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David Lynch and Alan Splet created the sound for Eraserhead. Lynch claims that all of the sound effects are organic, but this does not assume that they are applied realistically throughout the film. Sounds and background noise are overbearing, while tunes are sparse. Apparently, only twenty-two pages of dialogue were scripted for Eraserhead, which usually represents only twenty-two minutes of footage. Alternatively, long cuts, dream sequences and constant sound effects draw the film out to a troubled and unsettling eighty-nine minutes (Goodwin 184 pp. 41-50). I will examine several aural aspects of the film and analyse its purpose in the context of the narrative.
Non-diegetic sounds are off-screen and not related to the narrative. Further to non-diegetic sounds, Eraserhead is consistent with its use of ‘territory sounds', a term used to describe sounds that are heard in a setting without observing the source. The industrial mayhem - whooshing, hissing, clanging, knocking, hammering and bumping are distinct to particular settings. As Henry visits each location, the distinctive sounds establish spatial distance and new circumstances. The noise level is often relevant to whether he is inside or outside. However, this is not always the case because the territory sounds also play a role in indicating Henry's mental capacity so the sounds also increase or deplete to heighten tension (Chion 14 pp. 6-80).
The diegetic sounds in Eraserhead are not authentic because they are louder, sharper and highly contrast the existing industrial sounds. Whenever incidental sounds are emitted, they are abnormally loud to intensify the ill feelings. Upon hearing sounds, the audience ear calculates proximity, for example, ripping up the lettuce and applying the salad dressing in Mrs X's kitchen, seem to be next to the audience ear. The amplification creates anxiety and the dire issues impending in the X household (Bordwell & Thompson 18 pp. 40-4). A peculiar diegetic sound occurs as Mary is gritting her teeth and rubbing her eyes. The sounds are sickening as they are tremendously amplified and exaggerated with an accompanying extreme close up shot. These personal sounds are not to interpret Mary's state; it is an aural point of view from Henry to symbolise his emotional state (Chion 14 pp. 6-80).
The film seems to depend on the visual and aural aspects rather than dialogue to tell the story; it is ten minutes before the first conversation is executed. In the opening sequence, no human sounds are audible either, only industrial sounds, which creates an atmosphere of detachment from oneself. The lack of communication between Henry and others also portrays his removal from society and loneliness. It points out the battles occurring in his head rather than with real people (Bordwell & Thompson 18 p. 40).
To hear and not see the source is known as an acousmatic sound. The acousmatic mechanical sounds are interpretative, but still restricted within the visual urban landscape. The sounds suggest trains rumbling on tracks with whistles blowing, clanging, whirring and whooshing in factories, clanging and crunching in a steelworks, but there is no evidence of work currently occurring. The sounds maintain a muffled factory quality; accurate to the source perceived (Bordwell & Thompson 18 p. 5). While Henry is in the apartment, the extension of sound did vary, depending on his focus and mood. When he stares into the radiator or the little cupboard, outside sounds are eliminated, to represent his detachment from the world and thus, reality. Chion supports this, ‘…the suppression of ambient sounds can create the sense that we are entering into the mind of a character absorbed by his or her story…' (Chion 14 p. 8).
Eraserhead does utilise ‘on-the-air' sound, the on-screen use of electronic devices such as radio, microphones etc in a scene. Henry puts on a record and he ensures that the needle is positioned correctly. In this first occasion, the background music is synched to match Henry's actions, it stutters as he lifts and puts the needle down again. Whilst the record is playing, the organ music consists of a melodic tempo, jazz rhythm, acoustic and grainy timbre, and seems distanced, continually crackling and clicking to reflect the mechanisms of an actual gramophone. The music has a carnival feel to it but that just makes it more distressing in conjunction with the narrative. Even though the initial application of the record and sounds are practical, the music does not stay true to its original source (Chion 14 pp. 76-77). It soon trails off unrealistically and reappears as ‘pit music' (Chion 14 pp. 80-85). ‘…numerous cases in current films where music established as on-the-air freely circulates between the two levels…' (Chion 14 p. 81). It is maddening and troubling as the grating and clicking of the gramophone can still be heard after the record has ended. The existence of the gramophone is opportunity to pile up more realistic territory sounds to represent the craziness that is occurring in Henry's mind.
The human mind manages to perceive sound coming from the intended source in a frame, even though it rarely does. In Eraserhead, for example, Mary X speaks to Henry through the windowpane. The sound is not actually coming from inside the house but the manipulation of the effects and human perception creates the effect. This sensitivity is a ‘…psychological phenomenon…' (Chion 14 p. 70) when sound and image is related in film as the ear detects the feeling of distance from the source. While Henry is walking to Mary's house, organ music is resonating and the continual industrial sounds blaring, and then Henry hears dogs barking and glass breaking in the distance. The sounds are realistic and perceived to be far away. In Eraserhead, the larger spaces are created to focus on Henry's loneliness in the real world. For example, the intimidating noise of the factories and constructions sites surrounding his tiny apartment represents his smallness and insignificance. Then the large natural forces of the rain and wind pounding onto the little apartment symbolises his world is crashing in around him (Chion 14 pp. 85-0).
Coinciding sounds to match the visual action are carefully chosen to focus the attention of the audience. As the man on the planet pulls the lever, the creaking sound is very loud and is accordant with the action. It is significant because it sets Henry (and the narrative) in motion. In contrast, as the fetus drops into liquid there is no splash audible. Instead only background sound of an organ chord, to create the feeling of falling and drowning. Nevertheless, within the same scene gurgling and bubbling sounds emit during the extreme close up of the fetus in the liquid. When Henry steps in the puddle, the background sound continues and no synchronized diegetic sound effects exist. It seems to represent that Henry is distracted by pessimistic thoughts and physicality is irrelevant. A disturbing example of synchronised sound and actions on the screen is the squishing of the fetuses by the lady in the radiator. The sweet sounds of the Fats Waller tune are crudely disrupted by piercing splats. However, an instance of unsynchronised sound is Henry hurling the fetuses at the wall as he finds them in bed. The fetuses hit the wall then the thud is heard after the impact. It proves to be a powerful technique; to see it happen and then hear it happen.
The organ creates sounds of suspense and pending doom throughout the film. For example, every time Henry approached his little cupboard in the apartment. Music is limited but because it is used minimally, it has a huge impact as it contrasts from the unrelenting construction sounds. At key points, music is introduced to create intensity and desired tempo. It is entirely derived from the creepy tune known as "In Heaven Everything is Fine" to interweave Henry's erratic state of mind. A still shot from a long distance captures Henry scuttle over mounds of dirt in a comical manner and Fats Waller's jazz organ music faintly resonates. The organ music is barely recognisable amongst the continuous industrial sounds but it gives the scene tempo.
Intensification of the music with the accompaniment of a haunting, hymn-like verse (lip-synched) by the lady in the radiator illustrates the height of Henry's fantasy. In a sweet drool she is promising Henry that things will turn out well in the next world. The music possesses a magical quality, extremely haunting but engaging at the same time in conjunction with her unwavering innocent persona.
If a revulsion genre existed, Eraserhead is it. It is not a horror film as such, though, what the audience hears and sees is horrific. The use of unsettling territory sounds and eerie non-diegetic organ music in conjunction with the dreary, black and white visual images successfully makes the audience feel uncomfortable and on edge during its entirety.
Bibliography
Goodwin, K.G., (184) ‘Eraserhead', http//www.davidlynch.de/cfqhead.html Cinefantastique, September 184, Vol. 14, No 4 // Vol 14 No 5 p. 41-50, 55-7, David Lynch Retrospect, 10 September 00.
Chion, M., (14) Audio-Vision Sound on Screen, Columbia University Press, New York.
Bordwell & Thompson, (18) Film Art An Introduction, McGraw-Hill, New York.
Chion, M., (15) David Lynch, British Film Institute, London.
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