Synergy of music and drama

Recently, I watched again with relish Carol Reed’s “The Third Man,” the 1949 screen classic made more memorable by its theme song. You can’t forget it, because once you hear it, it remains in your consciousness.

The production’s locale was historic Vienna, a grand city in ruins after World War II. It was interesting to see the contrast between grandeur and destruction at a time when everyone had seemingly been turned into a black marketer – the result of a beastly war, in which no one was a victor.

In the movie, an American writer (Joseph Cotten) comes to Vienna upon the invitation of an old friend (Orson Welles) – only to learn that his friend has died under mysterious circumstances!

Aftermath

So, Cotten tries to find out why and how. There seems to be a “third” man in the last few minutes of the life of his friend, whose lover (Alida Valli) also suffers from the aftermath of war. It doesn’t help that she comes from the wrong side of the tracks and carries fake documents. And, as Cotten digs deeper, the more mysterious the scenario becomes! The theme song aptly supports this increasing suspense.

Last week, I also rewatched “Cinema Paradiso,” with Ennio Morricone’s music poignantly heightening the film’s drama at every turn. Its touchingly identifiable theme is one of my favorite tunes ever.

Instructively, both tunes do not overpower the stories’ innate drama. Instead, they further heighten the movie’s warmth and intimacy, and don’t interfere with viewers’ appreciation for the films’ visual elements. Film is an audio-visual experience, so one aspect of it shouldn’t overpower the others – achieving a synergy of music and drama!

“Gone With The Wind” is another iconic movie whose soaring music is memorable. It no doubt enhanced the Oscar-cited performances of Clark Gable, Vivien Leigh, Olivia de Havilland and Hattie McDaniel. And, “Tara’s Theme” remains a classic to this day!