Music and Movies That Create a Sense of a Generation - Case Study Example

Easy Ryder (1969 Music to Create a Sense of a Generation The film Easy Ryder (1969) is an iconicfilm written by Dennis Hopper, Peter Fonda, and Terry Southern, with Dennis Hopper and Peter Fonda starring in the film and Dennis Hopper directing it. The film is filled with imagery that is intended to evoke the spirit of the 1960’s, providing a framework in which the themes of the period are well expressed. In the process of creating this expression of the era, music is used to punctuate the themes and further create the setting of the time period. As many of the films in the sixties would do, the film uses tracks from major popular music artists in order to create the period essence. The music is filled with anarchist themes, the revolutionary spirit and anti-establishment philosophy rife throughout the film. The film is memorialized through the song Born to be Wild by Steppenwolf. The film is embodied in this music, the sexualized energy of the song emphasizing the freedom with which the theme of the film is based. The film opens with another Steppenwolf song, The Pusher, but this song sets the outlaw nature of the characters, not the central theme of freedom. The Pusher has a seedy undertone, the sound of the music dragging the theme into the ground, creating a sense that they have done what they have to do to buy what the need most; freedom. Once Fonda takes his watch off and throws in down, defying the essential structure of modern life, which is time, the music of Born to be Wild explodes just as their engines gear up and they pull out into the open road. Despite the overwhelming theme of freedom, the theme of drug use is prolific within the soundtrack of the film. Don’t Bogart Me by The Fraternity of Men has the sound of a classic country song, with the nature of the music similar to that which comes out of Memphis. The scenery that accompanies the music is that of Midwest America, farms and cows passing by as they riders pass through on the motorcycles. While the theme of the music is that of sharing marijuana, the sound reminds one of the rural life that is the imagery of the film. While the music never lets go of its revolutionary spirit, the sounds reflect the nature of the experience of America. The dichotomy within the film, visually emphasized by the American flag that is worn by Fonda and which decorates his gas tank on his bike, is between the establishment and the anarchist theories of freedom. The music both supports the appreciation for the country and examines the natural revolution of the period in which the price of the freedoms that were desired were the illegality of the ways in which they expressed some of those freedoms. The main theme of the film is summed up when Jack Nicholson states “What you represent to them is freedom….talking about it a being it is two different things…but don’t’ ever tell anybody they ain’t free…but they see a free individual its gonna scare…it makes them dangerous”. Music punctuates the experience of the film, created by some of the most legendary performers of the time period. I Wasn’t Born to Follow by The Byrds helps to punctuate the freedom with which the characters create for themselves outside of the mainstream. Once again the music is accessible and feels like the country they are passing, a joyful celebration of America. This aesthetic is punctuated when in a spirit of sharing, they pick up a hitchhiker. One of the most musically interesting parts of the film was during the scene where they take acid. In the beginning of the scene, there is no music, but the rhythmic pounding of a piece of machinery, accentuating a sense of tension in the film. The tone that is emitted by the strike of the metal on metal creates a sense of music while there is the recitation from the Bible. The voices of the different actors, mixing and combining during the ‘acid trip’, creates a sense of music as the pounding of the machinery picks back up and creates a focal balance that has a musical quality. The music of the film appears to be chosen both for its popularity for the period and for its messages of revolution, freedom, and antiestablishment discourse. The movie, while not the highest quality on any level, has a message that sustains as a period piece, evoking a joy for the country while a chastisement for a loss of freedom that the writers seem to believe had occurred. Music like Jimi Hendrix’s If Six was Nine punctuates the landscape as they ride through New Orleans, the mystery of the town and the intensity of what they are seeing in Lousiana rural poverty comes through the music as well as the imagery. While the messages are fairly consistent, the tone with which it is established changes with the imagery of the country. The music of the film allows the viewer to relate the messages of the film with the sound of the time. There is no question which period of time the film is discussing. There is also no question what the theme of the is revealing. If one were to listen to nothing but the soundtrack, the message would still be clear. The price of freedom, the search for freedom, and the fear of freedom is liberal throughout the soundtrack. In the end, the main theme song creates the strongest audible imagery for the film. “Like a true nature’s child, I was born, born to be wild”. There is not doubt the freedom of growing one’s hair, riding with it blowing in the wind on a Harley Davidson is only symbolic of the desire for freedom and the lengths to which American’s will go to in order to secure it. In this film, freedom is sought through defying authority, running outlaw throughout the United States in a celebration of the concept and in the beauty and reality that exists within her boundaries. Clients Name Name of Professor Name of Class Date Raiders of the Lost Ark (1981): Symphonic Majesty Designed to Enhance a Film During the great blockbuster films of the late 1970’s through the 1980’s, films were given magnificent soundtracks with music that was elevated to the level of symphonic quality music. Steven Spielburg used this type of sound tracking in many of his films, primarily written by John Williams. The music of John Williams was used in other films of the era such as Jaws (1975), the Star Wars (1977, 1980, 1983) films, Superman (1978), the Indiana Jones (1981, 1984, 1989)films, E.T, the Extraterrestrial (1982), Jurrasic Park (1993), and most recently the Harry Potter films. His music punctuates the fantastical nature of the movies, creating as powerful an impact as the imagery. The theme to Jaws is far more frightening and powerful than the imagery of the shark. In Raiders of the Lost Ark (1981), the music of the film has a deep sense of mystery, creating a sense that what would happen would not be a common occurrence. The music that is playing in the initial scene, a non-linear opening that used to suggest that the next adventure will not be his first and a tool that is used in three of the four films, creates a sense that where Indiana Jones is going is dangerous and uncharted. As he approaches the idol, the music creates the emotional context in which the viewer, not the actor, should be placed. Indiana is in awe of his find, but he is confident and busy doing what he does best: finding something rare and magnificent. However, the music reflects the awe and wonder that the film is trying to evoke in the viewer. One of the more frightening moments, although short, is a series of pizzicato that accompanies the viewing of a group of large spiders that have crawled all over Indiana and his companion. While a brief moment, it gives the scene a dimension that might not otherwise have been experienced. The stretching of the strings, sounding almost as if a saw is being bowed, creates a feeling that the next event, what is coming next, might be truly terrible. The music flows back and forth between being very serious and punctuating the humor of the movie, but all the while this tension is maintained that lets the viewer know that what is happening is to be marveled. The way in which the music changes very rapidly can be heard during a scene where Indiana is running through the streets trying to catch up to Marion. The crowd parts and the scene turns very serious, a tall man with a scimitar facing Indiana in what is sure to be a tough fight. In a twist of irony, instead of a fight, Indiana pulls out his gun and shoots the man, the music changing to reflect the humor of the situation. To be more specific, the music takes on a dangerous quality as the man begins to twirl his scimitar, the mood quite serious as the anticipation builds for a moment toward seeing Indiana and this sword wielding man fight, then the pizzicato returns, punctuating the shot, a quick climb of notes that emphasize the quick, humorous, end to this scene. Between the music and the brilliant shots filled with light and color, the film assaults the sense with an intensity that was only just beginning to fill theaters in the early 1980’s. The concept of the summer blockbuster had not been around for that long, with this film being among one of the biggest. The music in the film helps to create the larger than life feeling that a blockbuster film carries. The music is serious symphonic music, created specifically to enhance each moment of each scene. Just as the music swells when Indiana is seen in the distance, in silhouette against the brilliant wash of color that comes with the setting of the sun, the feeling is developed as much through the music as it is through the visual. The repetition of a long note, followed by a note several steps above, and then below, creates the tension throughout the movie. Whenever this sound begins, the viewer is cued to have expectations, that the next few moments will hold within them something they have not seen before, revealed in a way they do not expect. The Ark of the Covenant is highlighted repeatedly with these long notes that stretch the metaphoric neck of the viewer so that he or she will want to see what is next, fear it a little, but be intrigued in a way that is compelling. It is through the musical cues that the audience is put on the edge of their seats and the anticipation stretched to a point that is almost painful, waiting for release and expecting to feel the awe and shock that will follow. The heroic theme for Indiana Jones is unmistakable and recognizable whenever it is played. That theme is specific to the character and helps to create an identity for that character. The way in which the music is used provides a running emotional commentary that is always present and rarely diminished. Most of the film has a sound track, creating a sense of the adventure and the emotional content. The music provides an additional thematic set of cues for the viewer, the way in which the creators wish for it to be received created through the emotions of the music. While the identity of the main character is clear through the music, the identity of the film is also created through the music, the sounds within the scenes specific and unmistakable. The music of the film is an example of the work that goes into creating a mood, a sense of the universe in which a movie is set, and a general emotional rollercoaster from which the viewer derives the greatest pleasure from a film. The music is created to evoke from the viewer what the imagery and the storyline needs most. Read More