Music plays an important role as an element of a motion picture. As Huda writes, “Music adds an extra dimension to the story. It is a creator of mood and emotions. It makes viewers involve in the story. Mental condition of the actor can be clearly expressed with the help of music” (Huda, 2004, p.162). In the film entitled Dracula (1992), directed by Francis Ford Coppola, music is successfully intertwined with the visuals, dialogue, and special effects, and it appears to be an integral part of the plot. In particular, the director selected the pieces of classical music with religious elements, which underlined roles, emotions, and situations to which the F.F. Coppola sought to direct the viewer’s attention. However, it is possible to notice several incongruities, as several episodes in the film do not comply with Hollywood standards.
The basic Hollywood rule of the use of music (in case the film is not a musical) is putting music as a background, which does not interfere with the characters’ dialogues, i.e., music should be selected and arranged so that it is not perceived by the viewer as an irritant, which distracts from the plot development (Reay, 2004, p.21; Grof and Wingell, 1981, p.34). Therefore, musical accompaniment should be congruent with the events depicted, with the characters’ thoughts, emotions, and sensations (Mera and Burnand, 2006, p.54; Negus, 1999, p. 18). The music should also stress the mood of the characters in certain moments. In Hollywood movies, music selection is often based upon the epoch which the plot depicts, i.e., it is more appropriate to employ those compositions which were created in the specified time period (Negus, 1998, p. 19).
In the film “Dracula,” it is possible to notice asynchronism in the scene where Dracula returns from the battle and finds out his wife has committed suicide. He silently enters the hall and silently looks at the dead countess for several seconds – music begins only afterward, and the tragic nature of the moment is not properly underlined. Music should have been turned on a few seconds earlier in order to warn the viewer and depict the emotional conditions of uncertainty, fear, and finally, sorrow and pain which the main character experiences. In fact, in the introduction, the most useful background information is provided, and Dracula’s personal tragedy is revealed; he denied his belief in God after losing his spouse and turned into the undead. Therefore, the synchronization of the musical accompaniment with the drama which is developing on the screen in general and with the defining moment of the revelation of the woman’s suicide, in particular, is highly important. However, taking additional seconds of silence might have been the director’s decision due to the fact that the absence of sound is also used in Hollywood movies to keep viewers in suspense before the climax of a certain scene.
One more important scene is the vampires’ seduction of Jonathan. When the four female vampires are hugging and kissing the character, one can hear solemn music, which is not different from the general musical background of Jonathan’s stay in Dracula’s castle. However, the scene of seduction and Dracula’s appearance are actually the moment when Jonathan’s eyes are opened, and he realizes he is the prisoner of the strange creatures which he believes do not exist in this world. This insight should have been reflected in music, as this scene is the milestone of the change of Jonathan’s role in the castle from a business guest to an inmate, doomed to eternal confinement.
In the romantic scene of Dracula first encountering Mina, romantic and lyrical music is used. The major musical instrument used in this scene is the violin, which effectively reproduces the atmosphere of the situation. However, the use of music in this scene should have been better organized. In particular, when the viewer sees Mina walking down the street and Dracula noticing hear and when their eyes first meet, it is possible to identify musical accompaniment. However, when he starts an awkward conversation, there is no musical background any longer. It doesn’t appear even when Mina changes her disposition to Dracula from enmity to sympathy, whereas she realizes at first sight that this person is familiar to her and they met once. Thus, the final words of their first conversation should be followed by a quicker lyrical, musical composition (e.g., a piece of piano music in the impressionist style), which reflects Mina’s disarray and the inner struggle between her inborn shyness and newly developing interest to the stranger. This scene is one of the most beautiful and important episodes in the film, as the viewer can see Dracula’s “reincarnation” from merciless vampire to a loving and caring gentleman who has recently found the woman of his dream, and it would have been used to underline with music the first sparkle of mutual feelings between Mina and the count.
.Surprisingly, musical accompaniment is also missed in the scene when Jack arrives at Lucy’s place and finds her in a deteriorating physical and psychological state. Lucy reports that she is now able to perceive the slightest sounds and hears even servants whispering in the other rooms of the mansion. This scene marks the beginning of Lucy’s path to death, as her disease is now apparent, and both Lucy and Jack have the worst anticipations, which should have been reflected through pessimistic music (e.g., through cello melodies, used as the general background when the director seeks to show that the situation is gradually worsening). Music begins only when the scars on Lucy’s neck are showed in the closer shot.
In the scene shot in the cinema, the music fails to fully reproduce the atmosphere and the mood of the situation. When the wolf runs into the accommodation, all the visitors except with Mina and Dracula are fleeing in panic, whereas Mina is petrified by fear. Suddenly, Dracula shows his supernatural abilities submerging the will of the animal. Mina approaches the wolf and begins to caress his neck, and the animal look at her with devotion. All these actions are followed by slow and a bit sad music, but Mina’s actual mood is different in the scene. Two emotions are struggling inside her, which are fear and admiration, associated with Dracula’s talent. On the one hand, she was taught that “witchcraft” was out of the divine law, on the other, the count has recently saved his life by using his magical abilities. This cognitive and emotional state should have been reflected by “serious” music of a quicker tempo.
When Mina and Dracula are having a dinner, one can hear xylophone music, which probably implies that Mina is behaving like a careless young girl, infatuated with the stranger. However, the center of this scene is neither Mina nor Dracula, but their rapidly developing relationships. They are sitting together at the table and drinking absinth, and there is obviously something between them, the feelings they share are becoming almost material in this scene. Mina is enchanted by Dracula, and the passion between them is obviously growing as they are looking at one another ardently without averting their faces. This passion should definitely have been expressed through music (e.g. it is possible to suggest Beethoven’s passionate compositions for the stringed and wind instruments). Interestingly, the slight xylophone melody continues even when the came switches to Jonathan’s plotline and shows him jumping into the river in an attempt to escape Dracula’s castle. It is underlined that Jonathan is struggling with the evil forces due to the special effects like thunder, lightning and weird sounds. Therefore, it would have been necessary to underline his effort and adventure with solemn religious music (e.g. chorus, previously chosen as accompaniment in the scenes which show his imprisonment).
Musical accompaniment is also omitted in the scene where Dracula is torturing Lucy turning her into his marionette. One can hear wolves’ howling in this scene, which probably serves as an omen of Dracula’s appearance. In the present scene, music should keep the viewer in suspense and direct viewer’s attention to the demonic forces which make Lucy suffer. The girl is an influential character in the film, she is Mina’s closest friend, so Lucy’s death will be a painful loss to Mina. Therefore, Lucy’s agony should be accompanied by a gloomy and sinister melody, which represents her resistance and surrender of life to death. However, it needs to be noted that Dracula’s appearance in the window of Lucy’s room is followed by the above described melody, so the music is to certain degree asynchronic in this scene.
As one can conclude, in the film “Dracula”, there are several instances of unusual use of music, which actually do not affect the viewer’s understanding of the plot, as in general the viewer feels emotionally involved into the main events of the motion picture. It also needs to be admitted that music is perfectly selected in the final scenes of “Dracula” so that it reflects the battle between the divine and demonic forces and the peace and relief Dracula receives owing to Mina’s love and devotion.
Works cited
Grof, F. and Wingell, R. Student Workbook for Experiencing Music. Alfred Publishing, 1981.
Huda, A. The Art and Science of Cinema. Atlantic Publishers & Distributors, 2004.
Mera, M. and Burnand, D. European Film Music. Ashgate Publishing, 2006.
Negus, K. Music Genres and Corporate Cultures. Routledge, 1999.
Reay, P. Music in Film: Soundtracks and Synergy. Wallflower Press, 2004.