music
Soundtracks are often not given enough credit in the film world, from us as critics and film lovers, but they have a stronger effect on the audience than you’d think. I have found that those pivotal goose bump moments occur when the music over the image is perfectly fitting; culturally and emotionally, allowing us to feel more involved with the movie. Since soundtracks aren’t often conversed I thought I would shine a light on the under-discussed element of which soundtracks really absorb you into the film and make you feel like you’re fighting alongside Jack Sparrow on the Black Pearl, or you’re beating up Edward Norton in Fight Club.
A predominantly accelerated 15-year-old called William Miller (Patrick Fugit) is embarrassingly out of sync with his snarling high-school mates. His mother Elaine (Frances McDormand) is an English teacher who worries about William’s influences and invites rowdy laughter from his classmates when she shouts, “Don’t take drugs!” to him while dropping him off.
Guardians of the Galaxy broke records this year when its soundtrack reached number one, making it the first soundtrack in history to reach number one with no new songs on the album. This got me thinking about great soundtracks and the use of popular music versus composition. There’s a time and a place for both, and sometimes a time for none.
Last weekend I attended a screening of Jim Jarmusch’s latest production, Only Lovers Left Alive, at the Luna Leederville Cinema here in Perth (which, by the way, is a beautiful original 20’s art deco cinema). While I’ve only seen two of Jim Jarmusch’s movies (Coffee and Cigarettes and Dead Man), Only Lovers Left Alive has Jarmusch’s distinctly recognizable style: it’s dark, pretty, it’s gritty, and very witty (how’s that for rhyming?
In this installment of How to Analyze Movies we discuss the importance of lighting, sound and score, and how you should analyze them.