Movie Analysis Essay on Dances With Wolves

Introduction

The "Dances with Wolves" is undeniably one of the most successful movie soundtracks that have ever been by Hollywood. John Barry uses various styles to ensure that the theme addressed in the movie and the cues expressed by the music align to generate a series of emotions in the audience. It is a grand, many-layered work that consists of more than eight different themes and variations, in addition to the standalone set-pieces. These elements achieve and dominate the same sonic world with great singularity. Dances with Wolves, therefore, employs various styles in terms of orchestration. The success of these scores is based on their development and scope. A close look would reveal that there is no moment where the primary themes presented in the music is not carrying the weight of the emotion score, or where the ideas are not generating the expected effects as per its composer.

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A closer look at the opening would show that Barry is darker than usual. This is not the romantic beginning he often encountered. However, it depicts itself as a severe and scary theme that highly blends gradual fanfare military sounds with a blue motif. This beginning introduces the audience to the character John Dunbar. Thus, this style exposes the audience to many faces of this character and, therefore, can track any form of transformation in character as the movie proceeds. Undeniably, this cue evokes an overwhelming vastness and echoes of the wilderness, which get depicted as the place where the story will take place. The excellent opening, "Main title-Looks like a suicide," presents this theme, and therefore fills the audience with tremendous joy.

The audience finds themselves both comfortable and grateful for listening to this composition. The masterpiece possesses a poignancy and sensitivity to the beautiful paintings. Arguably, the piece does not need any alteration as it is perfect the way it is. It blends a tender and epic and therefore enhances a deep feeling on the audience regarding the variety of themes being presented. The theme of John Dunbar is, therefore, one of the most magnificent pieces John Barry has ever written. As observed, it demonstrates to the audience how he cared for the character whose story he competed and therefore built the emotions of the listener towards John Dunbar even amid his troubles. A hint from the magic is presented in the statement, "Somewhere in time" as part of the John Dunbar theme. Undeniably, it generates a special effect to the audience at this point, who do not want the soundtrack to proceed without ending.

A closer look at all elements at this point would reveal that there is another version of it, which is the most emerges as the most sounding cues from this score. Notably, "Two socks-the wolf theme" originates from the same root trying to demonstrate how the man is connected. Bearing the wolf in the film, it becomes evident that Dunbar's faithful and eternal companion never departures his memories because he is the one who saved him.

Another critical stylistic element and cue that is portrayed in the Dances with wolves are linking the audience's emotions to the overall happenings in the video. The music hypnotizes a variety of compositions, which warms the heart and smoothens one's imagination (Baird 200). At the time of writing this masterpiece, John Barry was in the state of grace and succeeded in presenting the emotions that could impact even the coldest hearts. The cues such as "The buffalo robe" and the "Journey to the Buffalo Killing Ground" are critical as they present numerous unreal flute motif and emerges as the primary mission of the music.

The movie "Yojimbo" is a film by Japanese Samurai. Produced back in 1961 and directed by Akira Kurosawa. The film elaborates much on the story of Ronin. It is portrayed by Toshiro Mifune, arriving in a town full of crimes. These lords of sin are majorly competing for supremacy within the city. In the movie, both bosses hire bodyguards, which get mentioned to be a newcomer. The composer of the film is Masaru Sato, who lived from 1928 to 1999. Sato decorates the whole movie with favourite music songs that viewers find exciting. Some viewers of the movie will concentrate on the music part more than the actual film. This music within the film has got stylistic cues that portray much on different characters all through the fil. Their traits as well as the role they play within the film.

In addition to that, these cues in the music always elevate the hero, subjecting what is important to be captured by viewers as the better part of the film. However, the cues also darken the Villain, which is responsible for acting as a lesson to people engaged in it. Considering the soundtrack of the movie, Yojimbo entices positive reviews from different corners of the word. Relating the same by the writer Michael Wood, reviewing the books attached to the film by Masaru Sato, he states that Sato is much effective in his provocative and jangling approach in the movie. He added that music inside that film is one of the things that have embraced viewers a great deal. Similarly, exciting music also points out what is all about the characters involved, within different stages as the movie proceeds.

The film is full of loud, witty soundtrack music. Sato depicts according to the music that his main aim is Henri Mancini. The music does not sound like breakfast at Tiffany. On the same note, the music does not seem like a day of wine and roses. There is a Latin sound of touch, which is blaring. The sound is of evil come closer. As much as this sound of music targets the character Mancini, one cannot depict not unless you are informed about the same. The effect Sato employs in this music is full of loud sounds of drums. There are as well mixtures of traditional Japanese flutes together with other big sounds drum from America.

The music feels jaunty as well as jangling throughout the movie section (Stanko 155). The music shows a discreet off as some parts of the band was playing in the wrong key. As the music starts, it entirely distracts; later on, one can realize that it is not a decoration but commentary. As Sato analyses the music, it is the companion of Sanjuro, precisely the sound of his mind. The sound is discordant, which is unserious and undefeated as well. He is grubby as well as silent and after that, emerges to be solemn. The song in this movie is a real modification of both economic as well as social structures. Nevertheless, the sound surrounding the Sanjuro as well as symbolizes the heroic resistance in the commercial sector as far as modernization is concerned.

Similarly, Sato, in the movie, connects the entertainment of good as well as evil things via the music. While relating the sound to the action, the Yojimbo film depicts the unstoppable corruption in the world as a result of the transition. Sato guided his message by involving music in the movie. He portrays the relationship between the characters within the movie as well as the link between the movie and the world. The producer does not concentrate on the music words only but also the sound effects. Sato focuses on each main character with different music as well as sound effects. The same relates to the mood at that particular point. If it is a happy moment, the music is a happy one with overwhelming drum effects. Moreover, if it is a sad moment, the music in place should be of sombre mood with practical sound effects.

Conclusion

Conclusively, Barry and Sato portray a lot in the movie Dances with Wolves and Yojimbo by involving music in these respective films. Music has helped different characters within the movie to expound much on their role played in the film. In addition to that, the stylistic cues enlightened from the music have a crucial message to both the viewer as well as the relationship between the characters. Finally, a complete movie giving out relevant messages should involve music with practical sound effects.

Works Cited

Baird, Robert. "Going Indian: Discovery, adoption, and renaming toward a "true American," from Deerslayer to Dances with Wolves." Dressing in feathers. Routledge, 2018. 195-209.

Stanko, Pawel. "Cowboy and Samurai Values and Their Exponents in the Western A Fistful of Dollars (1964) and Its Predecessor the Samurai Movie Yojimbo (1961): Proposal of a Methodological Framework." Anglica Wratislaviensia 57 (2019): 149-165.