The Use of Music in Film: The Queen and The Lord of the Rings Trilogy - Essay Example

The Use of Music in Film: The Queen and The Lord of the Rings Trilogy The Use of Music in Film: The Queen and The Lord of the Rings Music is used in film in many diverse ways and for an array of purposes and goals. It is an extremely common and fundamental tool and film device which is used almost universally in film to support a range of cinematic and storytelling elements. The use of music and song can help the audience make connections between image and sound; it can help to establish a mood; portray a location in time or place; further the narrative flow; to interpret the psychological states of characters and even to make connections between events and characters in the film. Music is also often used within film to elicit emotion or other reactions from the audience (Eschrich et al., 2008). The use of music in terms of style, form, time, context, tone, pace and emphasis is largely dependent upon the nature of the film such as the genre it falls under, what the message of the film is, what type of audience the film is attempting to appeal to, and the general style of the film (Mervyn, 2008). This essay will look at the films The Queen and the trilogy The Lord of the Rings in order to examine and elaborate on the different uses of music in film. Music is used throughout the English docudrama The Queen in order to support the portrayal of and enhance the representations of both the Queen and Princess Diana. From the opening scene music is used to create meaning in the representation of Queen Elizabeth as she sits for her portrait. We hear the royal marching band play outside the palace gates, echoing in the background of her dialogue with the painter. This immediately sets a tone of royalty and respect in relation to her character. Furthermore, the music used in scenes with the Queen is entirely orchestral. The music is constantly quite classical, sophisticated and without lyric. In several scenes where the Queen is out walking on the hills or through scenic forest with her dogs, the music, though still orchestral, takes on a more whimsical, fun tone and always a faster pace. This effectively works to highlight the Queen’s more personable and relaxed side to her character. It emphasises the fun she has leisurely walking her dogs and contrasts quite starkly with the scenes and music used when she is in the palace conducting business in the presence of government officials and palace personnel. In one particular scene, music is used as a tool in order to create symbolic and subliminal meaning very effectively, which offers insight into the Queen’s character. We see the Queen driving alone in her car through isolated countryside. As she drives, the music becomes fast paced and begins to get noticeably faster and louder. This suggests that something is about to happen, and it does when the Queen attempts to drive through a pool of water but gets stuck. The music very abruptly stops simultaneously with the stopping of the car engine. When she exits the car and is standing in the water, music is entirely absent and we are left with the sounds of running water, animal noises and all kinds of natural countryside sounds. As the Queen waits in silence, the sounds of nature vibrate and echo through the scene and promote a very soothing and relaxing atmosphere evident on the facial expression of the Queen. Contrasting dramatically with the hectic environment and loud busy noises within the palace scenes, this serves to offer an alternative environment within which to view the Queen – that of a mere human being who is in desperate need of relaxation and silence after such a distressing week of events. The Queen is entirely out of context here, and the noises reflect this very well. As she closes her eyes, takes off her head scarf and listens to the peacefulness of nature, she appears not as a monarch but as a vulnerable elderly woman, without fine jewels or clothing. It is in this moment of reflection that the Queen cries for the first time in the film. As a majestic stag appears behind her, the music slowly begins again, very majestically and almost dream-like, in a very haunting sequence which is supported by the use of music. As the Queen stares at the stag, the music reflects its beauty and majesty and the awe the Queen feels as she looks upon it. When we hear a gun fire, the music abruptly stops again, reflecting the fact that the gunshot has taken the Queen out of her trance, and is brought with abruptness back to reality. Music also works to create a portrait of Diana’s character, even though her presence in the film is posthumous and entirely through media excerpts and opinions. When Diana is shown through real video footage, it is frequently in a montage where random shots and images of her are mixed together in sequence. This is very often accompanied by quite solemn, slow and low-toned orchestral music, reflecting the tragic circumstances of her life and death. This works very well within the melodramatic aspects of the film as this aims to appeal to the audience’s emotions and highlight the concept of tragedy. Indeed, in scenes where her body has been transported, her funeral scenes, and scenes when people are in mourning outside of the palace, the music again echoes the sombre and sad tone by exaggerating it with very depressing and haunting orchestral music, within the typical vein of melodrama. During the funeral sequences in particular, a very loud operatic solo is played, which is extremely melodramatic and tonally depressing, reflecting the mournful atmosphere of the funeral. Music also creates a sense of pace frequently throughout the film. Much like the scene where the Queen is driving her car into a pool of water and the music becomes faster, one particular scene involving the character of Tony Blair involves music as a narrative device. We see Blair in his office, after having a very uncomfortable conversation with the Queen. He stands, alone and thinking for quite a few seconds in silence. The audience is ignorant to what is happening until music suddenly begins. It becomes faster and faster and ranges from high to low notes, very suggestive of Blair’s thoughts evolving and of a plan forming in his mind. As he walks with great assertion down the hall, the music reflects his confidence and suggests to the audience that something meaningful is about to happen. In the fantasy trilogy The Lord of the Rings, music is used in many similar ways, but unlike The Queen that is based upon actual historical events, this series of films is entirely fictional and fantastical, which is reflected in the music. The score is largely instrumental and ethereal, which is a direct result of the fact that this film is a fantasy – set in a time and place which is utterly unfamiliar and entirely magical to the audience. Choosing popular songs or previously heard music would have brought a sense of familiarity to the audience and perhaps reminded them that they are looking at a film that is not real. Having unfamiliar, instrumental and sweeping music supports the fantastical and strange elements which dominate the film and are very suited to this genre. Classical and orchestral music is commonly used in film to evoke emotion as it is used here (Queenan, 2007). The score is largely performed, where there is an actual singer, by Enya. This performer is effectively suited to this film as she is extremely poetic, broad, unique and highly instrumental. The lyrics sung in an echo-like and blurry fashion create an atmosphere of mystery, magic and intrigue to the scenes. In emotional scenes, music is used to entice an emotional reaction from the audience. For example, when Frodo is saying goodbye to his friends, and when one of the fellowship is killed, the score is extremely soft yet sweeping and evokes an emotional reaction because of this. The sadness in such scenes is greatly supported by the majesty and melancholia of the music which is entirely orchestral. In one particularly emotional scene, Frodo, the protagonist, understands that Gandalf, his mentor and long-time friend, has been killed. The death of this character is an extreme blow to the audience as they would have invested much sentiment and emotion in the character of Gandalf at this stage. His death is tragic and entirely unexpected as he is a major character. When the camera closes in on Frodo’s face as he realizes what has happened, it goes into slow motion and the music is all that is heard as all other noise and sound is blocked out. The music is extremely emotional, sad, stirring and heartfelt and the fact that all other noise is blocked out makes this all more effective. Similarly, in the many scenes of travel and trekking across diverse lands, seas, mountains and various environments, music is used to convey time and pace while hinting at possible dangers to come when appropriate. For example, when the fellowship is shown making their way out of their homelands into unknown territories at the beginning of the story, the music reaches a crescendo as the camera sweeps back to convey the vastness of the territory. The music also helps to excite the audience about the start of the journey. When danger is oncoming, the music similarly changes and creates an ominous tone which informs the audience of the change in context. For example, when the evil black riders find the fellowship or come very near them, the music stirs and slows, meandering through low notes and vibrating wind instrumentals which lie in stark contrast to happy-go-lucky tinkling of the piano when the fellowship is portrayed as simply journeying along in safety. Music is also used very effectively to set the pace in many parts of the film. During the many scenes where the gang or even just Frodo and his friend Sam are on the run, the music reflects this by becoming very dramatic, loud and sudden with emphasis on the use of beats and drums. This reflects a quickening heartbeat and also the physical quickening of the characters as they attempt to flee from danger. In a very similar way, when the pace slows down during quieter moments, so does the music. It becomes softer, quieter and gentler with less use of drums and more focus on string and lyrical instrumentals. At the end of the trilogy, when success has been achieved and the friends are reunited in joy and celebration, the music directly parallels this in terms of its tone and pace. Trumpets and majestic instrumentals are used alongside sweeping notes and triumphant melodies which add to the celebratory atmosphere. In the films The Queen and the trilogy The Lord of the Rings, music is used in many ways to support various scenes and to add extra dimensions to characters, plot developments, settings and changes in tone. In The Queen music is used largely to depict character emotions and plot developments due to the genre of the film as a docudrama. In The Lord of the Rings, on the other hand, music is used in similar ways, but the contexts are very different as this film is set in an entirely imaginative and surreal world which is supported by the choice and use of music. Both films use mainly orchestral songs and scores and in The Lord of the Rings in particular, music adds much to the pacing of the film in scenes of high drama and action. The musical scores of each film and the way that they are used reflect the ways in which music is commonly used in film today and the fact that it is such an effective and multi-faceted tool. References Eschrich, S., Munte, T., & Altenmuller, E. (2008) Unforgettable film music: The role of emotion in episodic long-term memory for music. BMC Neuroscience, 9. Retrieved from http://ezproxy.fhda.edu:2069/ehost/results?sid=75dd805b-a107-4903-94b0-5c33da40e675%40sessionmgr110&vid=5&hid=110&bquery=nemko&bdata=JmRiPWFwaCZjbGkwPUZUJmNsdjA9WSZ0eXBlPTAmc2l0ZT1laG9zdC1saXZl Mervyn, C. (1998). A history of film music. New York: Cambridge University Press. Queenan, J. (2007, Oct 5). Hey, there’s an orchestra up here! The Guardian. Retrieved from http://www.guardian.co.uk/film/2007/oct/05/classicalmusicandopera.joequeenan Read More