By Anmol Titoria
Film scores have defined our moviegoing experiences for decades. They have altered, manipulated, distorted, uplifted, haunted and underlined our perception of a particular work of cinematic art countless times.
Would the fantasy of Harry Potter grow and get darker and richer, while preserving the childish whimsy and charm without John Williams’s brilliant score for “Prisoner of Azkaban”? Would the moral and principled Marge Gunderson hold half the allure she does in Joel Coen’s dark comedy “Fargo” without the staggering, lamenting cords of Carter Burwell’s serene score? Would either “Blade Runner” or “Chariots of Fire” succeed without Vangelis’s shaded ambiguity in the former and the swooning patriotism in the latter?
Composition of scores began as an exercise to embellish and decorate film, it was done in want of something to annotate the text without reducing its importance. It was lively, efficient, and in rare instances, melodious too. But it never existed as a part of a film’s narrative, as an inseparable element, defining its thematic intentions and charging its validity and relevance to accentuate the temporal qualities of a film. It was intentioned only to make the film more appealing as a source of entertainment, to add to its texture, but never become a part of that texture.
But as auteur filmmakers began to link sound with images and to realize how deeply significant scores can be to the experience of a film, and how singular ideas can be communicated in specific auditory terms, scores became what they should have been from the inception of sound in film: an incessant source of the effectiveness of the filmmaker’s ideas. They created auras around films, making them at once much more accessible and mysterious.
Ideas intended to communicate one thing, lead to a hundred-different interpretation, thanks to the experience of the score registering in varied
From:: Taste Of Cinema