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| Scene from 12 Years a Slave |
Welcome to a weekly column called Theory Thursdays, which will be released every Thursday and discuss my "controversial opinion" related to something relative to the week of release. Sometimes it will be birthdays while others is current events or a new film release. Whatever the case may be, this is a personal defense for why I disagree with the general opinion and hope to convince you of the same. While I don't expect you to be on my side, I do hope for a rational argument. After all, film is a subjective medium and this is merely just a theory that can be proven either way.
Subject: Widows is released in theaters this Friday.
Theory: Hans Zimmer's score for 12 Years a Slave wasn't necessary.
This Friday marks a very special occasion. For cinephiles, the film Widows is a fun oddity not because it's a thrilling heist movie dropped in the middle of awards season. It's because it's from the director of 12 Years a Slave, Steve McQueen. It's not that he has been silent since then, but the curiosity as to what his next project would be has been on everyone's mind. The fact that it's a film with high intensity is in some ways shocking, especially given that McQueen's collected filmography is largely quiet and meditative, moving slowly through the inhumanity of man in films like Hunger and Shame. What could this filmmaker possibly give us that makes his approach to action cinema unique? From reviews out of film festivals, there's a lot to suggest that he's more than game for this experiment. It's one of the year's most acclaimed movies.
It's all exciting and an interesting turn from 12 Years a Slave. Considering that it's a film that is responsible for helping to shift how audiences discuss slavery, it is one of the few films of the 21st century that could be called essential. It's something that is so perfectly crafted that even the discomfort it gives the audience is calculated to make them understand the plight of slavery better. I would put myself among those who call it one of the greatest works of cinema ever created. It's a powerful, emotional experience and one that will resonate decades from now. However, there is one piece of the puzzle that has always bugged me and one that seems to have garnered a different reaction. It has almost nothing to do with the story itself, which is the biggest issue of all. It's the score by Hans Zimmer.
The easy answer that most could give when discussing this subject is "What score?" However, there was a contingent at the time who praised the score, believing that it was snubbed for the Oscar that year. True, it was one of the few fields that 12 Years a Slave couldn't win as a result. There was also the side that complained that a piece of the music was too reminiscent of the Inception score track "Time." It's a fair complaint and one that is more reflective of a composer of distinctive traits. I don't fully hate a composer who recycles ideas like that. However, I do think that the score as a general concept was maybe the film's worst attribute and I feel at the end of the day completely necessary. For those who dislike it for being redundant, that's fine. However, it's hard to justify when placing alongside everything else in the film.
What makes the film work is the sense of quietness. There is a lot of power to silence as Solomon Northup is being carried miserably through his struggle. It's a trait that had always been in McQueen's work. Without music, it forces the audience to make up their mind emotionally. It's challenging, and that's what kind of film was being delivered. There didn't need to be music set to the scene where Solomon hangs in a field. It's uncomfortable enough to hear the leaves rustle as people walk in the distance. The same could be said about working in the fields or being auctioned off. There's power in the images that don't need accompaniment. In fact, whatever music there is that works (since Solomon is a musician) comes from people within the film. It provides an authenticity to the entire experience.
In fact, music as a concept delivers the film's most powerful scene. Because of the misery that the slaves are placed into, they have no choice but to work within the community. At one point, they gather to pay tribute to a fallen friend by singing "Roll Jordan Roll." Because of the stark contrast, the slow build of the song creates a sense of hope and purpose. Even the way that Solomon begins to feel the emotional connection to those singing around him has a power. There's not actually much going on, save for a long close-up of Solomon's face. This piece of music is like drinking water in the desert. It provides an optimism for the characters in a time of desperation. Likewise, other moments in the film use song to capture the dread. One slave owner taunts his slave by telling them to run through a montage that is dreary. Again, there's power in the diagetic soundtrack.
It's maybe why 12 Years a Slave feels wrong to hire someone as prestigious as Hans Zimmer to provide a brief score. As much as simple music can impact a scene, I do come away feeling a bit annoyed by the use of non-diagetic soundtrack. It's something that would normally work, but feels sensationalized in a film that revels in the quiet. There is no need for Zimmer's score to tell audiences how to feel. It doesn't even really accentuate the scene in any significant way. Forget the idea that it sounds like Inception. Just think of it as unnecessary. While it may sweeten moments in ways that work for some audiences, it's inevitably a waste because it drains the film of having those deep emotional moments where music appears to accentuate the pain. If it came from within the film, then maybe it could get a pass. Instead, it often feels like it comes as a shortcut to a film that didn't need it.
With this said, it's hard for me to not admit that, at the end of the day, I think that the film is perfect. I think every emotional beat is in place and that it gives off the desired effect. However, I still think that there's an ideal version that didn't need score. Maybe that would be almost too much emotional reaching for some audiences. It's hard for me to say. However, I do think that those questioning why this seems like a big deal need not do more than watch the build-up to "Roll Jordan Roll" in the film and notice why it works. There's nothing polished about it, nor is there a score to remind audiences that this is a movie. What is there is the silence managing to pierce the loneliness of these characters. There's an ache that can be heard as the wind rustles and those performances convey something deeper and sadder about humanity.
I love 12 Years a Slave as a film. There's no doubt about that. With McQueen working once again with Zimmer for Widows, I'm honestly hoping that he's able to use him far more effectively than he did last time. Maybe it's because heist movies are generally more acceptable with sensationalism. It could also be that McQueen is clearly dictated by a more contemporary approach to cinema this time. However, I do think that it also won't have to revel in as much silence and self-reflection as the previous film. While I'm sure it's not a terribly controversial opinion, I still think that there's enough Zimmer fans out there that think 12 Years a Slave has a lot more merit than I'm given it. True, it's probably a good piece of music. That's not an issue. What bothers me is that the film didn't need it to be powerful. Thankfully it's not a confrontational issue, but definitely one that I occasionally think about when it comes to the film.
This Friday marks a very special occasion. For cinephiles, the film Widows is a fun oddity not because it's a thrilling heist movie dropped in the middle of awards season. It's because it's from the director of 12 Years a Slave, Steve McQueen. It's not that he has been silent since then, but the curiosity as to what his next project would be has been on everyone's mind. The fact that it's a film with high intensity is in some ways shocking, especially given that McQueen's collected filmography is largely quiet and meditative, moving slowly through the inhumanity of man in films like Hunger and Shame. What could this filmmaker possibly give us that makes his approach to action cinema unique? From reviews out of film festivals, there's a lot to suggest that he's more than game for this experiment. It's one of the year's most acclaimed movies.
It's all exciting and an interesting turn from 12 Years a Slave. Considering that it's a film that is responsible for helping to shift how audiences discuss slavery, it is one of the few films of the 21st century that could be called essential. It's something that is so perfectly crafted that even the discomfort it gives the audience is calculated to make them understand the plight of slavery better. I would put myself among those who call it one of the greatest works of cinema ever created. It's a powerful, emotional experience and one that will resonate decades from now. However, there is one piece of the puzzle that has always bugged me and one that seems to have garnered a different reaction. It has almost nothing to do with the story itself, which is the biggest issue of all. It's the score by Hans Zimmer.
The easy answer that most could give when discussing this subject is "What score?" However, there was a contingent at the time who praised the score, believing that it was snubbed for the Oscar that year. True, it was one of the few fields that 12 Years a Slave couldn't win as a result. There was also the side that complained that a piece of the music was too reminiscent of the Inception score track "Time." It's a fair complaint and one that is more reflective of a composer of distinctive traits. I don't fully hate a composer who recycles ideas like that. However, I do think that the score as a general concept was maybe the film's worst attribute and I feel at the end of the day completely necessary. For those who dislike it for being redundant, that's fine. However, it's hard to justify when placing alongside everything else in the film.
What makes the film work is the sense of quietness. There is a lot of power to silence as Solomon Northup is being carried miserably through his struggle. It's a trait that had always been in McQueen's work. Without music, it forces the audience to make up their mind emotionally. It's challenging, and that's what kind of film was being delivered. There didn't need to be music set to the scene where Solomon hangs in a field. It's uncomfortable enough to hear the leaves rustle as people walk in the distance. The same could be said about working in the fields or being auctioned off. There's power in the images that don't need accompaniment. In fact, whatever music there is that works (since Solomon is a musician) comes from people within the film. It provides an authenticity to the entire experience.
In fact, music as a concept delivers the film's most powerful scene. Because of the misery that the slaves are placed into, they have no choice but to work within the community. At one point, they gather to pay tribute to a fallen friend by singing "Roll Jordan Roll." Because of the stark contrast, the slow build of the song creates a sense of hope and purpose. Even the way that Solomon begins to feel the emotional connection to those singing around him has a power. There's not actually much going on, save for a long close-up of Solomon's face. This piece of music is like drinking water in the desert. It provides an optimism for the characters in a time of desperation. Likewise, other moments in the film use song to capture the dread. One slave owner taunts his slave by telling them to run through a montage that is dreary. Again, there's power in the diagetic soundtrack.
It's maybe why 12 Years a Slave feels wrong to hire someone as prestigious as Hans Zimmer to provide a brief score. As much as simple music can impact a scene, I do come away feeling a bit annoyed by the use of non-diagetic soundtrack. It's something that would normally work, but feels sensationalized in a film that revels in the quiet. There is no need for Zimmer's score to tell audiences how to feel. It doesn't even really accentuate the scene in any significant way. Forget the idea that it sounds like Inception. Just think of it as unnecessary. While it may sweeten moments in ways that work for some audiences, it's inevitably a waste because it drains the film of having those deep emotional moments where music appears to accentuate the pain. If it came from within the film, then maybe it could get a pass. Instead, it often feels like it comes as a shortcut to a film that didn't need it.
With this said, it's hard for me to not admit that, at the end of the day, I think that the film is perfect. I think every emotional beat is in place and that it gives off the desired effect. However, I still think that there's an ideal version that didn't need score. Maybe that would be almost too much emotional reaching for some audiences. It's hard for me to say. However, I do think that those questioning why this seems like a big deal need not do more than watch the build-up to "Roll Jordan Roll" in the film and notice why it works. There's nothing polished about it, nor is there a score to remind audiences that this is a movie. What is there is the silence managing to pierce the loneliness of these characters. There's an ache that can be heard as the wind rustles and those performances convey something deeper and sadder about humanity.
I love 12 Years a Slave as a film. There's no doubt about that. With McQueen working once again with Zimmer for Widows, I'm honestly hoping that he's able to use him far more effectively than he did last time. Maybe it's because heist movies are generally more acceptable with sensationalism. It could also be that McQueen is clearly dictated by a more contemporary approach to cinema this time. However, I do think that it also won't have to revel in as much silence and self-reflection as the previous film. While I'm sure it's not a terribly controversial opinion, I still think that there's enough Zimmer fans out there that think 12 Years a Slave has a lot more merit than I'm given it. True, it's probably a good piece of music. That's not an issue. What bothers me is that the film didn't need it to be powerful. Thankfully it's not a confrontational issue, but definitely one that I occasionally think about when it comes to the film.
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