Having set aside the military march, serious post-Vietnam war films have explored other strongly metrical musics. Three World War II films have turned to triple-meter, or waltz-time, themes. Band of Brothers and Flags of Our Fathers alike use tuneful waltz-time music to support a sentimental transgenerational agenda linking fathers and sons. The Thin Red Line supports the philosophical ruminations of soldiers with a group of triple-meter melodies that create a zone of quiet reflection. Twenty-first-century war films use beat-driven music to excite the audience physically and also to characterize new sorts of soldierly action—such as work at a computer—as exciting combat action. Beat-driven combat film scores for Black Hawk Down, United 93, and Green Zone are compared. Finally, an extended combat sequence from The Thin Red Line scored to a stately ostinato musical cue is considered as an extreme case of music taking the place of diegetic sound.
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