The Music of Vertigo

Discuss how the music enhances the dialogue and action in at least three scenes from Vertigo

The music from Herman’s score for Vertigo helps to enhance the dialogue and action on screen by using techniques such as spiralling motifs, the use of chromatic and dissonant melodies. Hermann’s is one of the greatest composers of the 20^th century, Vertigo is a psychological thriller and all of the music of the film is meant to reflect the mental state of the main character Scottie. The composing style of Hermann’s is known to include monophonic melodic lines, a lot of chromatic movement as well as simple and constant tempos and strong senses of tonality. The three scenes that I will be evaluating are ‘Rooftop Chase’, ‘Into the Bay’ and ‘Scene D’Amour’. 

 The ‘Rooftop Chase’ scene uses the Spiralling motif to enhance the on screen action of the main character, Scottie, feeling vertigo on the rooftops. This helps the viewers to feel what he is feeling because vertigo makes you feel dizzy and the spiralling motif enhances this feeling by using contary motion broken chords. Hermann has developed this effect however, as he has diminished the note values which leaves a faster melodic line of chromatic semiquavers adding to the panicky feel of the men chasing each other on the rooftops. This technique adds to the on screen action because it makes the audience feel anxious listening to the music with added tension as well as just the running.

‘Into the bay’ scene uses descending chromatics as she falls into the water, this is played by the horns and woodwind section while doing wide leaps ascending and descending. This enhances the onscreen action and creates a sense of panic for the viewer as she is falling as well as almost painting a better picture of her falling. As soon as Scottie saves her the D’amore motif begins to play however it is in a descending sequence before changing to the love motif when she is finally out of the water. This supports the onscreen action and the unspoken words of the characters who are both clearly in love with each other, the music choice makes this clear to the viewer. The change in motif also means that in general the music has calmed down a lot more, there is a lot less reason to panic as well due to the fact that Judy is now safe and out of the water meaning that the music is once again supporting the on screen action.     

Scene D’ Amour holds the musical climax of the film. It a five minute scene that includes a full orchestra version of the ‘obsession theme’. This is also the scene in which Judy agreed to change the way she looks to be like Madeleine. The tonality of this scene begins in F major which is unusual for this film because the narrative of the film is of a depressing nature. The scene ends with a fanfare in the brass and a modulation to c major before ending with an expected resolution and release of tension, this supports the onscreen action of the happiness that Scottie is feeling because Judy agreed to his wishes to looks like Madeleine. Once again the music is reflecting the inner emotions of Scottie and as a viewer it allows us to unintentionally feel how he is feeling inside, the resolution at the end of this scene supports this. Though out the scene there is still a use of chromatisim and dissonance due to the underlying feeling of Scottie’s fear this enhances the on screen action because it allows the viewer to understand that his fear never leaves him, giving an almost deeper meaning to the film itself. 

In conclusion Hermann composed the score to enhance the dialogue and on screen action of the film by using the spiralling motif to show Scottie’s feelings for vertigo as well as using a major key in the scene D’amore to enhance the feeling of happiness he is feeling towards Judy. As a viewer we are able to understand the emotions of the film a lot better because the music has been created in a way to enhance what is happening on the screen.