The Birds
The Plot of The Birds, (1963), directed by Alfred Hitchcock
is simple: a young woman drives up to a small village which then gets heavily
attacked by nightmarish birds. Melanie is the silver spooned daughter of a
publisher for a San Francisco newspaper, she meets Mitch, a lawyer working in
San Francisco, in a bird shop whilst he is asking for lovebirds, she quickly
decides to order the birds herself as a gift and drive up to his weekend home
the next day. The action starts off after she delivered the love birds to
Mitch’s house; she gets attacked by a sea gull that pecks her at her head then
Mitch’s sister’s birthday party gets ruined by birds flocking up and randomly
attacking the children and a local farmer. The attacks get serious after
Melanie gets introduced to Mitch’s mum who simply doesn’t want to be left alone
and Annie, an ex-girlfriend of Mitch’s, sacrifices herself to protect his
sister. Melanie is an emotionally cold person who only came to Bodega Bay
because Mitch intrigued her, but stays to see him and his family through the
horror that has come upon them.
Figure 1. Attack (1963)
I n The Birds, modern society seems to clash with nature as
the birds are attacking a small village seemingly without reason after Melanie
comes along, as Best states: “So the film starts in a way that promises to play
out these emotionally-laden relationships, but then veers off into a desperate
struggle for survival against a vicious, persistent and determined enemy. Now,
being a literary type, I thought it intriguing that these interpersonal plot
lines should all fade away, but I figured that their abandonment was meant to
indicate that these subtle, nuanced relationship issues are only open to us
when we’re not fighting for our lives. It’s what we do when survival isn’t an
issue.” (Best, 2007:3) Best indicates that the film starts off with the
characters struggling emotionally but further along they just struggle for
simple survival, with the emotional part being forgotten until later, perhaps
highlighting the importance of physical wellbeing to be able to confront ones
emotions properly and deal with our feelings, when pushed a humans natural
survival instincts arises and the seemingly important feelings of love slip
away into our distant subconscious.
The soundtrack in The Birds is intriguing as there is
actually no musical score to accompany the film, it survives solely on the
sounds of the scenes and a great amount of birds screeching, which at least
partly seems to be electronically enhanced. Hitchcock might have singled out
the bird sounds to further underline the danger they oppose, as there is no
music that can be used to manipulate the audience’s feelings, he had to find
another way to make the viewer feel the genuine threat eradicating from the flocks
of birds. The use of silence is also a key highlighter of suspense, the
viewer’s find themselves almost always listening out for the sound of birds in
the distance.
Figure 2. Birds Flocking in Playground (1963)
The Birds has a scene in which information is only available
to the audience; Melanie is sitting on the bench outside of the school and the
camera keeps moving between her smoking a cigarette and the crows landing one
by one on the playground racks. As Brooks states: “The crows alight, one by
one, in the schoolyard above Bodega Bay. They are summoned by the nursery rhyme
sung by the children, or drawn by the green glow of Tippi Hedren's matching
skirt and jacket, or maybe lured by the pungent scent of her lit cigarette. By
the time she turns her head, the climbing frame is thick with them.” (Brooks,
2012:3) The audience find themselves in a state of suspense of pure torture as
they fear for Melanie’s life and are also interested into what is luring the
birds, the lack of soundtrack here also adds further wicked suspense to the
scene. Hitchcock uses these slow torturous devices perhaps to further demonize
the “preying birds”.
Overall The Birds is a horror film with little plot but a
big story that still gets discussed today and the open ending is not the only
reason for that, as Brooks states: “But The Birds floats free. There is no
motor driving it, no music to tether it, and nothing to hold it aloft apart
from that up-draft of sensual atmosphere and existential dread. Hitchcock
reportedly worried at length over how to wrap things up. He eventually ditched
the scripted final scene in favour of a non-resolution, an open ending – the
perfect closing image that leaves the world in the balance and its mysteries
all intact.” (Brooks, 2012:3) illustrating that the open ending was a very
clever move of Hitchcock that doesn’t seem calculated but nonetheless very
valuable, as it can be seen as a way of letting go from over explaining plots,
the entire focus of the movie is not so much on a main antagonist but an event,
a seemingly impossible event which real people are forced to face. The film
focuses on their journey and struggle for survival against an enemy that was
not expected nor combatable and how these extreme and almost hopeless
situations can damage and change people.
Figure 1. Hitchcock, A. (1963) Attack [Still of The Birds]
available from:
https://thehitchcockreport.files.wordpress.com/2011/02/0227.jpg
(accessed: 11/02/2015)
Figure2. Hitchcock, A. (1963) Birds Flocking on Playground
[Still of The Birds] available from:
http://cdn.bloody-disgusting.com/wp-content/uploads/2013/02/Birds-1.jpg
(accessed: 11/02/2015)
Figure3. Hitchcock, A. (1963) Narrow Escape [Still of The
Birds] available from:
https://www.cinema.ucla.edu/sites/default/files/imagecache/Large/images/pages/birds.jpg
(accessed: 11/02/2015)
Bibliography:
Best, Victoria. (2007) available from:
https://litlove.wordpress.com/2007/05/14/hitchcocks-the-birds/ (accessed:
10/02/2015)
Brooks, Xan. (2012) available from:
http://www.theguardian.com/film/filmblog/2012/jul/31/my-favourite-hitchcock-the-birds
(accessed: 10/02/2015)
Dirks, Tim. (N.A.) available from:
https://sites.google.com/site/towardtheexaminedlife/litandcin/the-birds (accessed:
10/02/2015)
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