The Stravinsky Effect: How Classical Music is Rewriting the Rules of Film Scoring
Forget bombastic orchestral swells and predictable cues. A quiet revolution is underway in film scoring, one where composers aren’t just writing *to* the scene, but actively conversing with it – and with the history of music itself. Alexandre Desplat’s work on Wes Anderson’s “The Phoenician Scheme” isn’t just a beautiful score; it’s a case study in this evolving art form, demonstrating how a playful “bending” of Stravinsky can unlock a new level of cinematic storytelling.
From “Happy Birthday” to “The Firebird”: A Legacy of Variation
The genesis of “The Phoenician Scheme’s” score is deceptively simple: Desplat’s playful reimagining of “Happy Birthday to You” through the lens of Igor Stravinsky’s “Greeting Prelude.” This act of musical variation, initially a personal exploration, quickly became the foundation for the entire film’s sonic landscape. Stravinsky’s influence extends beyond this initial spark, with pieces like “Apotheosis” from “Apollo” featured prominently. This isn’t mere homage; it’s a deliberate dialogue with a master.
Diegetic and Non-Diegetic Harmony: Blurring the Lines
Desplat’s approach in “The Phoenician Scheme” is particularly innovative in how it handles the interplay between diegetic (music originating within the film’s world, like a radio playing) and non-diegetic (the traditional film score). The film’s opening shot, featuring a turntable spinning Stravinsky’s “The Firebird,” immediately establishes this connection. As Desplat explains, the score doesn’t simply *accompany* the visuals; it emerges *from* them, creating a seamless and immersive experience. This technique, while not entirely new, is being refined and utilized with increasing sophistication by composers seeking to deepen audience engagement.
Beyond Character Themes: Scoring Atmosphere, Not Individuals
Interestingly, Desplat deliberately avoided composing distinct musical themes for each character in “The Phoenician Scheme.” He felt it would be overly complex, a “Rubik’s Cube” of musical ideas. Instead, he focused on crafting melodies that enhance the film’s overall atmosphere. This represents a shift away from the traditional practice of leitmotif – associating specific melodies with specific characters – and towards a more holistic approach to scoring. This trend reflects a broader move in film scoring towards prioritizing emotional resonance and thematic unity over individual character representation.
The Wes Anderson “Toolbox” and the Future of Collaboration
Desplat’s long-standing collaboration with Wes Anderson has fostered a unique creative synergy. He describes a shared “toolbox” of instruments – glockenspiel, choir, mandolin, banjo – that they continually revisit and reimagine. This collaborative process, where a director and composer build a shared sonic vocabulary, is becoming increasingly common. It allows for a level of nuance and consistency that is difficult to achieve with a more detached approach. This also highlights the growing importance of the composer as a key creative partner, not just a hired gun.
The Rise of Eclecticism and the Challenge of Integration
“The Phoenician Scheme” exemplifies a growing trend in film scoring: eclecticism. The film seamlessly blends classical music (Stravinsky, Bach, Beethoven) with jazz arrangements (Krupa, Mulligan, Miller). However, this presents a unique challenge. Desplat describes having to “slalom around” these pre-existing pieces, avoiding direct musical links and instead finding “flourishes” that complement them. This approach suggests that future film scores will increasingly rely on skillful juxtaposition and layering of diverse musical styles, rather than striving for a unified, homogenous sound.
The Impact of Streaming and the Democratization of Classical Music
The increasing accessibility of classical music through streaming services may be fueling this trend. Audiences are becoming more familiar with a wider range of composers and styles, making them more receptive to unconventional scoring choices. Furthermore, the ability to easily license and incorporate pre-existing music opens up new creative possibilities for filmmakers and composers. This democratization of classical music could lead to a renaissance in its use in film, moving beyond traditional orchestral scores and embracing a more experimental and integrated approach. You can explore the growing influence of streaming on music consumption here.
Ultimately, the success of “The Phoenician Scheme’s” score lies in its ability to feel both familiar and surprising. Desplat’s masterful manipulation of Stravinsky’s work, combined with his innovative approach to diegetic and non-diegetic music, demonstrates the power of musical variation and the potential for classical music to redefine the cinematic experience. What new sonic territories will composers explore next? Share your predictions in the comments below!
