The Importance of Sound Design within Amélie
At a fundamental level, modern film consists of two primary components; visuals and audio. Although both are equally as imperative to a film’s experience, it’s significantly easier to overlook the latter. Flashy VFX, impressive editing and thoughtful camerawork can make for a phenomenal watch; however, without well-articulated sound design, a film will often fall short in the eyes of a viewer. (Russell Sharman, 2020, p. 193) This is exemplified throughout Jean-Pierre’s Jeunet’s ‘Amélie’, which utilises strategic sound design to not only contextualise the visuals of the piece but to go so far as to tell a story of its own. Purposeful and considered sound design is integral to the construction of an impactful film – simultaneously enabling a film to immerse an audience and assisting directors to successfully construct an environment for their message to flourish.
One of the most explicit examples of thoughtful sound design can be found during Amélie’s first ‘good deed’. Initially, the scene opens with a general underlying chatter of crowds – complimented with low, off-tempo footsteps and distant bells. The occasional dog bark or car horn can also be heard, developing a thin layer of background ambience. This ambience effectively establishes the scene, placing the viewer directly on the curb of a Paris streetside and providing critical context to assist the on-screen visuals. The underlying, diegetic murmur of the passersby is then contrasted with a regular, high-pitched ring of a telephone. This distinctive pitch enables the acousmatic layer of sound to stick out above the rest, highlighting its upcoming importance as a focal element within the scene. (Chion, M & Gorbman, C 2019, pp. 71) It’s evident that, though we’re only a fraction of the way into the clip, Jean-Pierre Jeunet has not only considered the development of elements imperative to the story but also established the scene in such a way that we as an audience are utterly immersed in the world.
Once the scene is developed, and its primary focus introduced, Jeunet expertly demonstrates a further use of considered sound design. As Dominique, our protagonist, ventures towards the booth the ringing of the phone crescendos, isolating itself from the previous outside ambience. The consistent emphasis placed upon this layer of sound again continues to highlight its importance within the story, or so the audience thinks. Rather, we’re met with a hefty slam followed by the soft, underlying drone of a dial tone. As suggested by (Erik Bih, 2017, p. 5), a deliberate absence of sound here not only effectively subverts audience expectations, but tells a story of its own, forcing a viewer to reconsider the true purpose of the phone booth. The omission of sound within this scene highlights how carefully considered sound design can force a viewer to deeply engage with the text and the director’s message, rather than simply providing context to the scene.
This isn’t to suggest however, that sound design within the realm of storytelling and world-building isn’t crucial, as made evident within the flashback of Dominique. Here, Jeunet places a heavy emphasis on the soundtrack of the film, utilising it to add a further layer of depth as the film jumps time periods. Initially, we’re introduced to a slowed clarinet ostinato, as the shot slowly pans to our protagonist’s childhood toys. This repeated melody, paired with a light, underlying sobbing from Dominique, assists in developing a sense of saddened nostalgia. Suddenly, the audience is transported back in time, with the sound design shifting dramatically to reflect this. Not only have we now lost the non-diegetic ambience of the Paris streetside, however, the aforementioned clarinet phrase begins to gradually build into a full orchestral arrangement. Furthermore, the tempo of the soundtrack begins to speed up, giving life and energy to the memories being developed all whilst simultaneously contrasting the slow and melancholic life of Dominique. This juxtaposition of sound is furthered still, as we’re greeted with an array of accented dialogues and foley across the playground. Between irregular steps of children scampering, the intermittent background yells echoing off the pavement, or the diegetic audio of the marbles scattering in the drain. The consistent introduction of new sounds, tonalities and elements within the scene crafts a lively and unpredictable world, becoming representative of the unmediated and dynamic personality of a school-boy. It’s evident that, through this distinctive shift in sound design, Jeunet invites the viewer to partake in the memory alongside Dominique, once again immersing the audience in both the world and story of Amélie.
The use of sound to represent emotion is also made evident throughout the flashback. Harsh, highlighted tones, such as the full-bodied scream of Dominique or the repeated high pitched whistle, develop a sense of urgency within the scene. These notable sounds are then contrasted with the hushed muffle of the children talking, resulting in a sense of suspense. This suspense is only furthered still, as the texture of the sounds thicken. As Dominique’s pockets burst, the audience is greeted with the distinctive foley of the marbles spilling onto the pavement alongside the awestruck gasps and cries of children. This consistent layering of suspenseful sounds enables Jeunet to build the film to a climax, crowded with anger and excitement, becoming representative of Dominique’s emotions as he reminisces. The sudden climax is then contained, as the flashback finishes and we’re introduced to the hush, suave ambience of the bar. (Chion, M & Gorbman, C 2019, pp. 81) suggests that music within cinema is spatiotemporal, meaning that, unlike other elements, a soundtrack can transcend time within a film to develop a further meaning. This is made evident through Jenuet’s deliberate continuation of the sustained piano piece. Rather than returning to Amélie’s solemn roots, the callback of the soundtrack, when dulled by the linearity of the clinks and pours of glasses (and occasional French narration), results in a sense of bittersweet nostalgia, highlighting Dominique’s newfound hope.
Sound design is a defining component of modern filmmaking. Carefully considering the sounds of a scene is integral to crafting an effective piece of cinema – enabling a director to successfully communicate their overarching message. Be it through the emotions of a character, the development of a scene or the ideation of an important cinematic device, purposeful sound design is a necessity within the realm of modern film.
Bibliography
Chion, M & Gorbman, C 2019, Audio-Vision: Sound on Screen, Columbia University Press, New York.
Ebert, R., 2001. Amelie movie review & film summary (2001). [online] Available at: <https://www.rogerebert.com/reviews/amelie-2001>
Erik Bihl 2017, The captivating use of silence in film: How silence affects the emotional aspect of cinema, Blekinge Institute of Technology, pp. 5. Available at : <http://bth.diva-portal.org/smash/get/diva2:1114407/FULLTEXT02.pdf>
Tom, C., 2019. When music gives a meaning to a movie: The “Amélie” case (2001). [online] UVIC Audio. Available at: <https://uvicaudio.wordpress.com/2019/04/04/when-music-gives-a-meaning-to-a-movie-the-amelie-case/>
Russell Sharman, 2020, An Introduction to Cinema, University of Arkansas, pp. 190 – 193. Available at : <https://uark.pressbooks.pub/movingpictures/chapter/sound/>
