Marshall Law
11 March 2016
Project #1: To Kill a Mockingbird (1962) Music in films before 1970 had a distinct purpose. In the film “To Kill a Mockingbird” the music highlights important material in the film. This music was utilized to enhance the emotion of the film. The musical score was under the direction of Elmer Bernstein, an outstanding musician responsible for many major film scores. This film was produced in 1962, just about the time where avant-garde music was well in effect. Elmer Bernstein implements these new techniques of dissonant harmonious, wide intervals and complex rhythms in his themes throughout the film. There are three points where he utilizes music in this film. He highlights characters, highlights transitions and highlights emotional scenes. Music is not played from beginning to end, as the music is accents key moments. There is no use of source music in this film, allowing all the music to be underscore. To Kill a Mockingbird (1962) is based off of the popular novel with the same name. The film follows the endeavors of two children, Scout and Jem, as well as their father, Atticus. Circulating the time of the Great Depression, this film emphasizes racial inequality. As the film develops, the plot reveals an important case dealing with the allegations of an African American man raping a white women. Tom Robinson, the man accused, is found guilty by the jury, only to suicide by cop. The man responsible for the allegations attacks Scout and Jem on their way home from a school production. To their rescue comes “Boo,” their neighbor down the street who they have terribly feared throughout the film. As the children recover and are returned home, the film approaches the end. In this film, music isn’t playing continuously throughout the movie. Music is only played during important moments of the film, supporting the purpose of the music. The first time the audience hears music is when Jem and Scout are telling the backstory of Boo to their new neighbor, Dil. In this moment, Jem says “wonder,” prompting an ascending whole tone scale. The whole tone scale is based off of the augmented chord. These tones promote the idea of wondering and thinking, as it has a dreamlike quality to its sound. This theme is to return throughout the film whenever the kids are fitting this description. One such moment is when Atticus is summoned to defend the cell of Tom Robinson, as he hears word of potential huntsman. Jem hears his father leaving, prompting his curiosity. The kids then follow him with the accompaniment of this theme. Jem and scout are accompanied with another theme as well. The whole tone melody accompanies their wandering minds, but their mischievous, playful endeavors are approached with a different sound. When the kids are playing, their theme is a western tune. This tune sounds like cowboys and the Wild West, which can be an allusion to Bernstein’s great work, “The Magnificent Seven.” This theme recurs when the kids are running out of the front door to go play in the neighborhood. In this film, music is utilized only to highlight a character, change a scene, and to heighten pathos. Aside from these moments, a large amount of the film goes without underscoring. Music is scarcely used in this film, implementing its importance. As Jem and Scout show Dil around the neighborhood, they make sure not to go near Boo’s house. Boo is an important character in the film is not shown until the end of the film, but his presence is always heard through his theme. Whenever the camera pans to his home, or whenever the kids are speaking of him, his theme plays. Boo’s theme consists of a childlike melody, twisted with dissonant sounds. The rhythms are playful, but the chords not. His theme is led by the piano accompanied by woodwind instruments. Boo’s theme was an important theme because it stayed true to him, until Jem and Scout learn more of him. As they learn more, his theme alters and is joined by new, rich harmonious consonance. This can be seen when Jem and Scout find gifts left fort them in knothole of the tee outside of Boo’s house. Jem stores this gifts and when he decides to show Scout, Boo’s theme plays. As his theme approaches the end, it takes a new twist and loses its ominous quality. This new style to his theme is heard when the kids find the gifts inside the knothole of the tree. When Boo’s father comes out to patch up the hole, the kids run away and are followed by their western theme. Along with the western theme and the augmented theme, Boo’s theme is the only other them in the music. The rest of the music that is heard in this film is used to highlight the emotional value of the film. Elmer Bernstein wrote music to heighten the emotions of certain scenes. One such is illustrated with the drunk accuser of Tom Robinson, Mr. Ewell, stumbling into Tom Robinson’s front yard and scaring the children. The music was heavy, loud and dissonant. The orchestra played heavy chords as Mr. Ewell walked closer to the children. As if with every step a pounding chord would follow. The same ominous, eerie music is present when Jem, Scout and Dil trespass onto Boo’s backyard and are chased out. No music is heard throughout the film in order to not distract from the plotline. During the intense court scene, music is not played until the scene is over. The scene was passionate on its own, not needing music. But, music quickly followed to allow the listener to relax and take ease after a very emotional segment in the film. Music in this film had an important role. The music was utilized to make the listener feel the emotions of this 1930s setting. The music brought life to the characters, making them distinct and accenting their significance. Elmer Bernstein’s film score of To Kill a Mockingbird demonstrates his attention to detail, as well as his compositional skills. This film captivated the audience through its controversial plot and significant sounds.