Gattaca (Michael Nyman)
While science-fiction generally imply scores dominated by excessive high tempo string segments, films such as ‘2001, A Space Odyssey’ have earned the genre greater respectability. Gattaca improves the image with a captivating, if simplistic, score,
Nyman isn’t usually associated with science-fiction scores; his emphasis on minimalism seeming to contradict the complex narratives. The thematic and tempo variations are barely present, rather, his musical focus is on themes embedded in allegory. By ignoring the conventions associated with the genre he is emphasizing that Gattaca’s premise isn’t dystopian, instead showing how progression could change the nature of relationships. The film is a contradiction of themes, a world where artificiality is considered natural. Nyman stresses this through his score where the oxymoronic irony of using poignantly hopeful notes is represented through filters, setting up the paradoxical themes of natural artificiality.
This is especially so in ‘The Departure’, where the melody is the same as ‘The Arrival’ with changes only to tempo and note length. In ‘The Arrival’ the arrangement emphasizes Vincent’s hope, whereas ‘The Departures’ emphasis is on Vincent and Jerome’s catharsis. Niccol stated that ‘Film music is best when… it can convey both hope and sorrow in the same composition.’ In ‘The Departure’, violins create this contrast, as they are generally used to gain empathy. In both tracks, The ‘Arrival’ and ‘Departure’, Nyman manages to raise that empathy, yet in ‘The Departure’ it conveys hope using the same diatonics. The emotional contradiction highlights the films message of it being a homily of metaphors leading to Vincent’s ascendancy.
All the tracks from the flashback sequence, including ‘The Arrival’, relate to memories attached to Vincent’s original identity which is reflected by Nymans adoption of a surreal tone through instrumental manipulation and greater thematic variations. The slightly more up tempo ‘becoming Jerome’ builds on the mocking tenor established in ‘The Arrival’, while the dream-like drawn out string segments in ‘Gods Hands’ echo the religious faith his parents quickly forfeited. The soft music and comparative lighting during the sequence implies humanity, a stark contrast to Gattaca’s interiors.
Surprisingly, the score doesn’t break off and form the triumphant finale expected after a theme has been continuously building, especially after obstacles have been overcome and adversity beaten. Yet ‘The Departure’, multi-layered not only in string use but also in themes raised, closes the film by reminding the audience that while it is the conclusion of Vincent’s and Jerome’s dream, it is not the conclusion of social problems. The drawn out string segments, the piano chords more dominant than in ‘The Arrival’ and the wavering first note seemingly torn between themes form the emotive climax of Gattaca.
The oxymoronic use of filters and orchestration reaffirm the themes raised. While gold filters were applied to scenes of ‘cold warmth’ associated to the lack of compassion, they were also used in ‘The Departure’ to symbolize the humanity of Lamar’s support. The first note of ‘The Departure’ confirms Vincent’s gratitude, and the lighting during that scene emphasizes the scores, and films, purpose. The thematic antithesis of blue associated with inhumanity, and affectionate gold leading towards the green filters confirm that it’s a combination of both qualities, genetic identity and determination, that leads to fulfillment.
Like the filters, the orchestration serves a dual purpose. The score is dominantly violin; therefore the variations have to exist subtly, as do the variations within the movie. Nyman works off this by adjusting note length, timing and accompanying instruments. A prime example is ‘Irene and the Morrow’, where the brass accompaniment symbolizes the contradictions existing in the love narrative. Likewise ‘The Departure’, the lighting also works off the paradox, as exemplified during the sunrise scene. Sunrises are generally romantic, but the light reflecting off the solar panels confirms that the basis off their love is (initially) artificial.
Contrasted to this theme is first track and opening title, ‘The Morrow.’ Consisting of merely rising and falling patterns of the same four cues with little variation in note length or instrumentation, it deceptively leads the audience to expect little more than those cues adjusted to fit the different tones of Gattaca. Fortunately this track only serves to establish the timbre of the body as the identifier, recurring only in scenes where genetics are fore-grounded. Yet this emphasizes the system’s deceptive aspects, with blue filters reinforcing the harshness of their ideals.
The repetition and lack of instrumental variation have caused critics to comment that the score is almost meaningless, lacking ‘identifiable and interesting themes, nice melodies and an elaborate instrumentation.’ At a superficial level this is true as the score stresses the minimalist style by not straying from the main cues. However, while Nyman’s score mostly comprises of slow tempo strings and soft brass; variations in theme are present and manage to convey two emotions in one note.
‘Impromptu for 12 fingers’ works on multiple levels in relation to Gattaca. Initially it serves to juxtapose the concert and investigation; the increasing urgency highlighting the rising tension within both narratives. The Irony is within the piece itself and separate from filtering. The extra harmonies build on Gattaca’s premise of being an artificially natural society, yet raises a different argument. All that has changed is the perception of a visually unaltered future, a retrospective enamored in a cultural past. It highlights the films central concern that society will be changed so drastically that this perception will be reality. Contrasted to the simple emotive chording for ‘The Departure’, this track metaphorically raises the argument ‘has society really improved?’ The extra harmonies, which are an octave higher, detract from the haunting tone of Schubert’s piece, rather than improve original genius.
The cinematography within the film caters for two purposes: the paradox and mystery narrative. Green filters serve as part of the film noir camera work, as well as the blending of beliefs. Likewise, Nyman’s score caters for the mystery genre through greater variation and quicker tempo in his suspense cues. The notes are often repetitious, yet shorter, track 19 exemplifies this. Nyman emphasizes the rising tension by going a note higher each beat during the initial eight, then in the next 8 going an octave higher. This cue is repeated, but at a higher tempo and with increasing urgency to reflect the trepidation.
Those seeking a score similar to Nyman’s ‘The Piano’ will be disappointed as the nuances are more subtle in Gattaca, although hearing ‘The Piano’ gives the listener a better understanding of its hidden meanings. I would highly recommend it to those who like modern minimalist works or want a science-fiction score with substance.