Being a teacher, I can’t resist giving out a summer reading list. Being a researcher, I can’t help but want to share the projects that I am working on–which right now includes excavating the cultural history of the magnetic tape recorder in the United States. So, in honor of the Summer Solstice tomorrow (marking the official start of the season) I compiled a three-part summer series for Sounding Out! that does both: “Play it Again (and Again) Sam: The Tape Recorder in Film.”
My summer sound studies A-V list encourages you to fill your idle hours watching the “top 6” featured appearances of the magnetic tape recorder in film, in chronological order (2 each month, with a bonus “supporting role” nod rounding out each post). Not only will “Play it Again (And Again) Sam” help you beef up your cinema buff credentials, but it will trace a little-known history, asking you to consider how the recorder tangled its thin brown plastic tape so effectively into the warp and weft of our twentieth-century lives. You’ll find that my “top 6” list reveals much more human desire than technological determinism; the representations I examine express a complex mixture of fear and fascination, optimism and regret, change and stasis. Often a tool of the powerful, sometimes a weapon of the weak, the tape recorder was a cold war domestic product that could never truly be domesticated. As you will see in this spoiler-free three part series, interactions with the tape recorder remixed America’s workplaces, schools, homes, public spaces and private moments, ultimately shifting how the world was heard (and heard again and again).
So, load up your Netflix queue, shake up your Jiffy Pop, and take a much-needed couch-break from the heat and humidity with these oh-so-cool black-and-whites from the 1940s and 1950s. Of course, we can’t start our films without some “Coming Attractions”: look for part two on July 18th (spotlight on Walter Murch) and part three (the 1980s) on August 15th.
1. Double Indemnity (Paramount, 1944, Directed by Billy Wilder)
Okay, so it is actually a dictaphone that appears in this film and the tormented insurance salesman Walter Neff (Fred MacMurry) is “putting it on wax” rather than magnetic tape, but this once ubiquitous, now long forgotten recording device has such a haunting presence and a structuring role in this grim noir confessional that, like Neff himself, I am suddenly willing to break my own rules. Outside of femme fatale Phyllis Dietrichson’s (Barbara Stanwyck) elaborately sculptured coiffure, the key image of Double Indemnity is Neff’s lips murmuring his murderous late night confessions into the dictaphone’s horn, a physical and metaphorical stand in for the ear of his hardnosed boss (and the true object of his desire) claims investigator Barton Keyes (Edward G. Robinson).
The dictaphone was Billy Wilder (director/screenwriter) and Raymond Chandler’s (screenwriter) deliberate addition to the filmscript; James M. Cain’s 1943 novella was essentially Neff’s scrawled confession to the reader of his almost-perfect plot to kill Phyllis’s husband and reap double insurance rewards. The introduction of the dictaphone transformed the standard noir flashback voiceover into an even-more intimate exchange of anxious aspiration, guilty pleasure, and homosocial desire channeled through Neff’s tense vocal grain and fierce grip on the machine’s cord. A familiar office machine made strange by Neff’s late-night admissions, the dictaphone mediates the entire film, transforming the audience into eavesdroppers, listening in to an act of recording made for Keyes’s ears only. After stumbling into his office and jamming a cylinder into the machine, Neff begins, sternly: “Office memorandum. ‘Walter Neff to Barton Keyes, Claims Manager, Los Angeles, July 16, 1938. Dear Keyes: I suppose you’ll call this a confession when you hear it. Well, I don’t like the word ‘confession.’ I just want to set you right about something you couldn’t see because it was smack up against your nose.” Sound, in the form of Neff’s heated breath pressed through the dictaphone’s curves and into our waiting ears, is the perfect device to exorcise the unseen desire in a film that tests the boundaries of darkness.
2. Blackboard Jungle (MGM, 1955, Directed by Richard Brooks)
Most people remember Blackboard Jungle for its seductive visual representations of juvenile delinquency, stoked by the sound of Bill Haley and the Comet’s “Rock Around the Clock,” the song (written in 1952, recorded in 1954) that opened and closed the film (and became a smash hit as a result, as I discussed in a previous archival blog post here). I’d like to add an often-overlooked image to the film’s legacy, that of teacher Mr. Dadier (Glenn Ford) plunking a bulky case down on his desk and triumphantly announcing “This is a tape recorder!” A cutting edge device at the time—magnetic tape was only introduced in the states after World War II, largely through the efforts of Bing Crosby and Les Paul—Dadier’s recorder is part and parcel of the technological milieu of the 1950s, which evoked positivistic fascination with “progress” even as it was shaped by existent fears and inequalities.
At the point of almost giving up on his surly working class, ethnic, inner-city students to seek a cushy job in the segregated suburbs, Dadier brings in the reel-to-reel as a Hail Mary attempt to quell his students’ noise and remake them into good Cold War citizens once and for all. As he tells them, “We all talk, but nobody listens.” From the moment he enters the classroom, the students continue to defy the white male authority embodied in Dadier and housed in his machine—“Did you bring your cosmetics to school, Chief?” taunts one student (Gregory Miller, played by Sydney Poitier)—and they undermine his assignment by selecting the “noisiest” student in the class to make a recording: Puerto Rican Student Pete Morales. As I have discussed on this blog and in print, the concept of “noise” has a racialized edge, particularly in the 1950s, when Cold War cosmologies of colorblindness and “enemies within” ruled the day. Sound was an efficient way to separate “Us” from “them”—the noisy dissident from the quiet citizen—without making explicit reference to visual markers of race. And, let me tell you, Morales’s obscene, heavily-accented speech—peppered with “stinkin’”s, 14 of them in total—really makes Dadier’s spools spin. To hear more on the tape recorder in 1950’s American life and this film, see my essay “Reproducing U.S. Citizenship in a Blackboard Jungle: Race, Cold War Liberalism and the Tape Recorder” forthcoming in the American Quarterly special issue on sound (September 2011).
And. . .in a supporting role:
Kiss Me Deadly (Parklane Pictures, 1955, Directed by Robert Aldrich)
The byzantine stairwalks and gingerbread Victorians of Los Angeles’s defunct Bunker Hill neighborhood are not the only ghosts you will encounter in the noir classic Kiss Me Deadly. Our first glimpse of Mike Hammer’s (Ralph Meeker) space-age Wilshire Boulevard bachelor pad includes a shot of his wall mounted, reel-to-reel answering machine, quite a technological marvel in 1955; it would be over 15 years before Phone Mate introduced the first commercially viable home model in 1971. His recorder manages to look both ridiculously large yet streamlined–and to twenty-first century audiences, old yet futuristic. However, it also allows the hunted, haunted private detective to take just a little more control of his tailspin of a life. After the jarring ring of a telephone call, the spools spin, and a sultry female voice intones: “This is Crestview 5-4124. Mister Hammer, whom you are calling, is not available at present. If you wish to leave a record of your call, please state your message at the sound of the tone.” His back inevitably against the wall, Hammer brings a suave tension to an act that has now become mundane: call screening. Removing the small surprise of who’s on the line, Hammer uses his recorder to listen just a step ahead, pacing an increasingly mysterious world given over to the dangerous riddle of the “whatsit” that leaves so many in the morgue by the film’s end. For a more general take on sound in this film (with a brief mention of Mike Hammer’s tape recorder), see Noira-Blanchè-Rougi’s November 2009 blog post, “The Use of Sound in Kiss Me Deadly.”
This year, my first book—Dance and the Hollywood Latina: Race, Sex, and Stardom (Rutgers UP: 2011)—was born. The writing process required nearly a decade of thought and development, a gestation period that reminded me how to listen as well as see.
As a sound recordist in film school, I became acutely aware of the hierarchization of the visual over the aural: it was a challenge to claim space for sound when the director wanted to yell “Action” as soon as camera was ready. Me (covered in grime, Nagra deck over one shoulder and boom pole in hand): “What’s the frame line? Is my mic—or the shadow of my boom pole—in the shot? And, maybe I can get a level-check before we shoot—so the audio levels are as pretty as your exposure? Maybe?”
Yet, most of those instincts and that tenacity dissipated during graduate school. As I honed the language of film and television analysis, I, too, began to privilege the visual over the aural. Over time—and with the help of colleagues like Jennifer Stoever-Ackerman—Dance and the Hollywood Latina reminded me how to listen.
And so, I present a moment from the book that reinforced the scholarly importance of watching with my ears. In the following excerpt, I analyze Rita Moreno’s aural Otherness in West Side Story. The scene, like many others of Moreno’s career, illustrates the tension between the “look” and the “sound” of the Hollywood Latina. While my book is primarily organized around the ways that racialized sexuality is encoded in the dance of the Latina body in Hollywood film, the chapter “Rita Moreno, the Critically Acclaimed ‘All-Round Ethnic'” helps clarify how the Hollywood Latina has been read as both “easy on the eyes, but hard on the ears,” a phrase used to describe Moreno during her appearance on The Muppet Show in 1976.
The excerpt explores a pivotal scene in the film, where Anita (Moreno) confronts Maria (Natalie Wood), whom she discovers has just slept with Tony—the murderer of Bernardo (George Chakiris), Anita’s boyfriend and Maria’s brother:
[T]he nondance musical number “A Boy Like That” illuminates how the Hollywood Latina has also been aurally imagined and reproduced. [The song] expresses Anita’s anger and sense of betrayal, and eventually builds into a powerful duet (“I Have a Love”) between the women. As a backdrop, the setting and bodies of the scene are visually coded as Latino/a: the apartment matches the purples, blues, and reds associated with the Sharks in the film, while the two Latinas in the frame—one real and one diegetic—are colored Puerto Rican through the use of brown makeup. These stylized signifiers set the tone for Moreno’s aural representation in the scene. As the only Puerto Rican in the film cast, Rita Moreno gave a performance that became a touchstone of aural authenticity for non-Puerto Rican actors such as George Chakiris (Bernardo). In one interview, Chakiris notes that he and the Shark actors used Moreno as their sonic “guide” (Gross 2001). [Interestingly, the West Side Story shooting script available in the Bob Wise Collection at the University of Southern California Cinematic Arts Library includes written dialect for the Jets but not the Sharks, suggesting that the sonic expectations of the Latino/a characters were self-evident].
Both Natalie Wood and Rita Moreno lip-synch to prerecorded tracks, but unlike Wood, Moreno performs her other songs herself; “A Boy Like That” is Moreno’s only song that does not feature her real singing voice. While the dubbed vocal performance compensates for Moreno’s higher vocal range, it undercuts the ferocity of her physical performance. As Moreno’s facial expressions and posturing exhibit an angry and forceful delivery, singer Betty Wand’s vocal interpretation of the lyrics overly amplifies the supposed sound of a Latina body in lieu of the emotional urgency of the song. Moreno’s assertive body language is thus mismatched with the generic quality of Wand’s artificial accent, a kind of aural brown-face that flattens the scene’s intensity.
In a 2001 interview, Moreno expressed her disapproval of the vocals in “A Boy Like That,” claiming that Wand’s lack of acting skills resulted in a restricted interpretation that did not match the physical intensity of the scene. She explains: “[Wand] just couldn’t get it the way I wanted it…to sound. It should have almost been a growl…you know, barely sung. And she ended up sounding…almost like a cliché Mexican” (Gross 2001). Despite Moreno’s coaching, Wand could only articulate the song’s Latina-ness, a sonic interpretation that solely relied on a stereotypical accent to tell its story. This racialized vocal performance is incompatible with the emotional depth Moreno produces onscreen because it was only—always, and already—aurally Other. [This shift is most noticeable at the moment in “A Boy Like That” when Rita Moreno’s dialogue as Anita suddenly shifts to the lyrics of the song].
Rita Moreno’s career enabled me to hear the Hollywood Latina, an experience that enhanced my analysis of Dolores Del Rio, Carmen Miranda, Rita Hayworth (Rita Cansino), and Jennifer Lopez—the other women I study in Dance and the Hollywood Latina. I am thankful for Moreno’s (creative/political/critical) voice and hope that she continues to help me listen anew.
And thank you, dear listeners, for your time and attention. I hope to hear from you soon.