makes sense that in the court room would not have music in it. The courtroom is where "the facts" are established, but the real trial exists outside the courtroom as the audience forms its opinions of the characters. Jazz is emotional, seductive, sexy, cool, whereas facts are black and white with little room for interpretation. Therefore, when the order and logic rule, jazz is not present. Yet when emotions and secrets run wild, jazz is prevelent.

In the final scene before the verdict is reached, a moment of high drama, Paul plays mellow jazz music on the piano. This again, echoes the irony in the plot that perhaps real justice is not carried out, and things are not always as the seem to be.

The final scene ends as the movie began, with mellow, sexy, jazz music. The music is neither reflective truly celebratory or morose. It is as though the whole event of the trial was inconsequential, a charade, and everyone goes about their lives, none the wiser, and none the better.

"Robin Hood" Commentary

From the opening credits onward, the orchestral music invokes a sense of mounting anticipation. The music is past paced and the instruments used most often are the exciting instruments--brass and percussion. Sometimes when a lighter mood needs to be evoked, such as in Marian and Robin's leitmotif, instruments like violins become more prominent. This leitmotif pops up whenever Marian and Robin are together, most notably in the final scene when he rescues her.

The music in this film acts to make the action sequences more exciting. For example, when Robin Hood first appears, his arrow hits with a stinger. Later, when he enters the banquet hall with his deer, and in other action packed scenes, his leitmotif plays. Robin's leitmotif is fast paced and exciting. It reflects Robin's swashbuckling attitude and adds a sense of drama. It can be witnessed anytime Robin Hood is at his most dashing; when he's revealed at the tournament, when he fights with the Merry Men in the trees, and of course, during the climax when he rescues Marian and saves the day.

During other action packed sequences, such as the horse chase after Robin first enters the banquet, the music is played in sequence at in an increasingly higher pitch which does more to add to the urgency and excitement of the scene. Most of the music in action scenes is underscored, yet in some instances, such as during the fight with Little John, the music is diegetic being played on a lyre on the shore. Other examples of diegetic music include trumpets at the tournament and at Prince John's coronation. In these scenes however, there is a full orchestra underscoring the diegetic trumpets.

The movie ends on a jubilant note with the Robin Hood theme played in a decisive and victorious manner. The entire film seems to be very typical of modern action films today, the action and romance is emphasized with leitmotifs, sequences, and stingers.

"Casablanca" Review Blog

Anyone who has seen "Casablanca" knows that music plays a very important role in the movie. Just as in "Gone with Wind" the first thing one usually thinks of is the "Tara Theme", when one thinks of Casablanca it is impossible not to think of "As Time Goes By". From the first time Sam plays it on the piano, to the moment when Rick tells Ilsa goodbye, "As Time Goes By" serves as a leitmotif for Rick and Ilsa's love affair. In scenes where Ilsa and Rick's relationship is going well, such as during the flashback scenes in Paris, the music is in a higher pitch played with violins and piano, when the characters are in conflict, the pitch of the leitmotif is lowered and there is more dissonance.

Another leitmotif within "Casablanca" is a tune recognizable to me as "God Save the Queen", the theme is played whenever official Nazi business is going on, such as the theme in which Lazlo is forced to confront the Nazi officials. This leitmotif is featured in the opening credits as well, it interrupts the African/Middle Eastern style music that is originally in the credits, to represent the Nazi interruption in Casablanca.

Another interesting aspect of music in "Casablanca" is when it is NOT played. While in Rick's cafe there is usually digetic music, in the form of Sam playing the piano, many times during important dialogue any sort of music, digetic or underscore, is noticeably absent. This is an interesting point, the contrast between the noisiness of Rick's cafe, the two noticeable leitmotifs, and the utter silence of certain conversations. For example, when Rick is drinking with Sam after seeing Ilsa again for the first time, there is no music until Rick starts thinking about being in Paris with Ilsa. In this scene when the music starts it is digetic because Sam starts playing the piano, predictably, "As Time Goes By".

Overall, music is an extremely important asset to "Casablanca", whether it is Moroccan themed music to place the setting, or Rick and Ilsa's love theme, the Nazi leitmotif, or merely the absence of it, music in Casablanca helps to paint the picture of a doomed Romance in a war torn world.