How film music can lead or mislead us in murder mysteries
“The conventional narrative film constructs a diegesis- a story world, a place of action.” Claudia Gorbman in her book, Unheard Melodies, describes the role of music in films, how the music can act as a narrator and can dramatize a scene. Gorbman introduces the concept of a “narrational cue” which helps shape the audience’s interpretation of the narrative. The basic form of film music is the “cue” which can last from a few seconds to several minutes. Film music cues can inform—”cue—” the viewer about the plot, characters, and other elements of the story. In short, film music cues can serve as clues. Sometimes, however, asin cases of murder mysteries, the musical cues can be used against the audience, as a tactic to mislead them from discovering too early on who the murderer is.
In the cinematic realm, music acts as a silent maestro: guiding the audience through the emotions of different scenes, making it easier for the narrator to tell their story. But nowhere is this symbiotic relationship more captivating than in murder mysteries where each note and chord acts as a secret passage leading to suspense, drama, mystery, and unexpected revelations. Gorbman talks about the semiotics of music and how it functions as a semiotic system within the context of cinema: signifying emotions, themes, and narrative elements. Knives Out is a 2019 American mystery film written and directed by Rian Johnson. Daniel Craig leads an eleven-actor ensemble cast as Benoit Blanc, famed private detective summoned to investigate the death of bestselling author Harlan Thrombey. When police rule Harlan’s case a suicide, Blanc suspects foul play and examines a host of clues and dubious red herrings to ascertain his true manner of death. It is a testament to the power of music in film where composer Nathan Johnson has created a symphony of sounds that weaves seamlessly into the cloth of this whodunit.
As the movie begins, and the first few notes of the music are heard, the audience is immediately drawn into the Knives Out multiverse. The opening scene of the movie is a perfect example as it is in a minor key which builds suspenseful tones adding to the suspense of the discovery of the body. The music acts as a clue as suggesting the fact that something bad has happened due to its tone and the key to which the piece is played. Johnson’s score is like a delicate dance between traditional orchestral elements and modern nuances which holds the audiences’ intrigue. The music in this movie often acts as an orchestrator of tension. As the plot thickens and new facts are discovered by the detective, played by Daniel Craig, the music matches and escalates in harmony too. Gorbman talks about how music acts as a signifier of emotion: where it can set certain moods and place emphasis on particular emotions that are suggested in the narrative.
The subtle strings which are interrupted by brief moments of silence act as musical punctuation marks, keeping the audience sitting at the edge of their seat eagerly waiting for what’s to come next. It’s a calculated maneuver taken by the composer, where the music mirrors the characters’ urgency and uncertainty, creating an aura of tension that keeps the audience focused on the heavily dramatic mystery. The dynamics of the music play a key role: a sudden crescendo or a jarring chord—a so-called “stinger”— serves as indication of a turning point in the narrative. “The goal of ‘classical’ scoring” Gorbman writes, is “to place the auditor’s ears in a subject position harmonious with the spectator’s eyes: to create a unified phantasmatic body of identification, a heightened for-me-ness for the regressive ego.” She talks about how classical film scoring aims to make the audience feel more connected with what they see on the screen by providing a shared fantasy or mental image between the audience and what’s happening on the screen in front of them. Through these musical experiences, Johnson ensures that the audience is not also watching, but they feel the heartbeat of the mystery, enabling the audience to also feel emotionally connected to the movie and the characters feel the emotions the characters feel with them.
Each member of the family talks to the detective, exposing their side of the story, during which there is suspenseful music playing in the background adding fuel to the fire, as do the clues given by each family member to the detectives. According to Gorbman, Wagnerian technique of using leitmotifs or recurring themes allows the composer to associate music with a certain character, situation, or place. Such a theme or motif may have a fixed designation, or it can evolve and grow to contribute to the dynamic flow of the narrative. The piano may underscore the sophistication of one character, while there are electronic elements that hint at the mysteries surrounding another. Johnson is excellent at linking specific musical motifs with individual characters which provides the audience with a more in-depth peek into the subtleties underlying their identity, motivation, and emotion. This results in a symphony of personalities where the music turns into a language which speaks volumes about the characters and their relationship with the other characters in the movie.
While the music in Knives Out plays a leading role in creating drama, it is also subtle, allowing other elements to shine. During moments of dialogue or introspection, the score gracefully decrescendos, letting the characters’ words and actions take center stage. This delicate balance ensures that the music never overwhelms but enhances the cinematic experience, allowing silence to speak as loudly as the notes themselves. The subtlety extends to the use of leitmotifs — recurring musical themes associated with characters or ideas. These motifs weave in and out of the score, reinforcing connections between characters and storylines. Johnson’s approach adds an extra layer of engagement for viewers, creating a musical trail that enhances the overall viewing experience.
As the plot unfolds, the music steps forward as a narrative guide, directing attention to pivotal story beats. Be it the unearthing of a critical clue, a heated confrontation, or the unmasking of the culprit, the score accentuates these moments, shaping the emotional contours of the drama. The film’s climax is a testament to the marriage of music and storytelling. As Detective Blanc reveals the intricacies of the murder, the music reaches a crescendo, creating a climax that resonates with the audience. This elevates the storytelling, making each revelation not just visual but aural, leaving an imprint on the viewer’s memory.
Knives Out stands not just as a gripping murder mystery but as a testament to the collaboration between sight and sound. Johnson’s score emerges as a narrative companion, guiding audiences through a web of deceit, and unexpected twists. In the world of murder mysteries, where each note is a clue and every silence a revelation, Knives Out showcases how film music can elevate a cinematic experience into a symphony of suspense and brilliance. In this modern whodunit, where every sound is a clue waiting to be deciphered, Knives Out stands as a shining example of how film music can transform storytelling into an art form that resonates long after the credits roll.