The Magic of Classical Film Music: A Deep Dive with Max Steiner

speaker1

Welcome, everyone, to our podcast where we dive deep into the magic of classical film music. I’m your host, and today we’re joined by my co-host, who’s just as passionate about film as I am. We’re going to explore the principles that make film music so effective, and we’ll focus on the pioneering work of Max Steiner. So, let’s get started!

speaker2

Hi there! I’m so excited to be here. I’ve always been fascinated by how music can enhance a film’s emotional impact. Can you start by explaining what you mean by the ‘invisibility’ of film music?

speaker1

Absolutely! The principle of invisibility in film music means that the technical apparatus of the music, like the orchestra and microphones, should not be visible on screen. It’s about maintaining the illusion of the film’s world. For example, in King Kong, when the adventurers first approach Skull Island, the music fades in subtly, drawing us into the mysterious and dangerous environment without drawing attention to itself. This helps the audience feel like they’re really there, experiencing the story firsthand.

speaker2

That’s really interesting. How does this differ from, say, a musical where the music is part of the story? And what about films where the music is intentionally visible, like in a concert scene?

speaker1

Great question! In a musical, the music is diegetic—it’s part of the story world. The characters are aware of it, and it’s performed by them. However, in a classical film, the music is usually nondiegetic, meaning it’s not part of the story world. It’s there to enhance the emotional and narrative elements without breaking the fourth wall. Exceptions, like in a concert scene, are used to create a different kind of realism or to play with the audience’s expectations.

speaker2

I see. So, what about the principle of ‘inaudibility’? How does that work in practice?

speaker1

The principle of inaudibility means that the music should not be consciously heard by the audience. It should support the narrative and emotional elements without overshadowing them. For example, in a dialogue-heavy scene, the music will be mixed to be softer, ensuring that the dialogue remains clear. This is achieved through techniques like the ‘up-and-downer,’ a device that automatically lowers the volume of the music when dialogue is present.

speaker2

That’s fascinating! So, the music is always there, but it’s just not supposed to draw attention to itself. How does this affect the composer’s approach to writing the score?

speaker1

Exactly! Composers have to create music that is flexible and can be adapted to the final cut of the film. They often write in short phrases and use techniques like sequential progressions, where each restatement of a motif starts a step higher. This builds tension and can be easily adjusted if the film’s editing changes. Max Steiner was a master of this, especially in films like King Kong, where the music had to be both flexible and emotionally impactful.

speaker2

Wow, that’s really detailed. Moving on, how does film music function as an emotional signifier? Can you give us some examples?

speaker1

Certainly! Music in classical cinema is a powerful tool for conveying emotion. For instance, in King Kong, the music helps to build suspense and tension when the adventurers first encounter the island. The use of low, ominous tones and repetitive motifs creates a sense of danger and the unknown. On the other hand, when Jack and Ann share a romantic moment, the music becomes softer and more melodic, enhancing the romantic atmosphere. This emotional signification helps the audience connect more deeply with the characters and the story.

speaker2

That’s really cool. How does this emotional signification differ between genres, like a horror film versus a romantic comedy?

speaker1

Great point! In a horror film, the music often uses dissonant harmonies, low-pitched instruments, and sudden changes to create a sense of unease and fear. In a romantic comedy, the music is typically more melodic and light-hearted, using instruments like strings and woodwinds to create a warm, joyful atmosphere. The emotional signifiers are tailored to the genre, helping to reinforce the mood and tone of the film.

speaker2

That makes a lot of sense. What about narrative cueing? How does music help to guide the audience through the story?

speaker1

Narrative cueing is a crucial aspect of film music. It helps to mark the beginning and end of scenes, provide transitions, and set the mood. For example, the opening and closing music of a film often establishes the genre and sets the tone. In King Kong, the opening music introduces the exotic and dangerous world of the film, while the closing music provides a sense of closure. Music can also cue the audience to important narrative events, like a character’s epiphany or a plot twist, by using specific themes or motifs.

speaker2

That’s really interesting. How does Max Steiner’s work in Of Human Bondage illustrate this?

speaker1

In Of Human Bondage, Steiner uses music to create a strong emotional connection with the character Philip Carey. The waltz theme associated with Mildred, the object of Philip’s obsession, is used to illustrate his subjective experience. When Philip is lost in thought about Mildred, the music becomes more reverberant and dreamlike, emphasizing his emotional state. This technique helps to deepen the audience’s understanding of Philip’s inner world and his complex relationship with Mildred.

speaker2

That’s a great example. How does music contribute to continuity and unity in a film score?

speaker1

Music plays a vital role in creating continuity and unity. It smooths over transitions between scenes and segments, helping to maintain a seamless flow. For example, in The Big Sleep, the music bridges the gap between Marlowe leaving the Sternwood mansion and arriving at the library. The continuous music helps to maintain the narrative momentum and connects the different locations. Thematic unity is also important, with recurring motifs and tonal relationships reinforcing the film’s overall structure and emotional arc.

speaker2

That’s really insightful. How did Max Steiner’s compositional techniques contribute to this unity?

speaker1

Max Steiner was a pioneer in using thematic material to create unity. After watching the rough cut of a film, he would develop principal motifs for the characters and key ideas. These motifs would then be woven throughout the score, creating a cohesive and emotionally resonant musical narrative. For instance, in Gone with the Wind, the Tara theme represents Scarlett’s connection to her family home, and it recurs throughout the film, reinforcing the story’s themes of loss and resilience.

speaker2

That’s really fascinating. How have these principles evolved in modern film music?

speaker1

They’ve certainly evolved, but the core principles remain influential. Modern composers still use music to enhance the emotional and narrative elements of a film, but they often experiment with different styles and techniques. For example, the use of electronic music and atonal compositions has become more common, reflecting the changing nature of storytelling and audience expectations. However, the fundamental idea of using music to support the film’s narrative and emotional impact remains a cornerstone of film scoring.

speaker2

That’s a great way to wrap it up. Thanks so much for this deep dive into the world of classical film music and Max Steiner. It’s been a real treat!

speaker1

Thank you for joining us! We hope you’ve enjoyed this exploration of the magic of film music. Stay tuned for more episodes where we’ll dive into other fascinating aspects of cinema. Until next time, keep enjoying the movies and the music that brings them to life!