The sound design is exceptionally clever, Mica Levi, the composer for Under the Skin, primarily uses orchestral instruments- violins and a range of percussion, however the sound that is produced is far from classical. The effect is artificial and mechanical. As the scene begins, we see the woman driving alone, hunting. the soundtrack launches into the three violin chords, played over three octaves, from a deep and heavy low base, to the violins highest range. The sharp chord lingers for an uncomfortable amount of time, ringing. Its effect is strained, and cyclical; listen closely to this chord and it begins to sound less like an instrument but like a machine, cogs turning in a mechanical structure. the violinists’ bowing is fast and synchronised; the chamber orchestra in theory is the machine, bows moving in a rhythm and pace that reflects the movements of a single contraption. Yet this sound is also characteristic of the woman; she, herself, is a machine, the embodiment of a woman but in reality, she is an alien programmed to act and talk like a human. the instruments are being pushed to their full potential used to create a sound that is uncharacteristic of the violin, they are becoming something they are not, and the noise is excruciating. Much like the woman, she is pretending to be something she is not, and the effect is detrimental. This violin motif is the woman’s theme.

After this note, the cog like beat begins, alongside the woman’s violin theme. This is repeated as an ostinato and continues throughout the scene. The woman is emotionless, she silently and calmly moves throughout the streets, yet the sound begins to build. A third element is added to the soundtrack, a two-note minor hum of strings. A ringing that manifests itself as something menacing an insect like, growing with a crescendo as if it is getting closer. Then to complete the cacophony, all elements come together with the addition of a minor three note drone. The combination of sound almost becomes diegetic. The musical elements repeat and rotate as if part of a conveyor belt. the actual sounds of the violins are painful, reflecting the physical sounds of a mechanism. The soundtrack represents the woman and her ruthless, unprejudiced actions. Alongside this, the music also reflects the structure of society, the film comments on the vain and capitalist society we live in, a never-ending cycle and structure, much like the soundtrack.

In this scene Boyle uses music meticulously, the song “Perfect Day” by Lou Reed not only sums Renton’s addiction with drugs, but also creates an interesting interpretation of the scene. As Renton overdoses, he falls into the floor in an absorbing representation of the pre-death stage, as if he has fallen into his own grave. At this point the song begins, a gentle yet sombre piano melody with a slow, swung drum beat, almost satire in its likeness to smooth jazz. The songs minor and melancholy pace contrasts the lyrics, which speak of a “perfect day” describing a day out – “drink sangria in the park” … “it’s such fun”. The irony in these lyrics is comical, yet its not until you notice the context of this song that it makes sense within this scene. “Perfect Day” is described as being Lou Reeds ode to Heroin and addiction. He writes about a perfect day, yet the chorus’s lyrics of “you just keep me hanging on” portray the affect of drugs and addiction. 

The diegetic sound of the siren shows the urgency of Renton’s situation, yet as the ambulance drives away it is a confronting reflection of how low and desperate Renton has become. Reed bursts into the chorus at this point, the climax of the song and the epitome of Renton’s lowest point of the film. In some sense this is Renton’s “perfect Day”, the aftermath of the overdose and consequence is that he is forced to get clean and restart his life.

The music itself is both diegetic and non-diegetic, as it is played within the helicopter. It opens with the strings and woodwind, with all the ornamented trills and vibrato possible, a hopeful motif that signifies the preparation for what is to come. The high pitched, conjunct string melody begins to quicken in pace, building the tension. The chopper crew begin to load their weapons, preparing to fight. The music reflects this, as the camera zooms out to show the fleet of helicopters growing ever closer to their destination, the famous ascending melodic brass motif begins, like a battle cry. It is bold and aggressive, the use of brass emphasising this, symbolising the American fighters. 

As the camera shifts to the Vietnamese base, the music pauses. It is peaceful and calm, the diegetic sounds of children learning creates a cold and sudden contrast in environment between the helicopters and the ground level. A painful reminder of the innocent lives lost, and a moment where the audience is aware of the brutality of the Americans.  As the helicopters are noticed and school children begin to scatter around the base, a distant and ominous hint of “Valkyries” can be heard. A combination between horror and exhilaration is shared as the helicopters are now amongst the Vietnamese. Coppola continues to show the triumphant strength of the Americans as the music is now accompanied by the operatic voice, a sinister and uncomfortable addition. The combination of gun shots, explosions and Wagner’s “Valkyries” is intense to listen to, reflecting the overwhelming environment of sound and attempts to immerse the audience within the scene. 

The use of “Ride of the Valkyries” is so significant due to the song’s origin. Written as part of an opera, the piece revolves around mythic figures in Norse mythology during a celebration and preparation for an apocalyptic battle. Hence the contextual significance. Alongside this, Wagner was favoured by Hitler during Nazi occupation in Germany and attempts were made during this time to incorporate his music and operas into propaganda. Contextually, it is clear that Coppola’s choice to use the song was intentional and ultimately creates an interesting interpretation of the war.

 

The costume choices could be alternatively perceived as an ageing mentality. The hair cut is a classic trend of past times, and this reflects where Chigurh’s mind set is at. Considering that the film is about letting older generation characters left behind for a new way of societal thinking, indicates that Chigurh is distinctly apart of the Cohen Brothers purpose to illustrate a pessimistic fate for those still stuck in the past. Whilst Chigurh gets away, He doesn’t win either, he is confronted by the faces of the new generation and gives up on his objective, walking away and leaving the frame defeated.

The gentle strum of an acoustic guitar indicates associations of community, optimism and happiness, setting the mood for the scene. Furthermore, the blue sky reflects a relaxed burden free mind-set, amplifying the optimistic effects of the pleasant melody. This reminds audiences of a similar time in their lives and helps gently take back audiences, effectively manipulating the mind frame audiences enter the film with. Talking about the stars in the sky, audiences become influenced to remember a time where they first experienced aspirations and go on to remember a stage in life nurtured by motivation by their families. 

Re-evoking precious moments in one’s life, the song is an excellent way to bring audiences back to a specific place, warping time and restarting the journey of growing up all over again. Effectively preparing the audience to be placed in the shoes of the young child on screen.

The scene begins with quick extreme close up shots of locks. Extreme close ups tighten the available space in the frame and immediately constricts any sense of freedom. This hence sets the scene up with an unnerving mood right from the beginning. Following this, we turn to the space in the room. It originally seems spacious but then our main character starts squirming and the camera closes in with a slow dolly. Renton becomes trapped in the frame, almost suffocated by the bed sheets enveloping him. In addition, while the camera is closing in on him, small amounts of jittery movement can be noticed. The camera movement isn’t completely evident to the point where it takes over the scene yet it there enough to be noticed in the background. The confusing amount of noticed camera movement hence becomes an itch in the background of the viewers viewing experience, they can start to feel the unusual discomfort, the prologue to Renton’s pain about to be endured.  At this point the audience’s perspective can feel the struggle that Renton is beginning to experience, and a sense of anticipation builds as we wonder when the worst part is come now that it has subtly arrived. Altogether, this gives the sequence an unnerving opening, with the use of subtle indicative movement and cinematography choices. 

Chaos through the camera lens is then cleverly conveyed. From a low level, the room begins to move in the sense where it appears the camera is moving further and further away from the exit of his bedroom. The camera is moving backwards instead of forwards and in slow pace, this make us feel as if we’re being pulled back into the abyss, almost down to hell, creating a sense of panic and fatality. Furthermore, the camera moving in the opposite direction it’s facing totally restricts the audience’s knowledge as to where we are going, we cannot see into the direction we’re moving and so we become vulnerable. The cinematographic techniques strip us of omnipotent power, bound to this low angle. Paired with the uncertain movement, the uncertainty and vulnerability effectively conveys chaos and panic within the scene. 

https://www.youtube.com/watch?v=5THh7yp530g

Firmino began by looking around the party with a blank expression, separating himself from the other characters, who laugh and dance. When glancing at the young girl the camera shoots at a portrait angel, with his facial expressions becoming crucial tools in conveying his thought process, as he decides whether not to ask her to dance. He shows this discomfort through the movement of his mouth as he nervously rubs his lips together. Along with using his hands to pull his face, as he looks away from the girl, attempting to build confidence. Repeating this as he glances back towards her, and back to the camera, bouncing his head to the music in attempt to maintain a cool, relaxed manner. This scene exposes a level of intimate vulnerability to Lil Z’s character, with its extreme contrast to the earlier scenes, were he demonstrates confidence, presented through his bold, intimidating physicality and fearful tone. Through Firmino’s awkward manner, the audience are introduced to a more human side of Lil Z’s character, with the somewhat relatable scenario allowing us to pity the rejection he later receives.