Leitmotif

Given that our coursework piece will provide the opening sequence, and presumably the opening credits of a film, we will need to find a piece of music to accompany it and provide the atmosphere we are hoping to create.

I began researching various leitmotifs famous to films within the thriller genre. A few obvious ones, catalysed my research, for example Jaws [John Williams] which provided the ominous approach of the shark, repeatedly throughout the film.

Another famous recurring theme, is 'The Imperial March' [Star Wars], which can now only be associated with Darth Vader due to its usage at systematic points throughout the film.

I did a lot of internet research, and found that leitmotif's were used to create a more intense and potentially character personal atmosphere at points in a film. M [Fritz Lang] implores a vastly well know score as a central leitmotif, where the serial killer, Hans Beckert [Peter Lorre] whistles 'In the Hall of the Mountain King' [Edvard Grieg] before he murders.

The potentially bright music, when coupled with the oxymoronic implied pedophile, sets a contradictory tone, most often used in psychological thrillers.

Music plays a huge role in transforming the visual aspects of a film into a whole experience and for this reason I think it will be very important to the overall feel of our piece to find a musical score that works with the shots to provide the atmosphere we hope to create. It is unlikely that we will be able to incorporate our own leitmotif, however with the opening few minutes, we could theoretically set the groundwork for a recurrence later on in the film.

Conventions of a Thriller

As initial preparation for our soon to be filmed film opening, I researched typical themes associated with the Thriller genre, and the various sub categories within that genre.

For example I initially searched ideologies typical to a psychological thriller, where crime is not always portrayed as 'black and white, good vs. evil', there tends to be a more blurred line between the two than that of a horror, for example. This ideology is true with both modern thrillers and in older pieces, for example Psycho where the audience is led down blind alleys and the end provides more of a shock, as Norman Bates, the initial timid hotel owner, is revealed as criminally insane.

Anthony Perkins as the Criminally Insane Norman Bates [Psycho]

I also looked into typical motifs within Crime thrillers, and found that most focus on the story from the perspective of the criminal, rather than the investigator. For example Reservoir Dogs where the story unfolds through the recounts of various criminals, Mr Blonde, Mr Pink etc. Crime thrillers 'usually emphasise action over psychological aspects'.

Michael Madsen as the sadistic criminal, Mr Blonde [Reservoir Dogs]

In contrast, a Political Thriller tends to focus on a government agent, working towards neutralising a certain threat to national security.

Other sub categories include, techno thrillers, spy thrillers, medical thrillers, legal thrillers and religious thrillers, such as the Da Vinci Code.

Given our piece will be around the two minute mark I think it is important that we choose a sub categories that will enable us to incorporate as many ideologies as possible, given the amateur style in which it will be produced. Therefore in planning our thriller it may be best to focus on either a crime thriller, where the opening is aimed from the perspective of a criminal, or a psychological thriller where camera angles and editing can be used to achieve some of the techniques used in existing psychological thrillers.

Describe and discuss some ways in which Hitchcock creates suspense and tension throughout the film ‘Psycho’.

Hitchcock, throughout ‘Psycho’ continuously refines the feeling of tension and suspense. There are few mundane moments in ‘Psycho’ however these odd scenes are used by Hitchcock to lure the audience into a false sense of security, or perhaps, to lead them down blind alleys. A large chunk of the plot, the stolen money and a flee from the law turns out to be irrelevant in the end. It is through the technique of keeping the audience guessing and challenging all perception that Hitchcock creates a film so rife with tension.

Though the initial suspense that comes with Marion’s flee from her employer with the $40,000 creates an underlying tense tone, where Hitchcock first builds up the suspense to a climax is when Marion is attempting to trade her car in for a new one. The audience is aware of the crime that she has committed, and through Marion’s build up of anticipation to make a hasty escape contrasted with the cool suspicions of the police officer following her, Hitchcock builds the tension as the audience begins to suspect that Marion will be found out. The pace of the scene remains slow but it is through Hitchcock’s use of cuts between Marion and the salesman whose bewilderment and growing suspicions contrasted with Marion’s guilt and anticipation acts as a catalyst for tension. Hitchcock builds the suspense by keeping the police officer stationery across the road, symbolizing a potential roadblock in Marion’s escape. The police officer is also wearing mirrored glasses which prevent the audience and Marion to see where he is looking, keeping the tension rife by preventing any prediction into later actions of the officer.

Hitchcock’s undeniable ability to tap into his audience’s psyche is of great importance to his works. In Psycho he plays on the vulnerability of the lead to provide a sense of realism to the events that occur, thus building on the already tense atmosphere. The shower scene is the pinnacle moment in Psycho that defines this film as one of the most suspenseful and unique. As Marion is seen in the shower the tension builds to a peak, as the audience is aware of some formidable event to come. The lack of music at this point lures the audience into a false sense of security; it is not until the silhouette of Norman/Mrs. Bates behind that shower curtain that the suspense builds to a climax. The audience is then witness to what appears to be a hideous feat of violence. This huge break in tension is replaced by that of sheer horror, and accompanied by the stark music adds to the ‘graphic’ feat of violence. Hitchcock plays on the break in tension, keeping the killers identity secret to anticipate a continuous underlying suspense as the film becomes more of a ‘whodunit?’ than that of the initial questioning as to whether Marion would escape with the money.

Hitchcock instates an underlying tone of suspense by playing on the audience’s fears, leading them down blind alleys and instating a constant stream of unforeseen events, for example the murder of the central protagonist so early on foreshadows the tension to come. But where Hitchcock really excels is through his ability to make a series of innocent shots appear as graphic as the murders in today’s films. It is through highly skilled camerawork and careful accompanying music that Psycho remains rife with tension and suspense the whole way through.