Sonic Intensified Continuity in Baby Driver (Trailer)

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Taking what McQueen has identified as Wright’s demonstration of “sonic intensified continuity”, which developed from Bordwell’s intensified continuity in visual realm, this audio-visual essay suggests that in Baby Driver (2017), the sound and image are not just working in tandem, but the synchronisation – in which the off-screen source sounds are scored with the trans-diegetic pop songs as a sonic unity – are interrelated with the onscreen motion and actions to function in “triurnal”. This unique triurnal approach is achieved through an exaggeration compared to the rhythmic characteristics in Wright’s previous movies. This is achieved in such a way that not only the central character, “Baby”, but also the supporting characters are rhythmically constructed, or “musicalised”, in multiple scenes to provide the movie’s audio-visual aesthetic without damaging the typical style of cinematic narration. The movie has characters who seem to bring forth music in some way or identify with it in a particular way. Particular characters do perform music using other means such as body movements. This aesthetic enables characters to undertake almost super-human feats in the same way that when people perform in musicals, they go from talking to singing to highlight and express their emotions. This power of the movie’s aesthetic may further imply a challenge to the notion of the genre – in the way that Baby Driver can be understood as a metamorphosed musical and not merely as a crime-comedy.

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