The Godfather

The Godfather theme song is just as memorable as the movie. Once you’ve seen this movie, within three seconds of hearing the song you can identify the movie and the feelings you felt when you watched it. When I hear the song, it reminds me of how much I love this movie. This movie is amazing. Not only does the American Film Institute list it as the #2 greatest movie of all time, but also the music is just as amazing. Nino Rota, the composer, won several Oscars for the music in this film as well as The Godfather Part II. The song and its variation of instruments convey specific emotions that Nino Rota wanted you to feel. This song can make you feel sympathetic for the Don or thrilled by his revenge. This soundtrack easily earns three out of three tickets.

The scene where Michael Corleone goes to visit is father at the hospital is the turning point of the movie. Though the scene seems nonessential to the plot of the movie at the time, the music sets the tone for how important this scene really is. Majority of The Godfather is strictly dialogue and through the movie several minutes can pass before any music is played. There are defined musical themes for the characters. The song most associated with Don Corleone is The Godfather theme song. The song sounds like an Italian folk melody but is unique to The Godfather trilogy; it also alludes to the fact that this is a Sicilian family. What is unique about this particular theme song is the fact that is played differently throughout the movie. In times of happiness it is played by trumpets, making it to sound like an elegant waltz. But, in moments of horror like when the movie producer wakes up with a horse head in his bed, the song sounds like a distorted carousel tune. This famous tune is so versatile in this movie but always represents the association of Don Corleone. In Understanding Movies, Giannetti explains the goal of this: “Characterization can be suggested through musical motifs” (Giannetti 216).  By giving the Don and Michael their own musical motifs, it helps define their characters.

At the beginning of the movie, it is known that Michael Corleone, the son of Don Vito Corleone, wants no part of the family business. After an assassination attempt on his father, Michael goes to visit him in the hospital. When he enters the hospital he sees his father was left unattended. The orchestra and piano play a tension-building tune that puts viewers on edge. With the music and Michael’s concerned conversation with the nurse, it seems that another assassination attempt is imminent. As Michael rushes to move his father to a hidden room, his theme music is playing as well as the tension building music. The music affects the pathos in this film and immediately connects Michael Corleone’s emotions to the audience’s. There is a point of time where no music is played while Michael talks with his father. He simply tells him that he “is with him.” After Michael speaks, The Godfather theme music is played. The timing of this song indicates that Michael has decided to join the family business. Had The Godfather theme song not been played, this conversation would seem like a normal conversation between father and son. The timing also foreshadows that this theme song will eventually be used to represent Michael, the new Don. The importance of this conversation is highlighted by the meaningful Godfather theme song. In Everything’s an Argument, Lunsford correctly states, “You may sometimes want to use emotions to connect with readers to assure them that you understand their experiences. Such a bridge is especially important when you’re writing about matters that readers regard as sensitive” (Lunsford 33). In this scene, the music is a bridge connecting the actors’ emotions to the audience’s emotions.

Another scene where the music perfectly fits Michael Corleone’s emotions is the scene where his godson is baptized. This is the most gripping scene of the entire movie. There is this great juxtaposition between a beautiful scene at the church with Bach organ music playing and the systematic assassinations of Michael’s enemies and rivals. If you’re not a fan of violence, you should probably avoid the linked clip. Technically, Michael is the bad guy. He made plans to kill several people while he was in church. But, the music tells us that we should be rooting for him. The organ music plays each time someone is killed, making it feel like an accomplishment yet it is still horrifying. Because of the strong pathos in this film as well as its music, viewers find themselves rooting for the bad guys. The music and both mentioned scenes set the tone for the ending of the movie and The Godfather Part II.

http://www.youtube.com/watch?v=1aV9X2d-f5g

http://www.youtube.com/watch?v=FTkeqGLxoTM

Half Nelson: A Tale of Mundane Anxiety and Broken Social School

            “I think it’s time that we grow old and do some shit.” This lyric resounds throughout the central theme and poignancy of this “indie-flick”, Half Nelson. This 2006 Ryan Fleck film centers around a middle-school history teacher and his troubled relationship with drugs, a student, and himself. The inner-city school teacher, played by Ryan Gosling, is caught free-basing and snorting his drug of choice, cocaine, by one of his students after a basketball game. They quickly become friends and try to help each other out, through school and through life. Dan, the drug addict, has a hard time dealing with day to day stresses, past failed relationships, and the ambiguity of life; drugs have been and will be his unfortunate answer to these problems. The drugs start to get in the way of the productivity and essence of his life. This very touching film is scored by Canadian indie-rock group, Broken Social Scene. Music can function as a storytelling device when it comes to characterization by revealing thoughts and feelings of a given character. Another key function of music is establishing the mood or tone of the film, which also has a psychological effect on the audience itself (Williams 17). I believe that Broken Social Scene beautifully executes finding the tone of this film via music and ambient sound. Their song “Stars and Sons” captures the authenticity of being high on cocaine in a scene in the film where Dan resorts to drugs to get rid of his problems and ends up in a club, picks up two women, and attempts to have sexual intercourse with them. The music adds so much to this scene. With the upbeat, ethereal sound, viewers can feel his sweat, taste his cottonmouth, and it can make your nerves start to jump and foot start to tap on the floor. In my favorite scene of the film, Dan has randomly met and picked up this lady. They eventually get high and talk about politics in this poorly lit, not very clean, hotel room. The Broken Social Scene song, “Lover’s Spit,” begins to play. The beautiful and haunting voice of Leslie Feist can be heard during this song as they highly slow-dance to it for about two minutes. It hurts me in this moment because I can see how internally damaged these two people are as they are drowning their problems out and sharing a dance together. The song talks about growing up, getting your life together, and having sex in the meantime. And of course, the acting in this scene is just amazing. Emotionally, I am very attached and invested in Dan at the end of the scene. For those of us who have been present and struggling in that moment, it hits home, especially with that perfect song choice. I can picture that scene happening in my head to myself or friends of mine. In terms of logic, it is a very real and raw subject that is consistent and hard to deal with, and that song is just the icing on the depressed cake for me. Besides the artsy cinematography and life-like dialogue and plot, the sound and music is stunning in this film. 

We Bought a Zoo Soundtrack

              The soundtrack of a film often plays a subtle yet important role in the movie. Music can set a mood, move along a plot, or further draw in an audience to a scene. In the movie We Bought a Zoo, Icelandic singer and musician Jόnsi composes the soundtrack for the film. For a film about new beginnings, the music Jόnsi creates and adds a feeling of hope to many scenes throughout the movie.

            We Bought a Zoo is a movie full of constant setbacks for its main characters. Throughout the movie they have to deal with issues such as the loss of a loved one, financial struggles, and troubled relationships. These obstacles often seem to have the potential to be too large for the character to overcome. As an audience member, however, I never felt the movie would end in doom due to the soundtrack of this film. In his book Understanding Movies, author Louis Giannetti writes, “Beginning with the opening credits, music can serve as a kind of overture to suggest the mood or spirit of the film as a whole” (214). The music throughout We Bought a Zoo provided this film with a spirit of hope which is why I never felt as an audience member the characters would not overcome their hardships.

            I found one particular part in the movie where the music blended spectacularly with the scene to fit the film’s mood. The lead role, played by Matt Damon, had just decided to put down a tiger at his zoo after trying to prolong the inevitable for a long time. He was now sitting on his kitchen floor and looking through pictures of his deceased wife on his computer. These were pictures he had not been able to look at since her passing, but it was now time for him to move along in the grieving process just as he had to by allowing the tiger to be put to sleep. As he browses through the picture Jόnsi’s song “Sinking Friendships” plays throughout the scene. The song helps to increasingly feed the emotions of the audience. Doing this can help to make the argument the movie is making more powerful (Lunsford 36). As Damon continues to stare at the pictures, they begin to come to life around him. As this happens there is a bright light which makes a glare on the screen. This is the point the music begins to hit its high point. Jόnsi has a higher pitched and almost angelic voice which draws the viewer into the movie powerfully as Damon imagines his deceased wife dancing around with his children on a family picnic. It helps to bring a mood of sadness yet a feeling of happiness at the same time. Damon is able to move forward in the grieving process by finally being able to look at these pictures, and there is now hope he is realizing his life is not over but simply beginning a new chapter. “Sinking Friendships” has the lyrics “No one knows you, till it’s over.” This furthers the argument the movie is making that hardships do not mean the end of your life. You will keep growing and learning until the day it is all over. 

           Throughout the movie We Bought a Zoo, the soundtrack accompanying the film helps to further the theme of the film; hope. This was especially shown during the scene in which the song “Sinking Friendships” plays. Due to its strong support of the film’s message, I give the soundtrack of We Bought a Zoo three out of three tickets.

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A Walk to Remeber (I Dare You to Move)

             Throughout my life I have always been a fan of music. It inspires me, embraces me, and moves me in a way I can’t explain. One of my favorite films of all time would be “A Walk to Remember”, starring Mandy Moore and Shane West. In the film, Jamie Sullivan (Many Moore) discloses that she has cancer and Landon Carter (Shane West) is forced to deal with the potential loss of a first love. Through trial and tribulation, he reaches out to his father, a well-known doctor in the area. The epic scene that drew me to tears was when Landon went to visit his father in the middle of the night and begged him to help out Jamie. His father said he would try his best, but there was not much he could do with the circumstances presented. Landon storms off in his Cobra back to his small hometown left with nothing but disappointment. He began to cry and Switchfoot cued…

        I felt his pain, aggravation, and helplessness. There was nothing he could do for the woman he fell so hard for. This song was clearly meant to appeal to the audience’s emotions and it truly made me feel what the character was going through at this moment. I believe Switchfoot’s, “I Dare You to Move” song in this moment was both for Landon and his father. This symbolism for his father, being a distant parent, was speaking to him saying I dare you to make a move and do something for someone that you normally wouldn’t. For Landon, it was I dare you to move and not give up on hope. It was motivational because Landon does not know what will happen next, but he shouldn’t give up on hope. He should, “lift himself off the floor” and keep trudging along even though he feels like giving up. In my eyes, this scene proves that Landon loves Jamie and the dramatic, moving song only enhanced the sadness and sympathy that I felt for him.

            Film composer, Clint Mansell, who has been credited for connecting the spirit with the themes of movies, feels that the success of a story has to with the “human connection”. He believes that the music should “give off the basic feelings of what it is to be human” (Daily Variety). In this scene, I began to feel what Landon and his father must have been feeling in this moment. The tone and lyrics drove me to further understand the confusion, sadness, and hurt that the characters were feeling and the cue of a simple song lead me to tears. I was able to put myself in their shoes and imagine what it must feel like to be helpless in an uncontrollable situation. Like the rest of the soundtrack, this song was the perfect choice. It appealed to my emotions and did something that just a common dialogue could not have.

Django and Hildi's Love Made Real Through Music

       Hey everyone! Time for another blog post. This week, I am going to be talking about the power of  music in film. Have you ever thought of what it would be like if a movie scene had different music playing, or none at all? Think of the classic shower scene in Hitchcock's Psycho. The violent, shrill strings have become the stereotypical horror film sound effect. What if in its place there had been nothing? The effect on the viewer would have been a lot different. According to Louis Giannetti in "Understanding Movies," music can "suggest the mood or spirit of the film as a whole" (214). Someone who I have always felt does a great job selecting the right music for the rights moments is Quentin Tarantino. In his latest film, Django Unchained, a freed slave named Django is on a mission to rescue his wife, Hildi. The scenes depicting their relationship do an astonishing job at evoking emotion (aka ethos) in the viewer.I am going to break one of these scenes, and its music, down for you all today.

     
       Above, is one of my favorite scenes in the movie. In it, Django has just hunted down some of the men who had abused him and his wife when he used to be a slave, and he is having flashbacks before killing them.  When I first saw this scene, the music really hit me right in the feels. It made me want to root for Django in his pursuit of Hildi. The song playing is "Freedom" by Anthony Hamilton and Elayna Boynton. The tambourine in the background is reminiscent of slave chains, and it really helps make the scene feel real. The song, combined with the cracking of the slave driver's whip, sucks the viewer in with its realism. This is an appeal to one's ethos, because the realism adds credibility. By doing so, it forces the viewer to become emotionally invested in the film. Giannetti also explains that music can suggest ethnicity, or different types of people (214). The slave chain-esque tambourine is a great example of this.
       Now for how I rate this scene. I honestly have to give it three tickets. It does such a great job alongside Django's flashbacks, and his cries for "freedom," that it completely deserves it. In the context of the film, it really makes the viewer care about Django and Hildi's relationship. 

Have a good one ladies and gents,

Alex

O'Brother Where Art Thou

O Brother Where Art Thou

1/31/13

http://youtu.be/dY5v9tt62IY

Film would be nothing music. Ginnaetti writes that “Music can serve as a kind of overture to suggest the mood or spirit of the film as a whole” (Giannetti 213). Music can tap into an audience’s emotion (pathos) but also can affect our perceptions of the particular scene (ethos). One of my favorite examples is a scene pulled from the classic George Clooney film: O’brother Where art Thou. While this film is not a musical, music plays a huge role in advancing the plot and creating character development.

The iconic song is “(I am a ) Man of Constant Sorrow” which is a traditional tune that has a country/bluegrass feel to it. This not only fits well with the characters, as they are all backcountry southerners, but also somehow matches what is being seen on screen. When I hear the song, I can just imagine old time, sepia tinted film reels, chronicling the slapstick adventures of down on their luck rascals. Not only this song, but all the background music is folk tinged traditional country bluegrass that just really helps set a mood for the time period and mood of the film.  It is upbeat, yet simple; perfect music to match the characters and the adventure that they go on. The lyrics clearly reflects the clash of upbeat music to sad lyrics, and this parallel the story, for it is at heart a comedy, but has a serious side (as it is based on Homers Odyssey).  

However, the most interesting scene that utilizes music to its fullest ability is no doubt a scene where our heroes are being seduced by sirens. the men come across 2 women bathing in the stream and singing “Didn’t leave nobody but the baby”. This piece of music is performed by Alison Krauss and has a haunting country feel to it. Because of Krauss’s recognizable performance style, the accompanying ethos of gives the audience an immediate sense that something is out of sorts.  The lyrcics and melodys themselves are hypnotizing and when sung in the tight, acapella harmonies of the 3 sirens creates a soothing and peaceful mood. However, the interesting part about this scene is that to the audience, it is clear that these women are here to seduce the protagonists and are up to no good. Anyone that sings “Come and lay your bomes on the alabaster stones” strikes me as someone that you’d want to give some space, but what do I know. Our heroes are caught in the music spell of the sirens, lacking the perspective of the audience. Lunsford describes “We all make decisions… based on our feelings “(Lunsford 30) and our feelings (pathos) are so easily manipulated by just the right music choice. This particular scene, I believe, deserves 3 tickets because of the instrumental role that the music plays (no pun intended). The music itself moves the plot along, creates tension between characters (therefore fostering character development), and gives the audience mixed feelings. It’s these mixed feelings of soothing calm and building creepy suspense that earn this scene its 3 tickets.  

The use of music in this film, and particularly in the scene with the sirens, adds dimension and emotion to the film O’Brother Where Art Thou and creates a truly awesome soundtrack to go with it.

The Breakfast Club: "Don't You (Forget About Me)"

            The final scene of The Breakfast Club is by far one of the most compelling scenes in the movie and cinematic history. Though five kids attend the same high school, they are forced to embrace their final goodbyes with one another. This is because society, friends, and peers deem their acquaintances with each other unacceptable.

The Breakfast Club’s atmosphere is composed of a pathos that’s experienced by the main characters, shared by audiences and enhanced by the theme song “Don’t You (Forget About Me)” by Simple Minds. Emotions begin to run high as the rat pack leaves the school. The departure of Andrew Clark (Emilio Estevez), the athlete, and Allison Reynolds (Ally Sheedy), the basket case, is a beautiful embrace. Andrew and Allison's last moment together is embracing their first and last kiss as their final goodbye.  As their lips touch, the lyrics “Tell me your troubles and doubts, giving me everything inside and out,” are resonated. According to Andrea Lunsford's Everything’s an Argument, “…use emotions to connect…assure them that you understand their experiences,” (33). Throughout the movie, each character is able to connect with one another as they share their troubles with school, life, and at home; they are issues they could never share with anyone else. With high school, everyone knows the pains and emotions that are created from the caste system know as “cliques”. Once you’re in one, contact is very limited with those outside your group, and even then, you can feel more alone than ever.

In Understanding Movies, Louis Giannetti claims, “…many musicians have complained that images tend to rob music of its ambiguity by anchoring musical tones to specific ideas and emotions,” (33). This is definitely not the case at all; in fact, it’s the complete opposite! When John Bender (Judd Nelson), the criminal, and Claire Standish (Molly Ringwald), the princess, say goodbye, they must retreat back to their respective ends of the social spectrum. After they kiss and Claire drives away with her father, Simple Minds echoes, “Will you stand above me? Look my way never love me? Will you recognize me? Call my name or walk on by?” Deep down, each character wants to break down the barriers that are set up by society and forget what other people think. Unfortunately, that’s the kicker as well; what would their friends think? What would happen to their reputations? As Brian (Anthony Michael Hall), the brain, says in his letter, “You see us as you want to see us, in the simplest terms and the most convenient definitions.” Nothing sucks more than not being able to be with someone, let alone be seen talking to, just because society and its peers hold others up to such high and restricting expectations. All people, regardless of age, gender, or social group, know the pain and sense of being alone.

            The most powerful lyric is delivered in the final minutes of The Breakfast Club. As Allison takes Andrew’s varsity patch, and Claire gives John her earring, the most simple lyric is repeated for both occurrences, “Don’t you forget about me.” Even though they are restricted from making contact, there are no limitations to their memories. When Simple Minds starts back up, John is walking across the football field, and his final act is thrusting his fist in the air. For that one Saturday, they were able to break the barriers of society; they didn’t just serve a detention sentence, they achieved a victory. “Don’t You (Forget About Me)” by Simple Minds will forever be linked to The Breakfast Club. With such powerful lyrics, we can’t help to remember those who made and left an impact in our lives. It's best fitting as Brian ends his letter, “Does that answer your question? Sincerely yours, The Breakfast Club.”