The movie Malcolm and Marie tells the story of a successful filmmaker and his lover who return home from his movie premiere and engage in a heated argument about the film’s inspiration. The film focuses on the life of a woman recovering from a history of drug abuse, and Marie believes the movie is based on her life. She feels neglected because Malcolm did not mention her during his speech at the premiere. The setting of the movie is a large, seemingly secluded house, featuring only these two characters, which creates a “close-proximity relationship” between the actors and the audience. Additionally, the movie is entirely in black and white, further reducing distractions and directing the viewer’s attention to what is happening in each scene, and most importantly, to the sound.
When discussing the sound complexity within this film, it is important to focus on the speech, music, and noise. With the entire setting taking place within the couple’s home, the dialogue between the two allows for deeper understanding, the musical choices convey intense emotions, and the noises (sound effects) reinforce a sense of fidelity. The movie heavily relies on diegetic sound to evoke a sense of realism that places viewers in the position of feeling present within the home.
The movie opens with an establishing shot of what we assume to be the couple’s car slowly approaching their home. The proximity of the camera to the sound source suggests the use of added sound effects created through the Foley process to imitate the noise of a car inching closer. This opening shot introduces the concept of sound perspective, which is present throughout the film. As the car approaches the camera, the volume gradually increases. The scene then cuts to the couple entering their home. Marie heads to the bathroom while Malcolm goes to the bar and begins playing “Down and Out in New York City” by James Brown.
With the distance between the characters in this scene, we can observe how the loudness is distributed across the cuts. This scene features a large sound bridge that connects the shots and maintains continuity. The medium shots focused on Malcolm are louder due to his proximity to the speakers in the bar, while the shots of Marie in the bathroom are more muffled and distant, creating a sense of depth and separation. There is minimal verbal communication throughout this musical aspect, however, the addition of automated dialogue replacement (ADR) in post-production helps blend the music and dialogue, illustrating the connection between the two within a loud environment.
This scene also effectively demonstrates the manipulation of volume for intelligibility, setting the tone for the relationship dysfunction that unfolds later in the film. Malcolm is portrayed as loud and overpowering, while Marie remains more subdued, yet equally passionate and intense.
As we approach the halfway point of the movie, the dynamic characteristics of the characters truly come to life. When another argument is introduced into the sequence, we hear the reintroduction of the song “Down and Out in New York City” through Marie, who expresses, “As if a song written 50 years ago about a different f****** girl would somehow make me feel better about our relationship.” This suggests that the song initially served to engage the audience in the opening scene, but its later reappearance provides a foundation for understanding the emotional complexity between the couple. While Malcolm uses the music to uplift his spirits and celebrate his accomplishments, Marie perceives it as boastful and dismissive of her feelings.
After reading chapter 7 on sound, I can say that I viewed this movie in a completely different light. Placing my attention on the little sound adjustments and music choices make me appreciate the time that was put into creating this film. Also, it invites a deeper level of understanding and love for the characters once analyzing how these things not only serve the audience, but how they play a role in character development.
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