Max Steiner
This week I decided to put up a paper I wrote for my Music in Film course. I feel that it’s detailed analyse would be interesting to read and be a interesting change of pace from my usually music reviews so enjoy!:
Plot Summary:
Famous moviemaker Carl Denham is planning a trip by sea to a mysterious location and is in search of a woman willing to journey with him. To make things more mysterious, his ship is filled with guns and powerful gas bombs and he refuses to say anything about where he is going. While in his search he stumbles upon Ann Darrow, an out-of-work girl, and hires her to play his lead actress within his film. On ship (the Venture) Ann meets the first mate Jack Driscoll who at first is not pleased to have Ann aboard. Eventually, Denham reveals that he is traveling to an island off a sea map he bought from a captain in Singapore, an island where it is rumored the natives worship a gorilla god called Kong.
After going through a fog bank the ship spots the island and Driscoll, Denham and Darrow along with the crew go ashore. After searching awhile for natives, the group finds them preparing a ritual involving men dressed in gorilla-like clothing and a woman. Denham attempts to film the ceremony, but is spotted by the chief of the natives, who is angered that they have seen and ruined his ceremony. The Captain of Venture speaks with the natives and finds out they wish to trade for Ann, but the group refuses and promises to meet the natives the next day.
While aboard the ship Driscoll confesses his love for Ann, who is thrilled, but he is forced to leave her for a moment to speak to the Captain and Denham. During this time natives in an outrigger canoe sneak aboard and capture Ann, leaving only her necklace. After the cook realizes that someone has snuck aboard and later the crew realizes Ann has been captured, they rush to find her. Meanwhile on shore the natives prepare Ann to be sacrificed to the their god Kong. They use a gong to call forth Kong who ends up being a giant gorilla who takes Ann away just as the Venture’s crew appears at the gates. Denham and Driscoll form a search party to find Ann and while searching through the jungle stumble upon a giant stegosaurus, which they shoot. They then reach a swamp and build a raft to follow Kong through the swamp, however they are attack by an enormous plesiosaur and forced to flee. Many of the crew are killed by the monster while attempting to escape.
Driscoll and the most of the remaining crew encounter Kong while attempting to cross a chasm by using a tree trunk as a bridge. Driscoll finds cover but others in the crew are not as lucky and are shaken off the tree into a huge pit. Ann meanwhile is left on a tree trunk, still unconscious from shock. Kong then attempts to capture Driscoll, who is trapped under a ledge. However, Ann regain consciousness, only to find a hungry Tyrannosaurus who has spotted her. Ann begins to scream, which draws Kong back to her. Kong then battles the Tyrannosaurus, eventually killing the dinosaur, while Jack escapes and finds Denham. Denham agrees to return to the rest of the crew guarding the gate, while Driscoll follows Kong to his cave lair. Denham tells the rest of crew what has happened and they decide to spend the rest of the day on the island waiting for Jack. After battling a snake-like lizard monster, Kong brings Ann to a cliff side, where Driscoll successfully distracts Kong and attempts to rescue Ann. However Kong is not distracted for long enough and returns to find Driscoll attempting to escape by rope from the cliff. Kong tries to pull up the rope and Driscoll and Darrow, but they jump into the water below the cliff and escape Kong.
Driscoll and Darrow return to the gate where it’s revealed that Denham seeks to capture Kong, but Driscoll wants nothing to do with Denham’s plan. Kong however comes to them as he angrily searches for Ann and the crew closes the gate to keep him at bay. The natives rush to the crew’s aid. Though both the crew and natives press against the gate to keep Kong out, the gate eventually breaks apart and both the crew and natives flee. Some natives who attempt to stop Kong with spears or who fail to escape in time are killed as Kong destroys the village. Soon Kong makes his way to the boats where Denham throws a gas bomb, which eventually subdues Kong. Denham has the crew prepare to bring him to New York.
In New York Kong is exhibited in metal restraints as “the eighth wonder of the world,” along with Driscoll and Darrell, who are to be married. The press cameras’ flashes anger Kong, though, and he breaks free as the audience flees. Jack and Ann flee to hotel building where they hide, but Kong climbs up the building searching for Ann. After dropping another woman to her death while searching for Ann, Kong finds Ann and grabs her, stunning Jack. Then Kong rampages through the city and begins to climb the Empire State Building, while Denham and Driscoll along with the police form a plan to stop Kong. As Kong reaches the top of the building airplanes armed with guns are sent to lure the beast into dropping Ann. The plan is a success as Kong is lured by the planes and begins to die. In his last moments he picks up Ann one last time, and then puts her down as he is shot again. Soon after he falls to his doom, as Driscoll arrives at the top of the tower with Denham to get Ann. A cop in the crowd viewing the deceased Kong remarks, “Well, Denham, the airplanes got him,” to which Denham replies, “It wasn’t the airplanes. It was Beauty killed the beast.”
Music Cue 1
Cue Spotting: 00:05:46-00:06:06
Scene Description: This scene gives the Arabian proverb on which part of the plot’s premise is based. The proverb explains how the beauty of Anna Darrow (Fay Wray) enchants Kong and ultimately brings upon his final stand and demise.
Cue Type: underscore
Musical Theme(s): The first use of the Beauty theme appears within this scene.
How this music cue supports the scene: This short cue is used to increase the credibility and emotional impact of the proverb. The music has a slow, lush and passionate sound accentuated by the use of a middle register with strings (such as viola), harp, and brass (such as horns). This music is used to create an emotional connection to the proverb, which is turn is used to emphasize the emotional aspect of the plot. This cue is also used to bring down the intense energy found in the Kong theme of the opening credits and transition to the quiet beginnings of the film.
Music Cue 2
Cue Spotting: 00:24:53-00:26:21
Scene Description: The Venture travels through a fog bank and they search for land. This scene builds up the tension caused by both the danger of the trip and the crew’s mistrust of Denham. The scene ends as the crew begins to hear the beat of a faraway drum.
Cue Type: underscore and source (drums at end of the scene)
Musical Theme(s): none
How this music cue supports the scene: This is the first music after a long stint without any sort of real music. Steiner uses harp along with a small number of reeds and horn instruments to create a feeling of mystery and suspense. The music not only helps create the emotional atmosphere of the scene, but also reinforces the crew’s psychological distrust of Denham and his plans. It is hard to say for certain why this particular scene is the first to reintroduce music, however it could be that the music signifies the beginning of where the action is about to occur. The drums signal the end of this cue and transition into the next scene where the Island is discovered.
Music Cue 3
Cue Spotting: 00:30:27-00:31:58
Scene Description: The natives of the island dance and chant wearing ape skins and prepare a girl to be sacrificed (to become the bride) to Kong. Denham and his film crew observe the natives, and Denham seeks to film the event.
Cue Type: underscore and source (natives chanting and drums)
Musical Theme(s): Natives’ ritual
How this music cue supports the scene: After a long buildup of tension in previous scenes, the tension breaks into a loud and powerful conclusion. The scene uses strong, heavy sounds, including underscored brass and frantic strings, added to the onscreen use of percussive instruments and chanting from the natives. Steiner uses these instruments to create a sense of wonder, curiosity and tension by focusing the viewer’s attention upon the natives’ ritual. He uses the percussive instrumentation played by the natives to hit the action of the native footsteps during their dance. This cue’s beginning and ending are both very abrupt: the cue starts as Denham first spots the natives dancing, and ends when the chief of the natives in turn spots Denham, then yells to the rest of his tribe to alert them to the Denham and his crew’s presence, stopping the ritual and silencing the music.
Music Cue 4
Cue Spotting: 00:42:03-00:45:44
Scene Description: The natives prepare Ann and then tie her up so that she can be sacrificed to Kong.
Cue Type: underscore and source (native chant)
Musical Theme(s): The first use in the body of the film (not counting the opening credits) of the Kong theme
How this music cue supports the scene: The Kong theme is used at the beginning to foreshadow the arrival of Kong and at the same time to highlight the actions of the ritual and the distress of Ann. The music slows down dramatically at 00:43:09, with the strings then followed by the brass, in order to slow down the pace of the scene for the dramatic effect of building tension. At this point the music really begins to hit the action as it begins to focus on Ann directly and the journey to the ritual place where she is to be tied up. As the scene continues the music becomes more foreboding with a strong use of lower brass as Ann awaits her fate. As the gate begins to close, the music matches the closing with a descending passage, followed by even stronger and more foreboding music. The music ends with a dramatic crescendo and repeated passage whose tempo increases in intensity to match the scene, until the chief once again speaks, gradually silencing the natives and the music.
Music Cue 5
Cue Spotting: 00:53:37-01:02:08
Scene Description: To follow Kong through the swamp, the men searching for Ann, led by Driscoll and Denham, create a raft and begin to row across the lake. They are unaware however that within the swamps lies a man-eating plesiosaur who makes short work of the raft, attacking the men and forcing them to run for their life. The monster attacks and then chases the men into the jungle, where one ends up being cornered in a tree and eaten. The focus of the scene then shifts to Kong, then back and forth between the perspective of Kong and that of the crew. Then the crew encounters Kong while attempting to cross a fallen tree bridge and Kong shakes the tree, tossing the men into a pit below and killing all them all, save Driscoll, who climbs down a vine and hides in a crevice. After killing the men Kong attempts to grab Driscoll and has his finger cut by Driscoll. Driscoll then attempts to escape while Kong examines his finger, but a giant lizard climbs up Driscoll’s vine and so Driscoll is forced to cut it. Kong then continues to try to grab him until Ann is spotted by a hungry Tyrannosaurus, causing her to scream and for Kong to come to protect her.
Cue Type: underscore
Musical Theme(s): The monster attack theme is used in this scene for the second time and there is also a short reference to the jungle theme.
How this music cue supports the scene: The music begins with the transition from the jungle theme as they enter the swamp following Kong’s noises; the instrumentation begins with the woodwinds followed by strings, then harp and bassoon are added, giving it a mysterious and foreboding sound. The music begins hitting the action of the monster, specifically the raising and lowering its head in the water, and the harp follows the dumping of the crew from their raft. The music also hits the action by using an ascending musical scale for the man climbing up a tree and following the running footsteps of the crew. As the crew spots the monster and it prepares to attack the raft, the music becomes frantic and intense with an increased use of percussion and powerful brass. The feeling of intensity and panic in the music also increases dramatically when the plesiosaur gets closer to the crew and especially when it attacks a crewmember attempting to hide in a tree. As soon as the man on the tree is attacked the music momentarily vanishes and then returns, reflecting upon his demise. Then the focus of attention suddenly is placed on Kong and the music reinforces this change, to help the listener focus on the transition. The music and scene move back and forth between Kong and the crew’s prospective until the two themes end up colliding together as the crew and Kong meet up. The music once again becomes filled with a frantic and menacing sound as Kong shakes the tree, bringing about the demise of various crewmembers. Then the music becomes low and again hits the action as it mimics Kong’s attempt to grab Driscoll, with the use of a woodwind gliss as Driscoll cuts Kong’s finger. The music follows Jacks footsteps as he attempts to escape. The music once again crescendos and increases in intensity as Ann is approached by Tyrannosaurus; then the music for an instant pauses before the beginning of the fight. Then, after one last reprieve, it stops.
Music Cue 6
Cue Spotting: 01:07:49-01:09:19
Scene Description: Denham explains to the remaining crewmembers what has occurred. They likewise tell him that they have scared away the natives. Denham constructs a plan then about what to do next. Meanwhile Kong goes to his lair in the mountains, followed by Driscoll.
Cue Type: underscore
Musical Theme(s): The Kong theme is referenced when the Skipper talks about the natives.
How this music cue supports the scene: The music is dark, slow and plodding, using mostly low brass. This music’s main use is to defuse the actions and slow the pace down (after all the scenes of Kong fighting the T. Rex and killing men), so to allow for more exposition. The music is mostly background music used to set the somber mood of the scene. However, even in this scene there is a moment of hitting the action as the lighter woodwinds make refer to Driscoll as he follows Kong.
Music Cue 7
Cue Spotting: 01:18:51-01:24:12
Scene Description: Denham insists on capturing Kong while Driscoll is strongly against the idea. Kong comes, however, in search of Ann and for revenge upon Driscoll. The natives then rush to help push against the walls to prevent Kong for breaking in. This ultimately fails as he breaches the wall, causing panic. The natives attempt to fight off Kong, but to no avail, as he kills many. Kong then attempts to attack the crew and is subdued by a gas bomb.
Cue Type: Underscore
Musical Theme(s): A frantic string version of the Kong theme
How this music cue supports the scene: The music begins with footstep-like low brass, mimicking Kong’s approach, followed by a form of the Kong theme within the string section. The energy builds once again in the music as natives help push in order to stop Kong from breaching the gate. This mounts until the walls break down and the music reaches another peak. The score then mimics the fleeing people as they attempt to escape from Kong. Then the trumpets take on a fast sound, imitating running, while the low brass plays out a menacing theme symbolizing Kong. The music emphasizes the panic of the natives and the brutality with which Kong destroys their village and people. After Denham throws a gas bomb at Kong, the music slows as the trombones slowly ritardando and decrescendo as Kong loses consciousness.
Music Cue 8
Cue Spotting: 01:24:30-01:27:30
Scene Description: Denham brings Kong to New York to be viewed, where clueless theatergoers line up, not knowing what to expect. Denham, Driscoll and Darrow meet with the press behind the curtain and describe the journey to the island. Denham then goes on stage to make his speech about the adventure.
Cue Type: underscore
Musical Theme(s): Denham’s exhibit theme
How does this music cue support the scene: The music goes along with Denham’s show, first with a fanfare, then following with a busy city theme. These themes are triumphant and brass-heavy, as though the music were emanating from the theater (though no visible band is present). The scene ends with ritardando and a closing statement that ends the music.
Music Cue 9
Cue Spotting: 01:30:26-01:32:29
Scene Description: Enraged by photographers, Kong breaks free from his chains and escapes the theater. The people in the theater panic and flee to get away from Kong, while Kong rampages through New York. Ann and Jack flee into a nearby hotel or apartment building as Kong begins to climb the hotel in search of Ann. After grabbing and examining a woman in the building and discovering she is not Ann, Kong drops the woman to her doom.
Cue Type: underscore
Musical Theme(s): The Kong theme is played in parts again and again.
How does this music cue support the scene: The music once again becomes menacing, as the Kong theme is played in various forms again and again in the low brass. The music slowly swells in dynamic volume, until Kong drops the woman, releasing tension. The scene ends with one last ominous trombone theme.
Music Cue 10
Cue Spotting: 01:37:25-01:43:03
Scene Description: After taking Ann and rampaging through the city, Kong makes his way to the Empire State Building, where he climbs to the top. Denham and Driscoll form a plan with the police chief to get Kong to let go of Ann and to shoot him down with planes. Jack rushes up to find out what is happening. The planes watch for a chance to shoot at Kong and then begin their attack as he puts down Ann, leaving himself open.
Cue Type: underscore and source (planes)
Musical Theme(s): Kong and Beauty themes
How does this music cue support the scene: The cue starts with Kong’s theme being played on low strings. Then brass crescendos as Kong climbs the building, while the strings signify the height of the building. Kong’s theme is used to give unity to the scene and emphasize Kong’s presence. As Kong reaches the top of the building, the music peaks with a blaring trumpet sound, then slows.
The music once again dies down, in a way similar to that of the scene of to Kong’s gassing on the island, perhaps foreshadowing Kong’s pending demise. Then there is a powerful silence during which the only sounds are those of the planes and the guns they fire; this silence is used to make this part of the scene more powerful. After this long period of silence comes a lamenting version of the Beauty theme, played by the strings, as Kong foresees his death, until machine guns cut in once again and Kong’s theme is played alongside the Beauty theme. The connection of these musical themes suggests a connection to the film’s overall “Beauty and the beast” theme (introduced in the beginning proverb of the film). The cue ends with Jack and Carl coming to find Ann, at which point only the Beauty theme remains. The lone Beauty theme accentuates the death of the beast theme, which in turn symbolizes Kong’s fall to his doom.
Conclusion (Significants of the music and elements of the score)
The score of King Kong uses similar cue functions, stylistic elements, and memorable themes over and over again throughout. These elements make King Kong one of the first films to be recognized as having a historically significant score. The film’s music uses a lot of memorable themes that both make the music catchy and at the same drive home the emotional intent of each scene. The score, like the film, is not subtle; it’s very loud and to the point. The music clearly goes along well with the film, and is kept relatively simple to match the simple plot of the film.
One of the first things that jumped out at me as I listened to this score is the instrumentation used. Steiner for instance likes to use the harp to convey mystery and foreboding; he uses this in many scenes, such as the fog scene and the beginning of the swamp scene, as the crew travel on a raft through the swamp. The most common instrumentation, which seems to show up time and time again, is used within the Kong or monster attack themes: powerful and menacing use of the low instruments (usually brass), often accompanied by frantic sounds of the terrified people fleeing within the higher brass, woodwinds and/or strings. This instrumentation first occurs when the natives sacrifice Ann to Kong, and recurs until the end of the film, even after the death of Kong. The last theme that jumps out is the Beauty theme, which is used both to tie in the theme of the film and to represent Ann. This theme is characterized by a lush and beautiful string sound, at the beginning to invoke the Arabian proverb and near the end of the film to tie in Ann and the film with the proverb. Another interesting thing about the themes in the film is how they sometimes come together. Some great examples of this are as the film switches between the view of the crew fleeing from the plesiosaur and Kong, until eventually the two collide and the themes come together. Another use of this duality in music comes in the scene with Kong and Ann atop the Empire State Building, during which both Kong’s (Beast) theme and Ann’s (Beauty) theme play, until Kong finally falls, after which only the Beauty theme is left, mirroring the proverb.
Steiner also uses certain elements within the cues frequently. Especially notable are the strong use of hitting the action, the combination of source music with underscoring, and the referencing of the mood of the scene and referencing to characters. Steiner hits action all over the place, throughout the film. His music loves to follow footsteps, whether those of natives dancing, Kong walking, crewmen tracking, or bystanders fleeing. He loves to use music to emphasize movement. Steiner also hits the action with the use of scale figures, such as when the natives close the gate after tying up Ann or when the plesiosaur moves its head out of the water. Steiner also likes to speed up and slow down the music to fit scenes, such as when the music slows down when Ann is led to be sacrificed to Kong, or when it speeds up as the villagers race to flee Kong, or later when Kong is slowly stunned by Denham’s gas bomb and the music slows. Steiner also tends to mix underscoring and source music; this occurs in many scenes of the natives’ rituals, where he combines their onscreen percussive instruments and chanting with the orchestra.
Throughout the film the most common use of music is to establish powerful mood. Some scenes that use music this way include the scene where Denham tells the remaining crew what occurred, during which the music is moody, or when Kong attacks, such as when Kong fights the monster to protect Ann or when he attacks the islanders, or later in New York City. There are few but important references to characters throughout the film, based on musical phrases. Such references include the use of the Kong theme when the Skipper mentions how he scares off the natives, the light woodwind flourish used when Driscoll follows Kong into his lair, and the recurring use of the Kong theme when he breaks free and climbs up the hotel (or apartment building). These elements within the music cues make this film unique and memorable and strongly affect the feel of film.
King Kong is one of the first films to have a memorable score that could demonstrate the power of original scoring. Despite perhaps sounding limited by modern standards, in 1933 this score was revolutionary. First, the entire score was done using original music, which was still relatively rare for the period, as most film music then was comprised of adaptations of popular or well-known tunes. The score of Kong captured the action of the film much more strongly than those of most films before it (especially ones that used adaptations). Steiner’s music was especially strong at hitting the action, whereas many previous films, such as The Jazz Singer, had music that mostly played through the action. Steiner also was one of the first composers to use specific themes throughout a score that connected with the both the characters and theme of the film. Steiner’s score was revolutionary because it was the first to use many major cue functions that previous didn’t feature in films, and when it was created it was the first musical score of its kind to have so much influence upon film scoring.
