From the opening scene as we zoom into the life of Harold Crick, the viewer is immediately hit with a cacophony of sounds, the most prominent being the ticking of a clock’s gears. This same sound would then find itself interwoven throughout the entire film, Stranger Than Fiction. A constant reminder of the existence of the wristwatch on Crick’s hand. The constant in the eccentric series of events that break up the typically mundane routine of Crick’s life. A symbol of the constant passage of time. Just like Crick, we are constantly reminded, from time to time, of the watch, just as if we were going on the journey with Crick – constantly reminded of the passage of time. The first scene where the viewer is first introduced to Cricks daily routine, …show more content…
Music that manifests itself throughout the film taking many forms from guitar, to violin, to accordion, to orchestral, to piano. However, one thing stays constant. Like the ticking of the watch, every time we hear the music, we hear the beat. The constant and repetitive thump-thump-thump from the bass guitar in the first scene when we are introduced to Cricks daily routine. It manifests itself into a canon-like musical structure during the violin-orchestral piece during Crick’s schizophrenic breakdown. The same music is used during transitions. It appears right after the crane demolishes Crick’s apartment and aid in transitioning to Crick going to the Guitar Store. The music moves Crick’s life. Like fate giving Crick a push here and there. It is always in the film, the same type of music with the deep constant beat from the bass coupled with the repetitive structure of the melody. It acts as a parallel to Crick’s old life. Like Crick’s life, the music is highly repetitive and structured. Like Crick’s life, the music is always there in the background. Well, almost …show more content…
After scenes such as the crescendo of clambering as Crick sits in his apartment apparently resisting fate, I yearned for the break that only silence could offer. So when it came, those scenes ended up being the most memorable in the film. The first time there was true silence from the music, from the ticking, was when Crick saw Ms.Pascal. The sound died off only to reveal the heartbeat of Crick beating faster and faster followed by complete silence. The silence signifies a break in the routine. Fate stepping back a little. Time moving out of the way. In those moments, everything else fades away; nothing can come between Crick and Ms.Pascal. Crick loses all sense of reason represented throughout the film by the constant beat of the music or the constant tick of the watch. This silence returns when Crick kisses Ms.Pascal. At first they kiss alongside passionate music, but then everything stops and Ms.Pascal says “I want you too.” Everything finally comes to an end at the end. The film goes silent after the bus hits Crick and remains that way in the hospital scene. Crick has finally discovered what life can truly offer. No more repetitive music, no more ticking of the watch, just silence this time ready for Harold Crick to fill it with his own
The beat and resonance of the music is very slow and soothing. It immediately sets up a sad mood. The music also manages to create a lonely and sympathetic atmosphere, which carries on throughout the play. The music only plays at significant times in the monologue as the tone of music needs to fit the mood and subject of which Doris is talking about at that moment, i.e. when Doris reminisces on the good times the music becomes lighter; but when she talks about the death of John the pace of the music slows and becomes duller. The use of music alone can form an overwhelming sympathy if appropriately used.
When the more thoughtful and intimate parts of the movie present themselves, a slow paced piano is used to match the solemn moment. Sections of the movie have a positive and optimistic outlook, for example, when Karl walks through the small country town to the house of his new found friend. Karl is obviously filled with awe and enthusiasm for his resurrection into life, this is reflected through the music. An intimate moment in the movie is between Karl and the boy. Karl tells an extremely sad story. A soulful slide guitar and whistling accompanies this story, the music is extremely sad and is the emotion for the kind hearted but seemingly emotionless Karl. Another touching and emotional part of the movie is when Karl visits his father. Whilst Karl walks to the run down house of his elderly father, harmonious voices sing a haunting gospel tune.
The film starts out with orchestral music, and shows James Dean's character, Jim, drunk on the ground of a sidewalk. The sound of a police siren is heard and used as a transition into the next scene that takes place, understandably, in a police station. While in the police station, Jim is yelling along with the sound of the siren, and humming loudly to give the impression that he is drunk. At one point in the scene he is brought into another room with an officer, and begins to punch a desk. The sound effects are loud, and the he pauses, and music begins again when he begins to hurt. Again, a siren is played at the transition to the next scene. However, for the most part, score music is played during all transitions.
The film uses a mournful music when Kane announces his death, the trumpets in celebrating his life, loud crowd at the rally and echoes of loneliness in his home when his loved ones have gone.
Harold’s watch is a central part of his life as it times and maintains his uptight lifestyle. The opening scene is a close-up of his watch, beeping and glowing on the bedside table. The narrator also says, “this is a story about a man named Harold Crick... and his wristwatch.” The viewer immediately becomes aware of the importance of Harold's wristwatch and is forewarned of its significance in the story and in his life. Furthermore, the lack of sound and music in this scene, other than the beeping from his wristwatch, highlights that this is the most important object in the room, as well as in his life.
The music leads into Robert's Real Transported Man by layering string harmonies and delicate blasts reminiscent of Tesla's lab. The sound even influences utilization of an electronically produced tone, which makes a fanciful feeling of consistently rising or falling pitch. The risk inborn in the monster Tesla loops is passed on through fragile, brutal crackling that frequently cuts off menacingly, as though it had atomized its objective. This in turn shows how Angier is obsessed with Tesla’s
The opening credits immediately indicate to those expecting a Bollywood film, or a more orthodox Indian film, that this was something completely different. The music used incorporates traditional Indian instruments, such as tablas, Indian drums, but uses them in a Western way; the underlying bass is a traditional Indian beat but remixed on top are Western - influenced beats which increase both the pace and tempo of the piece. The melody, complementing the upbeat percussion, is also very cheerful; this contrasts greatly to a large majority of Bollywood films, which tend to begin with very slow, mournful tunes, tending not to include percussion at all... ... middle of paper ... ...
Initially the audience is witness to how particular sound techniques shape this film. For instance, one of the main details that the audience hears is the song that the murderer whistles. Due to the marvel of sound the audience can pick out that the whistling is related to the murderer. Along with the blind man who figured this mystery out, the audience could only put these two together with this sound technique. The director shows the audience how such a simple part of every day sound can be so important to solving such a terrible crime.
music to analyse—in fact, the music runs almost constantly throughout the film without very little
...ure allows the viewer to share Leonard’s every experience and emotion whole-heartedly and work until the very last scene to piece the entire complicated puzzle together. This work speaks volumes to the capacity of film—not just what can be portrayed but what can be taken away. Every viewer undoubtedly walks away feeling the same rage, confusion, and helplessness Leonard felt every moment trapped in time. Even when he accomplishes what he has been working so desperately for—to find his wife’s killer—he realizes that he will never gain the satisfaction of feeling like her death was avenged because moments later, it is gone. In an almost tragic end to a story doomed from the start, Leonard’s life becomes one of searching for his wife’s killer because it is all he has left. His last memory has become who he is—a man eternally seeking a vengeance that he will never get.
The music suited the movie very nicely. By the type of music playing, you could determine what sort of scene was coming up, either fast and light...
The final movement concentrates more on the pitch transformation. Structurally, this format would be a recapitulation, but the use of pitch transforms it into something new. To emphasize the pitch fluctuation, three different kinds of flutes were played. Because of the pitch variation in this piece, there were many melodies to follow. In a way, the music sounded like sound effects to a horror flick.
They hear a rattling in the kitchen, or voices when they’re home alone. Then comes the turn, where the character finds a reasonable explanation, or the immediate threat is somehow removed” (Bishop). Deafening noise, bursts of music, and faces appearing from nowhere can make the heart skip, or send popcorn
In Stranger than Fiction, The camera angle is very intimate and allows for the feelings of the actors to be intensified. Often times, it feels awkward, as though you are intruding on Crick’s life but it completely works for the film. The usage of numbers to show what is going on in Harold’s head is also very interesting; it helps you have a deeper understanding of his personality.
The importance of music in movies is highly regarded for manipulating the viewer’s emotions and helping them immerse into the story. Music is one of the prime elements in cinema. Without it a movie would feel dull and unexciting. There are three elements in a movie: one is acting, the second is picture, and the third one is music. It is a holy trinity; if incomplete, there would be a lack of sensation and excitement. Both acting and picture can stand independently from one another, but music is the one that makes the movie memorable.