The Square
The relevance of sound throughout the filmmaking process is essential in order to differentiate between mood and perspective as the story progresses. With audio in mind, the documentary The Square, directed by Jehane Noujaim, applies the element sound specifically in order to transition the film through a plethora of unique mini-arcs surrounding three characters. By taking a profound look at the use of sound in The Square, one can discern ways of listening and ways of hearing as comprehensive tools practiced by many documentarians.
To begin with, the film The Square, opens with an observational immersed sequence of friends talking around a candle lit room. The lack of music here only adds to the setting of the scene because there is no electricity. In fact, the audience is drawn to what the men are discussing thanks to the quiet established atmosphere and brief flashes of darkness. Around the one minute mark we become introduced to Ahmed Hassan, who is shown on camera “walking around a busy street sharing his childhood story” (Noujaim). As Ahmed speaks, soft classical music eloquently invites the viewer to pay attention as his story unfolds. Additionally in this sequence at the two minute mark, a YouTube clip of man is shown being “beaten by military soldiers” (Noujaim). The importance of these first two minutes is significant because a sympathetic tone has now been established solely on listening. To clarify, the camaraderie made between the audience and Ahmed pushed the importance of listening in order to heighten the first person perspective. Furthermore, proof of the importance of this enhancement is demonstrated at the three minute mark as Ahmed becomes surrounded by a swarming multitude of chanting people, so is the audience.
The next sequence worth noting in The Square that emphasizes sound to share a perspective occurs at the thirty-three minute mark where people begin “singing in Arabic, and while a hand is shown painting a mural of people” (Noujaim). As the mural fades the audience sees a group of people around a tent happily singing along with one another. The importance of this montage brings art, music, and story transition together as Ahmed has returned to the square to protest for change and freedom. This sequence parallels the reenacted bus footage used in Freedom Riders because it allows the viewers to be aware a transition is taking place.
Ultimately, the documentary The Square, relies heavily on sound/music in order to portray the story of Ahmed, Khalid, and Magdy. Despite the fact that musical transitions aided the chronological timeline, areas of the story appeared to suffer from a comprehensive standpoint. Questions about the Muslim Brotherhood, their exact intentions, and whether they actually colluded with the old regime are all left unanswered. Sound clips of news reports may have been edited or cut in a way to share one side of this story.
Works Cited
The Square. Dir. Jehane Noujaim. 2013.
