The Queen

The first thing I noticed about the music in The Queen was how little there was. The composer of the film took a very minimalistic approach to underscoring. The next thing that I noticed was that one of the theses that was heard throughout the movie was a somewhat unsettling and mysterious melody. This music was often contrary to what the audience would expect for several scenes. For example, this melody was played in scenes showing mourners putting flowers on the palace gate. Normally, the audience would expect very slow and somber music, but instead they almost waiting for something else to happen. This music even though contrary to the cliches, did an excellent job to including the audience in the emotions of the characters in the film. The audience members were experiencing the same frustrations and unrest with not hearing from the queen about Princess Diana's death that the English people were feeling. It also helps that most of the audience remembers this historical event in real life and can relive their emotions about the event as well.

Lord of the Rings: Return of the King

The music in the Lord of the Rings: The Return of the King is very similar to those of other epic films like Titanic. The main theme is used throughout the three hour long film. It varies depending on the situation in pitch, in speed, or in the instruments used, but the melody stays the same. The melody is used so much throughout the film that it becomes somewhat repetitive and the audience almost expects it to be played. I also noticed that strings were used extensively in the film. Almost all underscoring featured in the film contained strings as the main instrument used. In fact, the movie was almost wall to wall stings. The other most noticeable instrument used in the film was the theremin. This unique instrument was heard whenever the ring was revealed, like when Sam pulled the ring out of his pocket towards the end of the film to show Frodo that he still has it. The use of the theremin helped the audience to feel the intense power of the ring even though they could not see it. Finally, the music in the film helped to tie together the constant changes of scenery and to clue the reader into what events were coming next.

Big Fish

The music in Big Fish is a great example of some of the contemporary elements of film scores. First, the film score for the movie is an eclectic score, mixing symphonic underscoring with popular music, such as songs by Elvis and other rock and roll hits. Second, the main use of underscoring was in the development of the film's overall theme, which varies and transformed throughout the movie. The use of the film's theme at the very beginning of the movie and closing out the final scenes helped to create a strong sense of unity for the story line and really finish out the movie in a complete way. Another contemporary feature of the music in this film, is the minimalistic approach to underscoring during the present-day scenes. Whenever the characters are interacting or talking in the current time period, there is almost never any musical underscoring. However, whenever a story is being told in a flashback, music is usually present at all times, whether diagetic or underscoring. Finally, the underscoring in the film featured an extensive use of piano. The use of piano as a primary instrument in film music is a fairly recent development. In this film, the piano is heard in almost every underscoring piece and plays a major role in the film's overall theme. If I had not taken this class and not had the knowledge of what to look for in film music, I might not have even noticed the music in this film because it is so similar to what we typically hear in present day films.

Malcom X

The music is almost wall to wall in Malcom X. There is a lot of cross-cutting between very different scenes. The music that accompanies these different scenes varies drastically and would only make sense in combination with the scenes in the film. A great example of this is at the beginning of the movie. There is a trumpet solo playing during Malcom's opening speech, which immediately changes to ragtime music underscoring at the train station. Then this underscoring immediately jumps to eerie, slow music when Malcom is talking about the Klan comes to his childhood house and when his father is preaching at his church. Then the music jumps again to upbeat jazz and swing music when they are dancing at the club. The music and the scenes in the film helps to make each other fit together even though there is constant changing of scenes and moods. If either element was eliminated, the movie would just be a mess of confusion.

The Mission

The underscoring music in The Mission helps to clue the audience into the emotional state of the characters in the film. For example, when the woman tells Mendoza that she doesn't love him, a twangy guitar and low strings underscoring begins to play, symbolizing his heartbreak. Also, when Mendoza kills his brother, the music immediately changes to soft and slow music, implying his immediate remorse for what he has done. Probably the most powerful example of music implying a character's thoughts and emotions is when the pope approaches Father Gabriel's mission. There is chanting and upbeat tribal musical music heard which creates an almost magical feeling for the audience and also helps to express the pope's awe and respect for the native people and what the Jesuits have accomplished.

Star Wars IV

The music in Star Wars IV has many of the characteristics of the Classic Hollywood Film Score. There are leitmotifs for several characters and places, such as a light romantic theme for Princess Leia, a daunting theme for the evil side of the force, and the memorable theme for Luke, which is actually the melody that eventually becomes the theme for the Star Wars films in general. Also music supports the action and emotional impact of the scenes in the film, for example a lot of sequencing complements the fight scenes. Also, the film features almost wall to wall music. The main time that no music is featured is when the light sabers are being used and only their sound can be heard. The majority of the music in the film is also underscoring, which uses the full extent of orchestral instruments.

2001: A Space Odyssey

While this is one of the most confusing movies I have ever seen, the music added a lot to the plot. I first noticed the cliche space exploration music used at the beginning of the movie and at the end. This is probably the first time that it was ever used, but this movie has set the standard for its extensive use in future movies. The underscoring of transition from waltz-like music to menacing and mysterious, almost eerie music, to represent space, clues the viewers that space travel has no longer been just for pleasure, that there is a unknown and almost scary view of space now. The theremin is used throughout the movie to represent things that are "other-worldly" and it helps to establish a time and place for the viewer, time being the distant future, and place being the unexplored realms of space. While the existence of sequencing and certain leitmotifs, such as the one for the monolith, helps to clue the viewer into what was going on and keep them emotionally engaged, the lack of underscoring also helped to create intense suspense and anticipation. Throughout this film, music, and lack thereof, helps to further the plot of the movie and to greatly intensify the emotions and fear of the characters and situations.

Vertigo

The music in Vertigo had many of the same qualities as the Classic Hollywood Film Score. There is no words featured in the music in the film, most of which is underscoring. Also, no popular music is featured, so the music gives no details as to when the movie is actually set. There is almost wall to wall music throughout the entire film and a full orchestra is used, similar to Gone with the Wind. Also, many leitmotifs exist: one for the investigative scenes where the detective is following his friend's wife, one for the romantic theme between the two, and one for when Carlotta is being described. The romantic theme that plays when the detective interacts with his friend's wife is used so often in the movie, especially at the end after her "death", that it almost becomes an overarching theme for the entire movie. This use of classic Hollywood film score music is very contrary to what was consistently happening in music in films made during this time.

Citizen Kane

The music in Citizen Kane is very minimalistic. There isn't much to say about the music in this movie, except that it was only featured in the flashbacks. It was also harder to find any pattern to the musc or any themes or leitmotifs than in the previous movies that we have watched. I did note that there was no music in the title scene. The music in the beginning of the movie also mimiced stereotypical horror movie music which forshadowed the dark theme of the film.

Double Indemnity

The music in Double Indemnity mirrors a lot of the elements of the Classic Hollywood Film Score. As a Film Noir, the movie features orchestral music without words and an overall musical theme that is played throughout the film, especially when the narrator is speaking. The majority of the film's music is underscoring, except a small bit of source music coming from a radio at the very end of the film. The film also uses sequences, most notably when Walter Neff is approaching the elevator after being shot. One of the things that stood out to me was the use of loud uplifting music at the end of the film. This is ironic because the ending of the film is dark and troubling, not exactly the happy ending that the music implies.

Sea Hawk

This movie is a perfect example of George Burt's article "The Story's the Thing." Through its use of leitmotifs, sequences, display of geography and history, etc. the music in the Sea Hawk is successful in keeping the story the main focus of the movie. This music perfects unobstrusiveness because the viewer is not bombarded with it. Throughout the film, music increases the emotional intensity of the love scenes and the fight scenes. It also helps to create continuity in the different scenes without becoming overpowering or monotonous. In conclusion, the music plays its vital role of combining with film to result in a "larger statement than would be possible with one or the other medium alone."

Gone with the Wind

The music in Gone with the Wind provides a stark contrast to the lack thereof in Frankenstein. This movie features almost wall to wall music, most of which is the same melody as the openning credits, just at different tempos, pitches, and volumes. One thing that really struck me about this movie was the contrast of mood set by the music and the mood portrayed by the actors. For example, when Scarlett first hears of Ashley's proposal, she is extremely upset but the music featured in the scene instead portrays the energy and chaos of the party around her and the excitement of the men going off to war. Scarlett's emotional turmoil fades into the background.

This contrast again shows itself when Rhett leaves Scarlett with almost cheery underscoring music. Another contrast is O Tanenbaum playing when the vast rows of injured soldiers are displayed. Dreary music is expected because of the sadness of the situation. Finally, when the town is hearing about all of their loved ones who have died, instead of heart-wrenching music that would be fitting, the movie features a very chipper melody that is also joined by upbeat diagetic music played by a band. In conclusion, while the music made the film enjoyable and provided continuity over the four hours of film, it at times got in the way of the story line and became monotonous to the viewer.

Frankenstein and The Bride of Frankenstein

The use of music in Frankenstein and The Bride of Frankenstein is drastically different. In Frankenstein, there is little to no music heard at all, except for the opening and ending credits and during the wedding scene. This underscoring credits music is ominous in the beginning, foreshadowing the dark mood of the movie and changes to uplifting in the end, reflecting the happy ending. Other that those two appearances, the only other music heard in the film is church bells and band music playing before the wedding ceremony. This lack of music creates a kind of dry emotional response in the viewer, which makes it hard for them to fully engage in the events of the movie.

On the other hand, The Bride of Frankenstein is full of music, both underscoring and diagetic. Music begins during the title sequence, again foreshadowing the dark mood of the movie, and continues throughout the film. The music in the movie matches the emotional state of the scene. For example, low slow music is played when Dr. Precarious enters the room, signaling the viewer that this person has evil motives. Also, when the monster is being chased, chaotic music plays faster and faster until he is caught, heightening the suspense and anticipation of the viewer. The music in the closing credits mimics that of the opening credits, signifying that the end of this movie is not as uplifting as the previous ending. Overall, the existence of regular music in The Bride of Frankenstein makes for a much more enjoyable and engaging experience for the viewer than the lack thereof in Frankenstein.