I love film scoring. I believe, under the right circumstances, that original music can make or break a film. It’s an element that people don’t always notice when it’s done right but know it’s wrong when it goes wrong. In this new series, I will be digging through some of my favorite film scores of all time to explain why I think they work so well and deserve recognition.
Paprika is a Japanese animated science-fiction/fantasy film about a new piece of psychotherapy technology. It allows the practitioner to transport their spirit into a patient’s dreams to guide them through therapy sessions in a safe environment. Paprika is the dream name of Chiba Atsuko, one of the doctors involved in the initial testing of the device. Unfortunately, someone has stolen the technology and is using it to drive people insane. It becomes Paprika’s job to unravel the mystery of the theft before the thief tears down the wall between dreams and reality forever.
The film, from the writer/director of Millennium Actress and Tokyo Godfathers Satoshi Kon, is an aggressive burst of visual stimuli. It takes full advantage of the dream settings, creating noir detective chases, elaborate circus acts, and even a parade of living toys that causes insanity. This film required a wide range of original music and composer Susumu Hirasawa was more than up to the task.
The following is the most common recurring theme in the film. It is one of the two recurring motifs and acts as the theme song for Paprika when she’s traveling in the dream world. The first version is called “Meditation Field.” It’s a driving pop song accompanied in the film by the neon lights of the city as Paprika rides her motorcycle through traffic. It’s a thrilling opening sequence in the film because the music adds so much excitement.
This theme transforms into something much more quiet and contemplative about two-thirds of the way through the film. As Paprika comes closer to the source of the theft and discovers the actual stakes, her theme song becomes a lullaby of sorts. The synthesizer sequences begin looping the first few notes of the chorus and verse as acoustic piano and vocals take a backseat. It’s an intentional dreamlike effect. The song is called “A Drop Filled with Memories.”
Since the film has so much action, it’s only natural that the main use of “Meditation Field” would be a more upbeat interpretation of the song. This version is called “The Girl in Byakkoya.” It’s an acoustic version of “Meditation Field” with more layered vocal effects. Despite its more subdued backing and fuller vocal at the chorus, it’s the closest Hirasawa’s score comes to pure pop music. This could play on the radio or in a dance club without much of a push at all.
The level of variation in the score is staggering. Little bits and pieces of Paprika’s theme weave their way throughout. Whether it’s the instrumentation, the vocal layering, the melody, the harmony, or even just the rhythm, this theme permeates the score. A great film score tends to have one theme that is the basis of everything.
Paprika has two. There is a strong reason for this. Where Paprika is the hero of the film and needs music to follow her throughout the story, the parade of toys I mentioned above is the villain. It, too, needs its own musical vocabulary. What Hirasawa does is create a demented circus vamp. It’s compelling and wrong at the same time. A typical marching band beat of bass drums, snares, and crash cymbals takes a backseat to a male chorus as the driving force. This rhythmic jumping melody almost seems to arbitrarily jump from low to high points to set the listener on edge. The tenor and bass melody on the verse and chorus are smoother and more appealing, but are distracted by digital modification and synth choral arrangements. It sounds like a party that you’re not sure you want to be invited to. The song is aptly called “Parade.”
This isn’t even getting into the circus theme, jungle theme, bar theme, or hallway theme. These are 1 minute cues that get repeated every time the characters enter those environments. The short length is due to how small an amount of time is spent in those locations.
Susumu Hirasawa gives Paprika a rich and robust score capable of supporting the strong visuals at every scene. It’s a score I knew I needed for myself when the credits rolled. It works great with the film and only grows better the more you listen to it without the visuals. The music adds easy to understand context to a film with a varied visual style that needed some grounding and support to soar.
Thoughts? Love to hear them.
