The music is gentle initially , a soft solo piano introduction , but as the momentum of the scene builds ( as Frank explains his rationale ) the music reflects this and climaxes in parallel with the dialogue , as we hear the recognisable syncopated habanera-like rhythm of the main motif of the ‘ success ’ theme . Arguably , this could be interpreted as the music coming from Carl ’ s perspective , the musical climax representing his increased excitement . It is unlikely to be from Frank ’ s perspective ( as it has previously been ), as at that moment in time , he is unaware of the positive consequences of his knowledge . The camera cutting also supports this thesis : akin the aforementioned scene at the Panam uniform warehouse , the camera cuts to Carl ’ s face , framing his startling realisation that Frank ’ s skills could be an asset to the FBI . At the precise moment of the camera cut , the music also changes key , adding to the building momentum of the scene in parallel with Carl ’ s excitement . The music reveals to the viewer , from Carl ’ s perspective , that he is having his own epiphany , as Gorbman ( 1987 ) says , diversifying the
MUSI370 Film Music of John Williams
SOTA Anthology 19 / 20
meaning of the ‘ success ’ theme , to now demonstrate success for Carl , too .
In the same way the ‘ success ’ theme becomes associated with Carl , the ‘ chase ’ theme also becomes associated with Frank in Catch Me . We see this in the scene where Frank is attempting to elope from Miami airport with his fiancé , Brenda . Neumeyer proposes that characters can act as an object in which sound can be anchored ( 2009 ), we can also see evidence of this in this scene . Frank watches from his car as a suited man wearing a trilby hat whispers something to Brenda . At this moment the music changes from the ‘ success ’ theme to the ‘ chase ’ theme , perhaps to imply he is an FBI agent . The sudden change in music is disconcerting , reflecting Frank ’ s sudden panic and nervousness , realising his plan is foiled . The camera also films from Frank ’ s perspective , testimony to the idea that the music could also be from Frank ’ s perspective . As the camera cuts back to Frank ’ s face , he lifts his sunglasses to look for the FBI , we hear an unsettling , harsh and dissonant sustained chord in the strings .