A
French writer and romantic poet, Alphonse de Lamartine (1790-1869), once said,
“Music is the language of the heart; it commences where speech ends” (par. 2). Imagine
Lamartine’s statement and how it applies to film. Picture the average film
critic. He/she watches a film and analyzes the camera shots, the costumes, the
actors and actresses, and most importantly, the dialogue and film script. Most
film critics may also pay attention to the musical score, but only after they
have looked through the script. In his 1971 film Walkabout, Nicolas Roeg challenges the traditional assumption that
a film should be centered on its script. Edward Bond, the screenwriter for Walkabout, wrote a script that was only
14 pages long. One might question where audience members are supposed to draw
the meaning of the film from if there is so little dialogue. If Lamartine was
alive today and saw Roeg’s film, he and I would argue the answer is heard in John
Barry’s musical score.
Through
the wistful and eerie melodies of Barry’s compositions, Walkabout tells the story of a young girl, played by Jenny Agutter,
and her loss of childhood innocence during her “walkabout” in the Australian
outback. In the words of Agutter herself, “John Barry’s score evokes perfectly
a sense of childhood yearning, a time gone forever” (Agutter 7). Additionally,
the titles of Barry’s compositions offer further support for the events that
occur in the film that ultimately lead to the death of the girl’s adolescence.
The songs communicate to the audience the film’s meaning through eliciting many
different emotions and moods. Courtesy of the City of Prague Philharmonic and
conductor Nic Raine, many of the musical elements can be analyzed to help with
a deeper understanding of the way the compositions contribute to the film’s
overall meaning.
The
young girl in this film, only 14 years old, has to cope with the suicide of her
insane father, and look after her younger brother as they are stranded and
struggling to survive in the Australian outback. John Barry’s titles for songs
coincide with the events that occur throughout the movie. For example, when the
two siblings are stranded by their father after he shoots at his son, puts a
gun to his head and lights their car on fire, Barry includes a song with a
fitting title: “Stranded.” This piece incorporates a melody in the lower range
of the flute, paired with jarring phrases coming from the horn section. It also
brings in short passages from the Stockhausen chorus. There are open chords within
the different voices that spark a sense of wonder and confusion among the
audience which match many of the same feelings that the two siblings are
experiencing. There is also a winding, stirring melody within the upper string
section and on vibes—with both hard and soft mallets—that gives the audience a
sense of tension and urgency. It plays after the father commits suicide and the
girl grabs items from their picnic while trying to distract her brother from
this dreadful sight. In this scene, the girl is forced to take control of the
situation and make split-second decisions. This is the first moment we see her
assuming a more responsible, “grown-up” role, since she protects her brother
from seeing their dead father next to a car engulfed in flames. She then
further assures him when he asks questions. For example, when he asks, “Do you
know where you’re going?,” she responds, “Yes, of course” (Roeg 00:17).
As
the film progresses, the girl is seen as more of a caretaker for her little
brother. When they decide to settle down for the night, she tries to stay
strong for her brother. She avoids his constant questioning, like “It’s getting
dark, isn’t it?” In response to the statement that they may stay in the outback
all night, the boy says, “But we didn’t bring any blankets.” His older sister
refuses to admit defeat and show how scared and unsure she may be in this
situation, so she responds “I don’t think I’m quite tired yet” (Roeg 00:13). When they finally start to
sleep, Barry includes a very unique song, “Night in the Outback.” In this,
there are instruments, specifically the flute, that mimic some of the animals
in the outback. There are passages when the flute is heard flutter tonguing,
and it sounds like a flying insect. The vibes also have a short, creeping melody
that is quiet and heard periodically, as if an animal or being is softly
walking through the shadows of the outback. Also in this composition, the Stockhausen
melodies travel in half steps, where the music sounds like it is building,
creating yet again, a sense of tension and uneasiness as the two siblings are seen
sleeping alone in the outback. The scene that Barry’s music sets along with
Roeg’s camera shots of the girl throwing the can down the rocks, and the
close-ups of each of the siblings faces while in the dark outback conveys to
the audience the ability of the girl to simultaneously adapt to a different
environment and look after her brother.
Further
into the movie, the two siblings are shown walking through the outback, in the
scorching sun, past wide open spaces and over huge sand dunes. In this montage,
Barry plays “Survival Test” and “The Journey,” where many triumphant, yet
melancholy, horn melodies can be heard. What is also remarkable about this song
is the combination of African drums and busy background music in the melodic
instruments. This rhythmic ostinato within sections of this piece conveys a
sense of determination among the two siblings to get back to civilization as
they blindly navigate the outback. This will to return home is especially seen
within the girl. She urges her little brother to keep walking and opts to give
him piggy-back rides when he complains of being tired. The bustling instruments
in the background, I believe, serve as a symbol of her unending thoughts and
worries related to reaching civilization again. Throughout the movie, even when
the two siblings meet the Aboriginal boy, the girl is consistently adamant
about finding a way back home. She even goes so far as to reject an emotional
or sexual relationship with the boy, so that, when the time comes, she can
swiftly exit the outback and re-assimilate into the “cultured” world without
worrying what she has left behind.
This
brings me to another one of Barry’s works. This key composition plays during a
defining moment for the girl. In John Kenneth Muir’s critique of Walkabout, he references the “unspoken—and forbidden—romantic love,” the Aboriginal
boy develops for the girl (Muir par. 13). The Aborigine boy approaches the girl
while she is shirtless and performs a fertility dance, or dance of courtship.
Barry’s music, “The Deserted Settlement/The Final Dance,” plays behind the
dance, which lasts overnight. There are many minor intervals in the beginning,
which then lead into a mesmerizing flute solo. As the song progresses, it is
difficult to tell what time signature the piece is in. There are two competing
melodies happening, and it is unclear which is supposed to be dominant. Additionally,
there is a didgeridoo in the background playing a floating melody.
I
took this competition of melodies and the didgeridoo as showing the difference
in Aboriginal and English culture, and how the girl is not mature enough to
appreciate a culture different from hers. The girl is confused, and possibly
frightened, as to why the boy has his face painted and is performing this very
long dance outside the abandoned house they are in. Here, she gets an even more
intimate experience with the Aboriginal culture. While she is baffled by the
boy’s actions, what she does after the dance, subtly shows her appreciation of
the boy. As Muir states, “when the
lovestruck Aborigine launches into a courtship dance before the
English girl, she coolly and silently rejects him,” which leads to his
suicide (Muir par. 14). As the two siblings find the boy hanging from a tree,
the girl kindly brushes off an insect from his chest, and they continue on
their way to the road they had heard about in pursuit of civilized beings. This
act of brushing away the bug is small, but compared to when she was constantly
rejecting the boy before his death, her action shows some maturity and
appreciation for him and his culture. This reentry into the civil world may
seem abrupt because the siblings leave the Aboriginal boy hanging from a tree
and don’t seem to give it a second thought. However, years later, Roeg shows us
the girl reflecting back on her experience.
As the girl, now much more grown up and a married woman, has a conversation with her businessman husband who has just come home from work, her thoughts wander back to her time in the outback. The film cuts to a scene where she is seen with the Aboriginal boy, and her younger brother; they are all swimming. They appear very content, and have meaningful, yet playful interactions with each other. As the girl thinks back to a time where her life was much simpler and she was blissfully innocent, John Barry’s main musical theme for Walkabout is played. The melody in the strings and winds cascades over the rich chords in the low brass and the dinky, neat harpsichord chord progression. This main theme beautifully captures the nostalgic feeling that the girl experiences as she looks back on the time the trio swam together. The huge interval jumps and non-linear pattern that Barry chooses for the melody furthers Roeg’s point that the girl’s experience on her walkabout was the start of her losing her innocence. As the main theme plays yet again, for the third or fourth time since the beginning of the movie, the audience can conclude that Barry and Roeg want to reinforce this childhood yearning through repetition of this theme.
As the girl, now much more grown up and a married woman, has a conversation with her businessman husband who has just come home from work, her thoughts wander back to her time in the outback. The film cuts to a scene where she is seen with the Aboriginal boy, and her younger brother; they are all swimming. They appear very content, and have meaningful, yet playful interactions with each other. As the girl thinks back to a time where her life was much simpler and she was blissfully innocent, John Barry’s main musical theme for Walkabout is played. The melody in the strings and winds cascades over the rich chords in the low brass and the dinky, neat harpsichord chord progression. This main theme beautifully captures the nostalgic feeling that the girl experiences as she looks back on the time the trio swam together. The huge interval jumps and non-linear pattern that Barry chooses for the melody furthers Roeg’s point that the girl’s experience on her walkabout was the start of her losing her innocence. As the main theme plays yet again, for the third or fourth time since the beginning of the movie, the audience can conclude that Barry and Roeg want to reinforce this childhood yearning through repetition of this theme.
John Barry’s score plays a crucial in Nicolas
Roeg’s Walkabout, since much of the
meaning of the film cannot, alone, be drawn from the sparse dialogue. Only
through a close analysis of Barry’s compositions, in part with Bond’s storyline
and Roeg’s purposeful style, does the audience understand that the film is
about a loss of the girl’s innocence on her walkabout. Barry’s music conveys
those nostalgic and yearning feelings for childhood through artful
orchestration, and hypnotic melodies that push and pull the audience’s emotions.
Additionally, the angelic voices of Stockhausen remind both the characters in the
film and the viewers that the film deals with the issue of the death of a
girl’s adolescence; a meaning that is bigger than the script and is obtained
from much more than actors reciting words written on paper.
Works
Cited
Agutter, Jenny.
"Walkabout." Jenny Agutter: Memories of Walkabout. Jenny Agutter, 21
Sept. 2015. Web. 09 Mar. 2016.
"Alphonse De
Lamartine." Wikipedia. Wikimedia Foundation, 31 Jan. 2016. Web. 09 Mar.
2016.
Muir, John Kenneth.
"John Kenneth Muir's Reflections on Cult Movies and Classic TV" : CULT MOVIE REVIEW: Walkabout (1971).
Blogger.com, 15 Jan. 2011. Web. 29 Feb. 2016.
"Music Quotes and
Sayings." Music Quotes and Sayings. Quote Garden, 05 Mar. 2016. Web. 09
Mar.
2016.
Ruhlmann, William.
"AllMusic Review." AllMusic. AllMusic, 2016. Web. 02 Mar. 2016.
Roeg, Nicolas. Walkabout. Perf. Jenny Agutter, David
Gulpilil, and Luc Roeg. Twentieth Century
Fox, 1971. Film.
"Soundtracks."
IMDb. IMDb.com, n.d. Web. 02 Mar. 2016.
"Walkabout."
IMDb. IMDb.com, n.d. Web. 01 Mar. 2016.
"WALKABOUT."
YouTube. YouTube: City of Prague Philharmonic, 08 Nov. 2014. Web. 06 Mar. 2016.
"Walkabout |
Research (1971)." YouTube.
YouTube: Avid Films, 10 Jan. 2016. Web. 16 Feb. 2016.
Musical
Terminology for the Musically Uneducated: An “if-needed” Supplement to “Music as the Language of the Heart and Savior of
Speech”
Open
chords: The structure of chords depends on the style of
music—i.e. jazz or classical—but the basic form is the root of the chord (do),
the third (mi), and the fifth (sol), and sometimes the seventh or ninth if
you’re playing jazz. Basic open chords may consist of just the root and fifth,
leaving an uneasy and empty feeling when heard.
Upper
string section: constitutes the first and second violin,
and it could be argued the violas (but in the music world, everyone hates on
the viola.)
Vibes:
The
vibraphone. It is a percussion instrument with two rows of metal bars each
tuned and set to a specific pitch. It is set up much like a piano, and when hit
with mallets, creates a vibrating sound.
Hard
vs. Soft mallets: Hard mallets have a much “harder” or more
alarming timber, since they are typically made of out hard materials like hard
plastic, or wood. Soft mallets are also used on vibraphones or marimbas, and have
a much “softer” tone. They usually are made out of rubber or other soft
materials that will bounce easily on the metal and vibrate well.
Flutter
tonguing: Typically used by flute players, it is an act of
blowing air as normal when playing, but instead of tonguing normally, the
musician “rolls” their R’s or flutters their tongue. Barry most likely uses
this technique so that is creates an illusion of a flying insect.
Half
steps: A half steps constitutes, for example, moving from a
white key to a black key on the piano, or moving up from a C to a C# or down
that way. A half step is also heard in the Jaws theme.
Ostinato:
a
motif or phrase that persistently repeats in the same musical style (i.e. same
rhythm, voice or pitch.)
Minor:
Opposite
of major; these intervals and keys are not pleasant sounding. They sound
crunchy, tense, or sad.
Time
signature: Tells the meter the song is in (triple or
duple), and how many beats per measure there are. A time signature is set up
like a fraction; the top number tells how many beats are in each measure, and
the bottom number tells what kind of note gets the beat. For example, common
time or 4/4 time, means that there are 4 beats in every measure, and the
quarter note gets the beat.
Harpsichord:
An
instrument that is almost like a piano, but when a key is pressed, a string is
plucked. It creates this very harsh tone. This instrument was used a lot in the
Baroque period (approx. 1600-1750).
Interval:
An
interval refers to the amount of distance between notes. If we look at a scale,
the distance between the first note of the scale and the last note is an octave
(a Perfect 8th). The distance between the first and second note is a
2nd, between the first and fifth note would be a 5th,
between the first and seventh note would be a 7th, and so on and so
forth. Intervals come in the form of perfect (unisons, fifths and octaves),
major and minor, or augmented (the distance made bigger between the notes) or
diminished (the distance made smaller between notes).
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