Here are some elements we expect to see when watching a movie: suspense, comedy, action, relationships, unique settings, etc. But besides what we “see” in a film, what we “hear” in a film is also important. It might lead to different discoveries. Music isn't something we always think of first, but films would not be as good or interesting without thoughtful, purposeful, and intriguing music. Spirited Away, a 2001 animated film from Japan directed by Hayao Miyazaki, incorporates one melody that appears three times: once at the beginning, once at the turning point, once at the ending. The background music in the film was written by Joe Hisaishi, who wrote much of the music for Miyazaki’s film. Hisaishi successfully combines music with the animation to show the characters’ feelings, as the story progresses. He used different musical instruments in the three different stages of the story, showing the different moods of Chihiro, the main character. By connecting pictures and music, Hisaishi brings the audience into the roles of the characters so we can get a better sense of what they’re thinking and create a deeper understanding of the plot behind the animation.

 When the melody appears at the beginning of the film (Miyazaki, 0:00:10 - 0:02:19), it uses single notes on the melody line and instruments such as strings and harp as harmony to set up a mood that Chihiro is unwillingly moving to a new place. When Chihiro lies on the back seat of the car and says, “I liked my old school” (0:00:48), the musical strings start to build up, and the harp in the background begins creating a little ornamentation, showing Chihiro’s mixed feelings of anxiety. The piano continues playing the melody one note by one note instead of chords, to highlight her reluctance - not magnificently but slowly moving forward. Then, the car drives up the hillside (0:01:38), and the camera slowly moves up, showing us rows of houses on the hill with the noise of cars in the background. Instead of using a magnificent timbre to start the film, Hisaishi allows only the piano to play the main melody and its accompaniment. He does this because the high notes of the piano mimics a questioning tone. We raise our voices at the end of a question to show uncertainty, and the music indicates Chihiro’s uncertainty about the future — she doesn’t know what’s going to happen next.

The same melody comes again when Chihiro decides to go to Zeniba’s house to save Haku from dying and to let No Face out of the environment that doesn’t belong to him (1:29:08- 1:31:18). At this point, the music adds contrast between high and low pitches. The high and low pitches seem like arguing, highlighting the uncertainty of the future. Ling said anxiously to Chihiro: “That big tipper turned out to be a No Face…He’s already swallowed three of our people!” (1:30:09 - 1:30:27) Hisaishi uses low pitch instruments in the build up of the background music before the main melody appears, showing the gloomy atmosphere in the bathhouse. Then the climax appears: “ ‘Make sure you got it right. There used to be a return train but these days it’s one way only. Still want to go?’ ” Asks Kamaji. “ ‘Yes, I’ll walk back along the tracks.’ ” Chihiro replies (1:30:50 - 1:31:00). Here Chihiro smiles. Maybe she thinks that this way can save both No Face and Haku. Unlike its first appearance of the melody, this time music corresponds to the climax through the piano octaves and chords. Octaves, which include a higher note and a lower note, are used here as the main melody, indicating that Chihiro doesn’t know what is waiting for her in the journey to Zeniba’s house and whether or not she could come back. It might be a successful trip - Haku will be saved - as the higher notes of the octaves express: a relatively happy mood; it might also be a failed trip - the result will be unsatisfactory - as the lower notes of the octaves represent: a sense of loss. However, she still decides to start her journey, because she knows this is the only way to save Haku, who has helped her a lot.

The third time this melody appears is at the end of the film (1:58:07- 2:00:50). Hisaishi uses a combination of piano and strings and continuous staccato to show Chihiro’s excitement of the future with her parents. The melody’s build up part begins when Chihiro runs to the exit of Kami’s world with Haku. After saying goodbye to Chihiro, Haku tells Chihiro, “Go back the way you came, but don’t look back until you’re out of the tunnel” (1:58:20). She indeed does not look back. We can see Chihiro’s excitement after seeing her parents again, and she is looking forward to going back to her own world. After running for a while, she meets her parents, and the climax of the melody starts. This time strings are played in the melody part, and no longer just playing the role of side harmony. Hisaishi uses high pitched strings, giving us a joyful and grand feeling. Here Miyazaki added a scene with blue sky and green grass (1:58:49). Unlike the oppressive scene at the beginning of the film, the capacious scenes here suggest a shift in Chihiro’s mood — from the worry of not knowing her fate to the excitement of knowing she can go home. When Chihiro and her parents walk into the tunnel to return to their world, the background music does not stop, but starts a continuous staccato with a bright instrument in the high pitch until Chihiro runs into the car. With the last gleam of Chihiro’s hair ring, the brisk music indicates the beginning of Chihiro's new life.

The background music used in Spirited Away is simple yet indispensable. Chihiro’s feelings and emotions are well expressed through the music. In fact, almost every anime film uses lots of music to convey emotions, such as Your Name. and Weathering with You. Some movies don’t even have dialogue in their climaxes. Instead, the filmmakers use music to evoke strong and profound emotions effectively. Next time you are excited to “see” a film and all its glorified costumes, make-up, and settings, maybe try to focus more on the music and the emotions. Perhaps you will come away with a brand new understanding.