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The Synergy of Film and Music Sight and Sound in Five Hollywood Films Peter Rothbart THE SCARECROW PRESS, INC. Lanham • Toronto • Plymouth, UK 2013 12_408-Rothbart.indb i 12/3/12 3:17 PM Published by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com 10 Thornbury Road, Plymouth PL6 7PP, United Kingdom Copyright © 2013 by Scarecrow Press, Inc. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Rothbart, Peter. The synergy of film and music : sight and sound in five Hollywood films / Peter Rothbart. p. cm. Includes bibliographical references and index. ISBN 978-0-8108-8758-9 (cloth : alk. paper) — ISBN 978-0-8108-8759-6 (pbk. : alk. paper) — ISBN 978-0-8108-8760-2 (ebook) 1. Motion picture music—United States—History and criticism. 2. Motion pictures—Sound effects. I. Title. ML2075.R67 2013 781.5'420973—dc23 2012033467 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed in the United States of America 12_408-Rothbart.indb ii 12/3/12 3:17 PM For my parents, Jane and David, who gave me the tools, For my wife, Linda, who gives me the reason, For my son, Jason, who has surpassed my dreams, and his wife, Debora, who showed him how, For my granddaughter, Tia, who surprises us all 12_408-Rothbart.indb iii 12/3/12 3:17 PM 12_408-Rothbart.indb iv 12/3/12 3:17 PM Contents Acknowledgments vii Introduction ix How to Use This Book xiii The Many Roles of Music in Film xv A Word about Leitmotif xvii The Process of Music in Film xix The Films Examined 1 West Side Story 3 Psycho 29 Empire of the Sun 51 American Beauty 79 Altered States 109 Conclusions and Final Words 139 Glossary 141 Bibliography 149 Index 153 About the Author 159 v 12_408-Rothbart.indb v 12/3/12 3:17 PM 12_408-Rothbart.indb vi 12/3/12 3:18 PM Acknowledgments Many deep thanks to my wife, Linda, for her quiet and unwavering support and for knowing when to pull and when to push me; to my parents, Jane and David, who gave me the tools . all of them; to my son, Jason, who will surpass me and may already have; to Debora, who powers Jason and therefore us to new heights; to Tia, who does not yet know how much she inspires; and to my brothers, Jon and Larry, who provide constant love as well as cajolery. Thanks also to Dean Art Ostrander, who displayed patience and confidence that allowed me to experiment and follow my instincts, though they did not follow the traditional aca- demic path, and to Ithaca College for providing research and travel grants. Belated thanks to Stephen Landesman, my first real editor, who taught me that nobility and quality newspaper work can coexist. Professional thanks to John Corigliano for generously loaning his score to Altered States to a naïve but enthusiastic doctoral student in search of a thesis topic; to Lenny Bernstein, who encouraged an insecure nineteen-year-old bassoonist playing West Side Story at Har- vard to go pro; and to his friend and my teacher, Sandy Sharoff, who pushed me to release the music within. And finally, thanks to the professionals at DreamWorks, the Library of Congress Music Division, the Columbia University Rare Books and Manuscripts Room, and JoAnn Kane Mu- sic Services, who so generously gave of their time and resources and thereby recognized the importance of educating the public about what they do. COPYRIGHT PERMISSIONS “Open the Door” By Benny Carter. Copyright ©1964 (Renewed) Unart Music Corporation. Rights Assigned to EMI Catalogue Partnership. All Rights Controlled and Administered by Emi Unart Catalog, Incorporated (Publishing) and Alfred Music Publishing Company, Incorporated (Print). All Rights Reserved. Used by Permission. vii 12_408-Rothbart.indb vii 12/3/12 3:18 PM viii Acknowledgments “Use Me” Words and Music by Bill Withers. Copyright ©1972 Interior Music Corporation. Copyright Renewed. All Rights Controlled and Administered by Songs of Universal, Incorporated. All Rights Reserved. Used by Permission. Reprinted by Permission of Hal Leonard Corporation. “The Seeker” Words and Music by Peter Townshend. Copyright ©1971 Towser Tunes, Incorporated, Fabulous Music, Limited, and ABKCO Music, Incorporated. Copyright Renewed. All Rights for Towser Tunes, Incorporated, Administered by Universal Music Publishing In- ternational Mgb, Limited. All Rights for Universal Music Publishing International Mgb, Limited, in the United States and Canada Administered by Universal Music—Careers. International Copyright Secured. All Rights Reserved. Reprinted by Permission of Hal Leonard Corporation. “Call Me Irresponsible” Words and Music by Sammy Cahn and James Van Heusen. ©1963 Sony/ATV Harmony LLC (ASCAP). All Rights by Sony/ATV Music Publishing LLC, 8 Music Square West, Nashville, TN 37203. All Rights Reserved. Used by Permission. “All along the Watchtower” Written by Bob Dylan. Copyright ©1968 by Dwarf Music; Renewed 1996 by Dwarf Music. All Rights Reserved. International Copyright Secured. Reprinted by Permission. 12_408-Rothbart.indb viii 12/3/12 3:18 PM Introduction The Synergy of Film and Music: Sight and Sound in Five Hollywood Films examines how music is used in general release movies to advance the plot, underscore character develop- ment, and enhance the action and drama onscreen. It is written to be an easy reading, infor- mative, and nontechnical guide for anyone interested in gaining a deeper appreciation of film through an increased awareness of the role of music. I hope to illuminate the relationship between the multifarious elements of cinema: dialog, sound effects, drama, screenwriting, costuming, set design, editing, cinematography, and music. All of these elements combine to create a successful film. I will avoid, as much as possible, a technical, historical, or theoretical approach so that the average filmgoer can more fully understand and appreciate the role and impact of film music, without getting too bogged down in esoteric theories, technical tricks, and historical anecdotes that can deflect the filmgoer from the experience of the film itself. After a few introductory chapters, I will do this by looking at the use of music in five select films. As is the case with other film music analysts, I will explore the larger narrative and psy- chological themes of the film, especially when they are supported and revealed by the music. But I will use a much more nuts-and-bolts approach, focusing on musical and visual moments in detail, as would composers, sound designers, music editors, mixers, and directors as they collaborate to develop the film. By focusing on these details, I hope that the reader will more fully appreciate how the story line is supported (and enhanced) by the aesthetic, syntactic, stylistic, and technical decisions made by the composer, music editor, sound designer, and the director, among others. Toward this end, the margins of each page of analysis contain timecode markings that the reader can use to correlate my text with exact moments, down to the second, within the film. This way, you may see and hear exactly what is under discussion at that moment. This will be demonstrated throughout the book by linking the timecodes in the book margins with the commercially available DVDs of the films. More on how to use this book will be discussed in a moment. By describing what is happening aurally, and revealing its relationship to the visual image and all of its elements, including the screenplay, I hope to raise the readers’/viewers’ aware- ness of all of these elements and their synergistic interactions so that they can then begin to interpret the film’s intent and/or message and further deepen their filmic experience. ix 12_408-Rothbart.indb ix 12/3/12 3:18 PM x Introduction The descriptive nature of the five film analyses included here is designed to highlight the aural and visual activity, to bring them forward into your consciousness. I hope that this more organic or holistic approach to film music understanding will begin to rectify previous analytic approaches that Caryl Flinn describes as “limited by a number of methodological and concep- tual problems. Most prominent among them is an aesthetic and formalist tendency that treats film music as a discrete, autonomous artefact. Scores are discussed outside of their cinematic context . this approach will often overlook how the score interacts with other facets of the cinema (concerns of narrative, editing, or genre, as well as the psychological, social and ideo- logical factors of film consumption).”1 I will call attention to certain visual/musical events as they occur, sometimes with an expla- nation of how they relate to other musical or visual moments in the film, sometimes by just highlighting their presence. Certainly one aspect of filmgoing is the pleasure of the experience and perception itself, rather than the interpretation. I will try to strike a balance between the two, heightened perception and interpretation, in each of the ensuing chapters. I have chosen five films with an eye and ear toward examining, in depth, the role and use of music in each film. Claudia Gorbman stated in her seminal work, Unheard Melodies: Nar- rative Film Music, that “although writers on film music frequently allude to specific parts of scores, exhaustive analyses of an entire score and its narrative functioning have been rare.”2 My intention is to, as Gorbman advocates for, account for virtually every musical cue in each film I’ve selected, discussing its placement, intention, and context in a linear fashion so that the reader can see how the music works with all of the elements of film to enhance and direct the narrative forward.
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