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Alan Silvestri Forrest Gump Suite
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Third year university work for which I was awarded a first. Analysis of the music featured in Forrest Gump: In this essay I will discuss the music used in the feature film ‘Forrest Gump’ and the theories of film music presented by Jerrold Levinson, Phillip Tagg, Zofia Lissa, and Claudia Gorbman. Forrest Gump (1994) was released on Paramount Pictures and was directed by Robert Zemeckis, but the film was originally a book written by Winston Groom. The film has won various awards and is a widely critically acclaimed film.
The film is about the life of a man called Forrest Gump who tells his incredible story, which revolves around real historical events and a women whom he loves. In this case Claudia Gorbman (1980, p196) states the film is ‘ metadiegetic’ and that this narration is ‘ is a common element of film discourse.’ Gorbman (1980, p183) also states, film ‘ music sets moods and tonalities in a film narrative.’ The music featured in the film also appropriately connects with the historical timeline that Forrest encounters during his adventures, but it also appropriately connects with the feelings and emotions of the characters featured in the film. Jerold Levinson (1996, p249) states that there are two types of film music: the first being ‘ a composed score’ which ‘ consists of music composed specifically for the film in question’.
The second being an ‘ appropriated score’ which ‘ consists of preexistent music chosen by the filmmaker, often in conjunction with a musical consultant‘. Forrest Gump features both of these approaches of film music. The film features 56 popular songs which mostly are popular rock music, and it also features 21 original post-classical scores conducted by an award-winning American man named Alan Silvestri. Silvestri and Zemeckis have established a great working collaboration, and have worked on a number of films for example Cast Away (2000), and The Polar Express (2004): ‘ When you’re fortunate enough to have a relationship with a composer where he is your soulmate you hold on to that very tightly Right now I want to stay working with Alan because we are pretty much of the same mind.’ – (Zemeckis 2010) The music supervisor for Forrest Gump is Joel Sill and has also worked with Zemeckis and Silvestri before.
The first score experienced in Forrest Gump is the original score ‘ I’m Forrest Forrest Gump’ (1994) by Silvestri that features in the opening sequence of the film (00:00:21-00:02:45). According to Philip Tagg (1999, webpage); the ‘ title music’, originating from early film music ‘ derives much from the classical-romantic overture to opera and other dramatic presentations.’ As Forrest Gump falls under the romantic-comedy drama, it isn’t surprising that the film makers decided to stick with the traditional title sequence. This opening scene starts with credits and a low-angle of a feather in the sky with the musical score slowly and softly becoming more apparent.
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The feather is then moved by the wind and continues to be moved by the wind in a dolly shot, we know the feather is being moved by the wind due to the recognizable sounds at 00:00:24. Overtime in the long take the geography becomes clearer and the music also accompanies this, slowly becoming more apparent. At the end of the dolly shot, Forrest puts the feather in a book which is in his briefcase (00:02:33), and whilst this is happening the music lightens until the sound of a bus is eventually heard. Although this score can be seen as non-diegetic, it seems to help make the viewer feel positively about the narrative. Levinson states that non-diegetic music can still affect viewers: ‘ Where non-diegetic music adds atmosphere to a scene without plausibly making anything fictional in the film’s world, simply producing a mood in viewers, it seems that responsibility for it.’ (Levinson 1996, p266) Furthermore, on Silvestri’s sheet music for this score, it orders for the piece to be played ‘ sweetly’.
This opening sequence reflects not only on Forrest’s personality, but also the heart-warming, sweet and innocent narrative ahead which agrees with Gorbman’s theory that film music has certain ‘ musical codes’: ‘ We may see music as “meaning”, or organizing discourse For example, the music that plays while a film’s credits unroll activates these cultural codes, and can reveal beforehand a great deal about the style and subject of the narrative to come.’ (Gorbman 1980, p184-185) The second scene in Forrest Gump I am going to discuss is when Forrest meets Elvis (00:10:18-00:11:42). The appropriate score for this scene is ‘ Hound Dog’ (1956) by Elvis Presley. In this scene there is a dolly shot of Forrest’s mother looking for him whilst Forrest narrates over the scene, finishing his narration saying: ‘ One time a young man was staying with us, and he had him a guitar case’ (Forrest Gump, 1994, 00:10:15). His mother hears something coming from one of the rooms (00:10:19) and as she gets closer to the source of the music (the room) it appears louder, but however is muffled. She eventually opens the door and the over-shoulder medium long-shot shows Forrest with Elvis who is singing ‘ Hound Dog’ (00:10:28).