The Shawshank Redemption: Historical context April 16, 2010

In terms of a historical perspective in relation to the soundtrack of the Shawshank Redemption, it tends to fall under the category of coming from the classical period of soundtrack history. In particular, it is the soundtracks reliance on voiceover narration and music in the sound design that really links it to the classical period. Movie soundtracks first came into public consciousness in the early 1950’s, being labelled and advertised as “music from the original motion picture”. Like these early soundtracks, the Shawshank Redemption accurately fit’s the profile, because it consists of the certain isolated pieces of music from the film, and it includes background music, such as, frequently used orchestrated themes and motifs throughout the movie. Not only does the aspects of the music in the film contribute to the classical period, but so to does the actual music itself, coming from the 1930‘s to 1950‘s. The soundtrack includes music from the country, folk, classical, and rhythm and blues genres, which are all considered to be apart of the founding roots of music. The majority of the soundtrack is made up of songs by Hank Williams, The Ink Spots, and orchestrated compositions by Thomas Newman himself, making for an original and authentic musical experience. The sound design for the movie can be considered relatively restrained, compared to the stories sentimentality, but that’s what seems to make it so successful, the crisp dialogue throughout makes up for any subtlety, and appears to be the projected focus.

Functional Analysis: The Shawshank April 16, 2010

Ambience/Atmosphere/Environment:

In the Shawshank Redemption, the use of appropriate music within the scenes, aides in establishing the films ambience, atmosphere, and environment. These functions of sound have the most important, consistent, and frequently use throughout the story of the movie. They are widely used to facilitate and enhance the movies character development, mood, emotion, and tension. The “Stoic theme” in the film does wonders in introducing the Shawshank prison grounds as a dark, dreary, and unpleasant place. This casts a shadow over the prison and creates a gloomy and rather lifeless atmosphere to it, establishing a depressing environment and ambience. The second function of the soundtrack is the “hope theme”, which is often hinted at during cues within the prison. One such example of it occurs when the labouring prisoners enjoy beers on the roof, the music’s tone rises and creates a sense of freedom, or hope of it. This key point contributes to the films underlying theme of hope, and creates an optimistic ambience and unrestrained environment.

Action Emphasis and Pacing:

Throughout the Shawshank Redemption, numerous key actions throughout the film are emphasized, thanks in large part to the soundtrack. As well, various sound elements also have a grandeur effect on the films pacing, both slowing it down or speeding it up at times. One of the most noticeable instances of pacing occurs during the voiceover narrations, where the choice to use mild mannered background music, slows down the pace, making for a better setting for the narration of his story. This is evident in Brooks narration of his letter to Andy, as we hear a slow piano melody, which allows for better environment for the storytelling. Another instance of the soundtrack emphasising the actions of the story, is during Red’s bus ride out to Mexico. The music in the background is uplifting and full of hope, something that emphasizes the actually action of Red finally succeeding in allowing his hope to guide him to freedom. Furthermore, the pace of the music is intertwined with the concluding action of the story, as it takes us towards the resolution of the play.

Sound-Image Relational Analysis: The Shawshank April 16, 2010

Within the Shawshank Redemption, about fifty percent of the score is made up of straight parallel sound-image, which reinforces the realism of the filmed digenesis from the soundtrack.  This parallel sound refers to the sound that matches the accompanying images, using the technique known  as cross-cutting. As well, the ambiguous diegetic and non-diegetic sound throughout the story play a significant role in establishing mood to the audience. For instance, the opening scene is an example of both diegetic and non-diegetic sound setting the tone. The opening titles of the film display non-diegetic sound as we hear the song “If I Didn’t Care” by the Ink Spots, without an accompanying image to support where it’s coming from, the sound is ambiguous and non-diegetic in nature. The sound then turns into diegetic as the camera shot of Andy’s radio comes into view, this shows the source of the sound and marks it as diegetic. Both non-diegetic and diegetic sounds can create an ambience and feeling of tension, although cheerfully sounding, the lyrics of the song tell more then the melody. Many scenes involved this ironic contrasts between the tone and the surroundings. On several occasions the background music is cheerful and upbeat while the physical settings and scenery are dark, dreary and depressing, particularly within the prison settings.

The Shawshank redemption, being a narrative film, has a narrative film soundtrack. This means the sounds create a particular structure allowing the viewer to identify with characters, objects, and themes that are in the center and in the peripheral of the narrative. Throughout the movie, the sound runs parallel to the storyline of the movie, accentuating certain points of interest when necessary. During these points of interest, the sound is more often than not, defining the picture, to relay the themes of hope and despair upon the audience. Composer, Thomas Newman manages to strategically balance the grim tones of prison life within the walls of Shawshank with the inspirational influences of hope. This mixture of sounds affecting mood, builds upon the plays dramatic elements of tension and empowerment, enhancing the audiences understanding of the story. Overall, the movie uses sounds that both leads and synergizes with the images.

The major synergistic, leading, and paradoxical elements at play within the Shawshank Redemption are that of voiceovers and the soundtrack music itself. For starters, the voice-over effects are well placed and really help deliver the emotion the narration is trying to convey to the audience. Perhaps the most effective voiceover occurs during the narration of Brooks letter to Andy. The background music during the narration is made up of a piano beat, adding a sympathetic and sorrowful tone to the narration, further supporting the theme of lost hope through its synergy. Similar to Brooks narration, is that of Red’s upon his release from prison. The same background music is apparent, with the thematic piano beat, emphasizing the theme of hope or loss of it. This voiceover narration has the same synergetic component as the other one, only it also introduce the element of a paradox, because the mood of sorrow is introduce, only to later be contradicted by a cheerful and positive mood and outcome. This change in mood marks Red’s restored hope of a life outside Shawshank. Lastly, the voiceover of Andy when Red is reading the letter he left for him, instructing him to come to Mexico is another example. The voiceover narration synergizes with the diegetic sounds of Red’s surroundings, such as birds chirping, giving the impression Red is hearing Andy speaking the words of the letter in his head.

The music throughout the film plays an important role in contributing to the movies overall themes and moods. Composer, Thomas Neman uses a lot of orchestrated pieces of music in this film, particularly piano and string instrumentation. The most well recognized piece is the “Stoic Theme”, which highlights the scenes describing Andy’s entrance into Shawshank and the prison itself. This theme is a repetitive four-note motif performed by bass string and cello that seems to rise and fall, establishing a sense of wavering hope in relation to the image of the prison. This theme synergizes with the images, both working to complement the mood of one another. The second instance of music contributing to the film, and creating a sense of synergy, is the music that plays in the background when Andy escapes from prison. The music works hand in hand with the scene, because it plays on the notion of hope and Andy’s pursuit of freedom. The music has a monumental build to it, with the eventual climax coming when he rips his shirt off in the rain. Thus, this music works to fuel the theme of hope, and what can be achieved if one never gives up on it.

Narrative Analysis of The Shawshank Redemption April 16, 2010

The story of The Shawshank Redemption tends to follow the classical narrative structure, which dominates most movies that are made in Hollywood. The movie is structured in the three part format typical of the classical structure, which organizes the story into the setup, the development, and the resolution.

Within the classical narrative structure, the setup of the film is where the main characters of the story are introduced, as well as their goals, and the obstacles their likely to face in the pursuit of their objectives. The beginning of The Shawshank Redemption introduces us to the main protagonist of the story, Andy Dufresne, as we quickly learn that he has just been accused and convicted of the death of his wife, and her lover. The character of Andy fit’s the stereotypical archetype of a protagonist, because the narrative plot evolves around him and we as an audience are made to feel the most empathy for him, having been wrongfully convicted. Although having been sentenced to two consecutive life sentences, Andy’s character appears to be good hearted, which is why we believe in his innocence. He has suffered great misfortune, however, his determination and faith is a central element in the play, shedding positive affects on both himself and the people within his circle. The notion of his innocence gives the story a developmental goal and establishes Andy’s characters objective, which is to prove his innocence and reclaim his freedom. This hook, as it is more commonly referred to, engages the attention of the audience and suggests the direction that the story is likely to take.

Having been sentenced to serve time at Shawshank State Penitentiary in Maine, this is where Andy meets the rest of the central and peripheral characters of the story. The prison is run by a Warden named Samuel Norton, the peripheral character in the story, in contradiction to Andy, Norton plays the role of the antagonist villain of the film, however, not without a bit of ambiguity. Upon first impression, the Warden has a rather authoritarian disposition, like you would expect from a person of his title, stringent in nature, however, he doesn’t come across as being a totally evil person as seen in his speech:

“This is Mr. Hadley, captain of the guard. I am Mr. Norton, the warden. You are sinners and scum, that’s why they sent you to me. Rule number one: no blaspheming. I’ll not have the Lord’s name taken in vain in my prison. The other rules you’ll figure out as you go along. Any questions?… I believe in two things. Discipline and the Bible. Here, you’ll receive both. Put your faith in the Lord. Your ass belongs to me. Welcome to Shawshank.”

So, while he does orchestrate the entire “Inside out” program, selling cheap prison labour for financial gain, a plot which Andy aids him in, he appears to be more or less a friend to Andy, even helping him improve the prison library in exchange for his services. It isn’t until Norton destroys Andy’s chance of proving himself innocent, by removing Tommy from Shawshank, for fear of losing his prized banker, that we as an audience see his true colours and his ambiguity revealed. This instance in the development of the play is typical of classical model structure of narrative storytelling, as it presents a false resolution to the story’s main conflict. So, Just as we thought Andy had a way to prove himself innocent and achieve his desired goal, the door is slammed shut, allowing us to come to the realization that if Andy has any success of achieving his objective, he must escape. Another character similar to Norton’s, is that of head prison guard, Byron Hadley, who although at times is depicted as being companionate and helping of Andy, is evidently the muscle of Norton and follows out the orders to shoot Tommy. In terms of plot structure, the Warden and Bryon Hadley are representative of Andy’s obstacles, standing in the way of the compelling protagonists objectives, preventing him from obtaining his freedom both physically and metaphysically. These obstacles are apart of the development of the story structure, contributing to the rising action and tension in the story, and setting us up for the dramatic climax. Furthermore, the two peripheral characters create a cause and effect relationship with the central characters, where there actions force reactions, all of which, further solidify this film as being of the classical narrative structure.

Other notable characters that are introduced to us within the confines of Shawshank and are central to the Narrative of the story, are Ellis Boyd Reading, nicknamed Red, and Brooks Hatlen. The more minimal of the two characters is Brooks, the veteran librarian of Shawshank, whose story is one that plays off the theme of hope within the movie. He is an inmate who due to his long incarceration, has been institutionalized, something that discourages the main characters from their own release, as depicted in Red’s statement:

“Man’s been here fifty years. This place is all he knows. In here, he’s an important man, an educated man. A librarian. Out there, he’s nothing but a used-up old con with arthritis in both hands. Couldn’t even get a library card if he applied. You see what I’m saying?”

Finally, after a long sentence, Brooks is released, only to find that society has dramatically changed and that he no longer has any quality of life or place within it. Discouraged and looking for an escape, he decides to take his own life, all of which is detailed in a letter he sends to Andy and his friends back in prison. In relation to the classical narrative structure of the film, Brooks story acts as a deterrent to hope, leaving the remaining inmates of Shawshank to fear the outside world and their own release. This serves to fuel the films increasing development of tension, as it presents yet another obstacle that the main characters  hope must overcome.

The second of the two notable characters is that of Red’s, who in many senses is the second supporting protagonist in the story. Both Andy and Red become good friends with each other over the years, something that stems from Red’s reputation as “the guy who can get stuff.” The character of Red’s is vital to the narrative of the story, because he contrasts the character of Andy’s, as a man who has lost his faith and has no hope left for a life outside the penitentiary. In the end, it is Andy’s helping hand that pushes Red out from following the same path as Brooks did, when he was released, restoring his hope for a better life. Therefore, it is Red that is affected by Andy’s light and enthusiasm for hope, an instrumental shift in the story‘s development and resolution. In the end, both Red and Andy have reached their goal of obtaining freedom and a life outside of prison, fulfilling their objectives, as they both end up in Mexico reunited on the beach. This fulfillment of Andy’s and Red’s goals brings closure to the film, since all the major conflicts, issues, and ideas in the story have been resolved. Popular among the classical structure, is this ending of the protagonist conquering his obstacles and claiming his goal, leaving the story with the assertion that the protagonist will live happily ever after.

To summarize, the film the Shawshank redemption fit’s the structure of a classical narrative story, because it consists of having introduction, development, and resolution stages throughout it. To be specific, the film introduces us to the central characters of Andy, Red, and Brooks, as well as, the peripheral characters of Warden Norton and guard Hadley. Furthermore, we are presented with the central characters goals, which in this films case is the desire to be free. As the story progressed, the development stage of the story revealed the protagonists obstacles to us, which appeared as the Warden Norton and being institutionalization. The relationship between the protagonist and the obstacles created a cause and effect relationship, in which reactions followed actions. Finally, we came to a conclusion, following a dramatic climax, where the two main characters achieve their freedom and live happily ever after. All of this information points to the understanding that this story follows the guidelines of a classical narrative story structure.

The Shawshank Redemption April 16, 2010

The 1994 American drama “The Shawshank Redemption”, which was written and directed by Frank Darabont is a movie easily worthy of recognition. I particularly enjoyed this movie because the story, which is loosely based on an original Stephen King novella, is intrinsically laced with the themes of hope, friendship, and redemption, something surprising, given the setting of a prison. One most look no further than the cover of the movie where it illustrates the liberating and uplifting power of hope through the pursuit for freedom, with the words: “Fear can hold you prisoner, Hope can set you free.” The themes of the movie are successfully delivered through the interactions between the two lead characters Andy (Tim Robbins) and Ellis (Morgan Freeman). The two main actors are exceptional in their own respective roles and demonstrate phenomenal chemistry on screen together, making the movie worth while watching alone.

Another aspect that really stood out, was how well the film was made, despite the minimal production value of it. There are no use of attractive high quality special effects, coupled with exotic setting locations, no, instead, the settings are very basic and the movie is very simple in nature, relying entirely on the telling of the story to carry the film, making for a more realistic and genuine experience. So, while the production values are minimal, and non-extravagant, they are altogether outstanding and make the film what it is.

As for the films soundtrack, it is warm, and at times chilling, exploring a wonderful array of emotions through it’s sound design. The score for this film is done by no other then Hollywood legend, Thomas Newman, who displays his brilliance for being able to compile fitting musical arrangements with on screen action. The music to the film is almost as uplifting as the story, making it come alive through capturing the emotional depth of the characters and the hardships they face. This film score supports and propels the plot forward through helping to establish the films main theme and mood of hope.

Overall, The Shawshank Redemption is a brilliant and powerfully uplifting movie, which touches and warms the soul. It’s subtle, but effective techniques, not only allow it to come across as a prison film, but as a metaphor for overcoming our own individual prisons in life. Even though the characters and my own circumstances are different, the movie gave me the feeling that, I wasn’t far removed from what Andy and Ellis were going through.