The scene that is going to be reviewed within the framework of the current paper is the “I am the scales of justice” that starts approximately around 01:09:15. The scene is mostly focused on background music and plenty of footsteps and gunshots that vary in order to create a more sound-rich picture of the movie’s world (Miller, 2015). The musical background starts as majorly non-diegetic yet intense.
The contents of the composition, though, do not coincide with what is currently happening in the scene. The car was stuck in the sand, and the main characters were trying to move it, while the background music was supporting the dramatic nature of the moment. For Miller (2015), it was a great opportunity to display the emotional struggle and the need to escape while also ensuring that the physical struggle (moving the car out of the sand) would also be visible.
As the main characters are starting to move faster to get the car out of the trap, the tempo of the background music also speeds up, while the audience may witness diegetic gunshots, as all the characters shooting guns are visible at the moment. The problem arises during some of the moments when the music is getting even faster, and it becomes harder to spot if gunshots are diegetic or not.
The static noise that appears after Furiosa’s sniper shot is a diegetic one because the loud sound from the sniper rifle is noticeable through the ringing in one’s ears. Nevertheless, Miller (2015) approaches this scene less realistically, making the rifle sound non-diegetic, as none of the characters react to it as expected. Another reason why this sound is important is the fact that it creates a sound bridge when the camera focuses on a different vehicle with the Doppler effect still active.
There are also several examples of parallel sounds in the scene that are supported by the background music and numerous diegetic sounds. The music is in line with what is happening on-screen, making it a great fit for the action scene. The sound design does not actually focus on any gunshots or footsteps in order to bring the action itself to the forefront. The majority of diegetic sounds, nevertheless, come from the vehicles, as the audience hears engines constantly and sees the cars struggling on-screen. Accordingly, there is a specific mix of non-diegetic and diegetic sounds that makes this scene so outstanding.
These tricks allowed Miller (2015) to make the scene practical and believable without resorting to visual effects and computer graphics. For the most part, the film score makes it completely different and emphasizes certain points. A large number of diegetic sounds is another crucial element.
As for sound continuity, the most evident examples may be the points in the scene where engines are revving, but it is not clear if it is the main characters’ trucks or the enemies’ vehicles. This uncertainty adds to the excitement that the scene brings to the movie in general, as it is one of the scenes where the action is not visual but audial. It also allowed the director to strengthen the effect of the film score when the engines started revving in the background with an enemy who has just been blinded by a sniper rifle shot. It is a memorable sound effect because the audience hears the anger in the man’s voice and how it is paired with the incredibly loud engine sounds symbolizing his spite.
Reference
Miller, G. (2015). Mad Max: Fury Road [Film]. Australia; Warner Bros. Pictures.