Do Film Scores Necessarily Match Dialogue, Orchestral Music, and Gestures?

It is often mistakenly believed that film scores should harmonize dialogue, orchestral music, and gestures. However, for the majority of scenes in live-action feature films, this is not the case. Film composers might have tried to match these elements in early silent film or in some specific scenes, but in contemporary filmmaking, the approach has evolved.

Matching Film Gestures in Animation

The concept of non-matching music is more prevalent in animated films where cartoony elements are a regular occurrence. In such cases, the music is often synchronized with the actions of the characters, creating a Mickey Mousing effect. This approach is intended to enhance the comedic and visual appeal of the scenes, making the audience more engaged.

The Evolution of Film Music in Live Action Films

As Hollywood shifted into the era of talkies, composers began to understand the significance of a more subtle and nuanced approach to film music. Unlike the constant soundscapes of silent films, live-action films required a more strategic and less intrusive use of music. Hollywood realized that less is more when it came to the integration of music into spoken dialogue.

Some composers might have held onto the traditional approach from their operatic backgrounds, where music often dominated the scene. Notable examples include Max Steiner and Erich Wolfgang Korngold, both of whom were trained in opera and initially struggled to adapt to the evolving needs of film scoring. Steiner, in particular, is often cited as one of the pioneers in film music, yet his early work still showcased the transition period in adapting to live-action films.

Max Steiner's Early and Later Career

Comparing some of Max Steiner's earlier film scores with his later works provides a fascinating insight into the evolution of film music. For instance, in Gone with the Wind (GWTW), there are instances where Steiner's music seems to mirror the physical motions of the characters, such as the scene where Scarlett O'Hara rushes up or falls down the grand red-plush staircase.

Indeed, actress Bette Davis, known for her dramatic performances, reportedly showed curiosity about such musical interplay. Davis allegedly asked her director in the film Dark Victory about the reason for the sweeping chromatic scales during her scene, expressing her desire to know if the music was meant to underscore her actions or if it was simply fulfilling the traditional compositional expectations. This question highlights the interesting tension between the visual and aural elements in film, challenging the traditional music dialogue in much the same way as the interaction between sound and image in cinema.

Conclusion

While there are still instances where film scores may need to match dialogue, orchestral music, or gestures, especially in animation or—in rare cases—moments of intense emotional connection, the general approach has shifted towards a more versatile and less intrusive use of music. This evolution has paved the way for more sophisticated and nuanced film scores, broadening the scope of storytelling in modern cinema.

For film enthusiasts and professionals alike, understanding this historical transition offers valuable insights into the art and craft of film music. It allows us to appreciate the nuances and complexities that contribute to the rich tapestry of cinematic expression.