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Igor Fyodorovich Stravinsky once compared film music to wallpaper. He said, \u2018Something very decorative that fills in cracks and smoothes down rough textures.\u2019<\/p>\n
But it is more than that as its use is almost unlimited. It can provoke tension as in horror or spy films; can introduce deep levels of irony, convey the sublime, can underline character. Grief, anger, lust, love, boredom can be highlighted far more tersely with it than dialogues. And if an actor is wide off the mark, it can give him\/her the necessary support to save his\/her face.<\/p>\n
It could be an orchestral arrangement playing in the background, a symphony, a song or simply total silence. Being a visual medium, without music, a film remains earthbound. It can fly high, very high, if the score, scores. The music becomes emblazoned in the audience\u2019s mind as any of the images.<\/p>\n
Be it a western like, The Magnificent Seven<\/em>, a war epic like, The Guns of Navarone<\/em>, the musical, My Fair Lady<\/em>, or the fantasy, Twenty Thousand Leagues Under the Sea<\/em>, the soundtracks help to define them. The finest film music also has a character of its own. Movie themes are played in departmental stores, film songs are performed in concert halls and weddings.<\/p>\n The Bridge on the River Kwai<\/em> (Pic: IMDb)<\/p><\/div>\n Some music pieces from films will never be forgotten. Recap the 1957, star studded memorable film, Bridge on the River Kwai<\/em> by David Lean. Composer (Sir) Malcolm Arnold who won the Oscar for its music had less than three weeks to write for the film. The soundtrack of the film is largely diegetic as in many tense, dramatic scenes, only the sounds of nature were used. The rustling of foliage, the echo of explosions, the sudden screaming of a bird, the sound of insects etc. But what holds the cinema fans most, is the whistling march by the POWs when they enter the camp.<\/p>\n The march tune, Colonel Bogey<\/em> was originally written in 1914 by British Bandmaster, Frederick J. Ricketts using a pseudonym, Kenneth J Alford. But it was the skilled work of Malcolm Arnold which made it world famous.<\/p>\n The whistlers, incidentally, were a piccolo and seventeen members of the Irish Guards who were not handpicked as they all knew Colonel Bogey. With whistling being a natural habit with most men, Arnold asked the Irish Guards to replace \u2018the dirty words\u2019 that were associated with Colonel Bogey, with the whistle. The piccolo was used to give them the pitch and the military band, Buckingham Palace style, earlier recorded, was fused in for grandeur. Today, the film is also remembered for its \u2018march\u2019 music \u2026\u2026 an all time popular score.<\/p>\n![\"music](\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2019\/04\/BRIDGE.jpg\")