From Viewer to Ranger: The Use and Power of Sound and Editing

By James (Alec) Murphy

[1] It comes as absolutely no surprise that Black Hawk Down was nominated and won the award for not only best editing but also best sound production. The way that director Ridley Scott and his production team use sound and strict edits in the initial infiltration scene from the soldiers’ home base into the heart of Mogadishu is not only totally mesmerizing, but it leaves the viewer with no choice but to empathize immediately with the soldiers, who undergo a visible personal transformation as their invincible Delta Ranger squads’ mask of hardness is stripped and their humanity shows through, projecting and foreshadowing the potential disaster that is to come. Without the very careful attention to sound and editing, however, this transformation would be evident but would not affect the audience in the way it is currently capable of doing so.

[2] The power of this scene is primarily due to a drastic change in tone, mostly driven by music, from its preceding scenes. Prior to the American’s movement into enemy territory, native African music accompanies scenes of the impoverished city as an African driver hired by the US Military rolls through the city with a definitive cross on the top of his car in an attempt to show the US Black Hawk helicopters the location of the enemy base. Once the base is discovered, a litany of commands and the shouting of the code word “IRENE” (used to alert the US troops of the initiation of the battle) totally changes the dynamic of the film, as the stark and anxiety-filled third-world poverty scenes are contrasted with the American enthusiasm and patriotism that emanates from the soldiers as they rush to their tanks and helicopters in preparation for the central mission. Like an overly self-absorbed athletic team that chants and has no respect for their opponent, the US soldiers scream this code word as they take off from their station, with no idea or respect for what events may lay ahead of them.

[3] Scott and his team use this initial, hyper-confident and practically hyperactive dynamic to initiate this scene for a few reasons. First, it is a demonstration of the inherent ignorance and stupidity that accompanies such an adrenaline rush. This tunnel vision of the mind does not just occur for soldiers in battle, but for anyone who is entering a high stress and high stakes situation. Secondly, and more importantly, it is in place to then contrast the intense change of emotion as the men move closer to their ultimate destination, and the reality, gravity, and fear of their situation sets in.

[4] What is important to focus on, and what won Scott and his team a number of awards, is how they were able to demonstrate this with practically no dialogue. To begin with, at the outset of the mission a distinctly American guitar solo introducing a Jimmy Hendrix tune accompanies the clips of the powerful American juggernaut machines as they depart for battle. Aside from the few glimpses of determination and excitement that flash across close ups of the faces of the American soldiers, this scene is visually dominated by a type of mechanical choreography so precise it instills the audience with an immediate confidence in the American forces. A powerful succession of clips depict a caravan of Hummers blasting out the American base, followed by an absolutely gorgeous shot of synchronized Black Hawks as they complete a 90-degree hop before taking off in unison, demonstrating not only the precession and capabilities of the US Army, but their confidence as well. Actor Jeremy Piven, a helicopter pilot who later dies in the first Black Hawk crash, is shown smiling and giving a thumbs-up to a fellow pilot as they depart for the enemy territory.

[5] All of these shots of energy and power are a precursor to the opposite emotional sentiment that is soon to follow. As the helicopters fly in a beautifully shot formation, the gritty attitude of the American music fades away, and so does the attitude of the soldiers. Like the overly confident athletic team realizing the validity of their opponents for the first time, the American soldiers suddenly demonstrate a complete change of heart as the fear and anxiety of anticipation takes over.

[6] Prior to this change of emotion, a change of music is initiated when the audience realizes that the message of the American’s approach has reached the leader of the Somali Rebels. The familiar and comforting sound of Jimmy Hendrix is replaced by an elusive, hardcore, and foreign tune as we see the rebels loading their weapons to combat the Americans. As the camera refocuses on the Americans, the foreign music continues, creating a sense of doubt for the success of the American mission. Actually, it is more reinforcing a sense of doubt that was temporarily alleviated by the previous American music and confidence of the soldiers. For, after all, everyone watching this movie knows from the title that an American Black Hawk will fall to the rebel troops. It is the commencement of this foreign and unnerving music, however, that reminds us of the insecurities this mission bodes, and the imminent disaster that awaits.

[7] My favorite part of this scene comes directly after the unfamiliar music ends, and the sound director, instead of using music to create a sensation in the viewer, does exactly the opposite. All of the power of the music is removed, and, instead, the power of silence takes over. Matched with extreme long shots of the helicopter formations against the picturesque landscape of Coastal Mogadishu, all the viewer can hear is the sound of the helicopters. Now there is no alternative influence. Having gone from feelings of extreme confidence in American patriotism to inevitable doubt, the audience is very intentionally left in a raw and disconcerting position as we are placed in the soldiers bodies. POV shots from out of the helicopter, matched with the high-pitch squeal of the helicopter blades, force the viewer to examine the situation on his/her own terms -- and the eerie feeling that accompanies this moment is astonishing. Having had so many emotions fed to you through the editing and musical choices of the director, one almost feels a type of naked discomfort, a discomfort, that mirrors that of the soldiers who are involved. Scott and his team do an amazing job of allowing the audience to feel, like the soldiers do, the intense and obscure void that is the calm before the storm. Finally, the call for “two minutes,” breaks the silence, and the viewers’ level of anticipation and curiosity peaks.

[8] The multiple dramatic changes of tone within this montage, which includes practically no dialogue, and the ability for the production staff to leave the viewers with no choice but to participate in the movie from the point of view of the soldiers, is really the tip of the iceberg that made this controversial movie so amazingly award-winning. It is typically the viewers choice as to whether or not an emotional involvement will take place, but in this scene in Black Hawk Down little room is left for emotional choice and allegiance because of the impressive editing and sound work done by Scott and his production team.