Children of Men is an excellent film that presents a vision of a world where children do not exist. Sound plays an extremely important role in the film. The sound guides our emotional responses to major and minor events throughout the film, and also gives us insight into what the protagonist, Theo Faron, is feeling at key points. The audience is also led to a deeper understanding of the character’s actions by way of sound. Specifically, director Alfonso Cuarón uses high-pitched sounds as a motif to alert the audience to certain events and to heighten tension at other moments. He connects these sounds with both death and shock. Through repetition Cuarón shows viewers how Theo reacts to these events internally and also how he views his world.

There is a diegetic high-pitched ringing motif that appears several times in the film, and at other times, different non-diegetic and diegetic high-pitched sounds are inserted. The purpose of the ringing sound is to amplify the deaths of people close to Theo and, and to bring out the pain and isolation Theo feels when these deaths occur. The ringing also lets viewers know that Theo sees civilization as dying. The other sounds emphasize moments of tragedy for other characters such as the non-diegetic high-pitched violins that sound when Miriam is taken off of the bus and the disorienting orchestra that plays as Theo and Kee are being led to the rowboat by the gypsy.

The ringing is explained by Julian as the sound of ear cells dying. Once those cells die that frequency can never be heard again. It is a sound that many people are familiar with and probably do not give too much thought. The ringing is a subjective, diegetic sound. Theo is the only one in the story world who is able to hear it since it is the sound of his own ear cells dying. But the fact that his ear cells are dying has little to no effect on the film. It is the repetition of the sound and the moments at which it occurs that give the ringing its meaning. These moments are always connected with Theo. Other moments with similar meanings for other characters use different high-pitched sounds.

The first time the ringing is heard is immediately after Theo narrowly escapes being blown away at the beginning of the film. It is heard clearly above all other sounds, and placing the sound here automatically connects the sound with death and shock. It is connected to death primarily because we are led to believe that the bomb killed some people and it happens right after we learn of Baby Diego’s death. The connection with shock is made because neither the audience nor Theo is expecting the explosion. These connections are not necessarily made at this moment but through repetition they become clear.

The ringing then lingers and acts as a sound bridge as Theo goes to work. He does not speak to anyone at work, except when he asks for the rest of the day off, nor does anyone speak to him. The ringing sound here emphasizes his feelings of isolation and hopelessness. In 3d the ringing appears again. Here the ringing again symbolizes Theo’s feelings of isolation and hopelessness. The ringing starts after their fight on the bus when Theo is unsure whether Julian wishes to start their relationship again but stops when she gives him an answer just before they meet the others. Julian is the only character who can make these feelings disappear as evidenced by the fact that as soon as she kisses him the ringing is silenced, and as soon as she dies it returns.

The ringing shows up twice after the two people closest to Theo, Julian and Jasper, are killed. Immediately after Julian is shot the ringing takes control of the soundtrack. The audience still hears the crowd outside as well as everyone panicking inside the car. Even the song playing on the radio can be heard, but the ringing takes precedent. Here the ringing motif creates a parallel. As in the film’s opening, it occurs at a moment of death and shock. Theo and the viewers are completely caught off guard by the bomb and equally shocked by the sudden death of a major character early in the film. When Jasper is shot the first time the ringing starts at a low volume, which, from repetition and similarity, lets the audience know that this is the end for Jasper. The ringing is played at a low volume and during the shooting, rather after the shooting and louder as with Julian’s death, because the shock is not as great. After Luke shoots Jasper’s hand it is clear that he intends to kill Jasper. Jasper’s death may or may not be as shocking to the audience as the previous events, but it is still shocking and just as devastating to Theo. And because of the two previously mentioned incidents where the ringing occurred, Jasper’s death is foreshadowed.

A parallel can also be drawn from the literal meaning of Theo losing his hearing and how these events affect his life. The loss of the ability to hear a certain frequency is a metaphor for what happens when those close to him die. Once they are killed they are lost forever. Julian and Jasper are two separate frequencies in Theo’s life, which once lost, can never be heard again.

The ringing is used more subtly elsewhere in the film with connections to death and shock. The sound lasts from 5a through 5b. The ringing is played at a significantly lower volume than at the film’s opening and the murder of Julian, because the things Cuarón wishes to point out are much more subtle. This variation allows the audience to anticipate death and something shocking, but in a different sense and to a lesser degree. The shock for Theo and the audience happens when the sound cuts out and Theo is kidnapped. Another shock for the audience is a closer look at the world Theo lives in. People are being forced into cages by soldiers, bulldozers are destroying, and people are tossing things out of their windows. More shocking than any of this disorder though is the fact that people are standing around watching all of this with the sort of mild curiosity one would expect a mediocre street musician would receive. The people do not seem to care about the treatment of the refugees or the condition of their city. Because there are no more children, no one to continue and advance civilization, the people have lost hope and are merely trying to survive. This is the death associated with this instance of the ringing, the death of civilization. In the next shot a memorial for Baby Diego is seen as Theo walks by which further solidifies the ringing’s connection with death through the sue of similarity and repetition. One could also say that this moment marks the end, or death, of Theo’s old life. The kidnapping is the first in a series of events that takes Theo from London to the rowboat and causes him to leave his old life behind.

Another instance the ringing is heard is 14d. The ringing starts immediately after the tank blast. Although this could remind the audience that Theo is losing his hearing and that the loud blast from the tank has cost Theo yet another frequency, that is probably the furthest thing from the viewer’s mind and not the point Cuarón was trying to make. Again there are connections with death and shock to be made. The death is immediately obvious. Theo sees a man who has lost half of his body on the floor as soon as he enters the building and walks past a dead person lying on the stairs. The chaos of the scene also strengthens the death of civilization theme. At this point in the film though the ringing motif is fully established and the death of at least one major or minor character is to be expected. Shortly after the sound cuts out Patric is killed, Theo is mortally wounded by Luke, and Luke is killed. Cuarón used the ringing earlier in the film to foreshadow Jasper’s death and uses it again here to foreshadow more death. The shock here is strictly for the audience. Apart from seeing the man on the first floor, the shock comes from the way the narrative unfolds. The viewers likely expect there to be some sort of physical confrontation between the protagonist and the antagonists. Considerable tension has been built up between Theo and Patric as well as between Theo and Luke. The audience would probably accept some sort of fight between Kee and Luke, due to his desire for the child and her already established disgust with him. Hollywood usually demands some sort of battle in which the hero either by skill, luck, or a combination of both succeeds in defeating the villain. There is no such confrontation here though. Patric and Luke are both killed by the army with no help from Theo or Kee. Theo hides from Patric and waits until Luke is not looking to escape. This shock is clearly different and the least intense, but it is a shock nonetheless.

It is interesting to note that this is the last time the ringing is heard. The last scene in which Theo dies contains the orchestral piece, another sound motif, instead. This choice is interesting since the scene contains both of the elements from previous scenes that used the ringing, namely death and shock. Theo dies, and his death is at least a shock to Kee. It is puzzling then, at first glance, why the ringing was excluded here. There are, however, some striking differences between this scene and the others. This final scene is a triumphant one. Theo no longer feels isolated and hopeless. He has succeeded in giving Kee and her baby safe passage to the Tomorrow. The human race is saved. Theo feels he has done what he needed to do and that civilization might be saved. The other instances were all depressing and foreboding. Theo is nearly killed, kidnapped, and shot. Julian and Jasper are murdered. Had the ringing been included it would have possibly foreshadowed something bad waiting for Kee on the Tomorrow. Another interpretation is that the sound was not needed because Theo did not die, he merely passed out and was revived onboard the Tomorrow. If this were the case there would be no death and no shock and therefore no reason to include the ringing. It is more likely though that the former is true, that Theo died but the scene was triumphant rather than depressing and thus the sound would have been out of place.

Other high-pitched sounds make appearances in the film. The purpose is to signify death and shock that does not particularly concern Theo. The focus is on other characters instead, and because of this the ringing is not used. A disorienting orchestra featuring high-pitched violins play during 14a. The shock is that the Fishes capture Kee and the gypsy is killed. Theo had no personal connection to the gypsy like he did with Jasper and Julian, and Kee is rescued shortly so the kidnapping turns out to be only a minor setback for Theo. The death and shock relates more to Marichka. Another example is the non-diegetic high-pitched trumpet that plays briefly when Miriam is taken from the bus. This time the death and shock relates to Kee. While not significantly connected with Theo, there is a bond between Miriam and Kee. The shock is the fact that Miriam, the midwife, is taken away just after Kee’s water breaks. The death is Miriam’s and is implied by the high-pitched trumpet.

Children of Men makes excellent use of sound to convey certain meanings and add depth to Theo. Both diegetic and non-diegetic high-pitched sounds, most notably the ringing heard only by Theo, are used to great extent to draw attention to the condition of Theo’s world, his life, and the death of his friends. Other high-pitched sounds are used for the same effects when dealing with characters other than Theo. By use of similarity, repetition, and variation this sound motif accomplishes what it was meant to do, and a deeper understanding of the film is gained by paying attention to it.

Children of Men: Plot Segmentation

C. Credit Title

a. Reporters are heard telling of Baby Diego’s death.

1. Coffee Shop

a. Theo enters a crowded coffee shop where everyone is watching the news report. Theo orders coffee and a non-diegetic, melancholy violin piece plays to emphasize the tragedy of the loss of Baby Diego. People are heard crying.

b. The orchestra fades out as Theo leaves and is overtaken by sounds of the street: cars, people, etc. Theo stops to put alcohol on his coffee when a bomb explodes in the chop he was just in. The sound of the explosion is followed by a high-pitched ringing which overtakes all other sound. It acts as a sound bridge to the next shot.

2. Theo’s Office

a. Theo walks into his office, sits down at his desk, and listens briefly to more news about Baby Diego. The ringing continues until Theo turns his TV on and is replaced by non-diegetic violins.

b. Theo then asks his boss for the rest of the day off.

3. Train

a. Theo is sitting and watches as people outside throw rocks at the train. A TV commercial talking about illegal immigrants is heard.

b. Theo exits the train and walks past cages filled with people that are guarded by armed soldiers. People in the cages are heard talking in desperate tones.

c. Theo meets Jasper in the parking lot.

4. Jasper’s House

a. Theo and Jasper discuss the bombing while on the way to Jasper’s house.

b. Theo and Jasper go through the secret entrance to Jasper’s land and talk a little about Theo’s life.

c. Pictures of Jasper’s accomplishments are shown as Theo and Jasper talk to Jasper’s wife, who is unresponsive apparently due to an illness.

d. Theo and Jasper discuss and joke about the world’s current situation. Theo mentions his ears are still ringing and Jasper responds by playing loud music.

5. Theo Kidnapped

a. An alarm clock wakes Theo up. The ringing is faintly heard and acts as a sound bridge to the next shot.

b. Theo walks through the streets and is abducted by two men who force him into a van and drive off. The ringing cuts off as soon as he is kidnapped.

c. Theo’s blindfold is removed in a room on top of a building and he sees Julian is behind his abduction. She wants him to help her get transit papers, and Theo refuses.

d. Theo is taken back to the van where Luke tells him how to get in touch with them if he changes his mind. Theo is then dropped off.

6. Ark of the Arts

a. Theo is driven to the Ark of the Arts.

b. Theo convinces Nigel to get the transit papers for him.

7. From the Bar to the Car

a. Luke tells Theo what to do next in a bar.

b. Theo looks up at a TV and a dog race announcer is heard. The announcer acts as a sound bridge to the next shot. Since the announcer was not coming from the TV Theo was watching but from somewhere completely different, the Kuleshov effect is used.

c. Theo is at the dog races. He wins and barely catches the bus Julian is on.

d. Theo talks with Julian. The ringing returns as Theo and Julian walk through the alleys and stops when Julian kisses Theo.

e. They meet Luke and drive off. Miriam and Kee are introduced.

8. Julian’s Murder

a. After Theo wakes up he and Julian talk and joke until a flaming car stops them and they are attacked by a gang.

b. Julian is shot and killed, and the ringing returns.

c. The car is stopped by cops and Luke kills them.

d. Julian is buried and Theo breaks down. They drive to the safe house.

9. Fish Safe house

a. They arrive at the safe house.

b. Theo discovers that Kee is pregnant.

c. Kee decides she wants to stay with the Fishes and join the Human Project after her baby is well enough to travel.

d. Theo hears a motorcycle and sees Patric. He learns that Julian was murdered by the Fishes.

e. Theo, Miriam, and Kee escape.

10. Jasper’s Murder

a. They arrive fat Jasper’s house and decide to break into Bexhill.

b. Alarms blare as the Fishes break into Jasper’s land.

c. Theo, Miriam, and Kee escape while Jasper stays behind to stall the Fishes.

d. Jasper kills his wife and dog before the Fishes arrive.

e. Theo watches from a safe distance as Luke kills Jasper. After Jasper is shot the ringing returns.

f. Theo, Miriam, and Kee drive away towards the school.

11. The School

a. The ringing continues as they drive to the school.

b. As they wait for Syd Miriam tells her story.

c. They meet Syd and travel to the prison bus.

d. Syd tells them what to do once they get into Bexhill.

e. Theo Miriam, and Kee get onto the prison bus.

12. Bexhill at Night

a. Kee’s water breaks on the bus. People outside are being beaten and screaming while people on the bus are crying.

b. Miriam is thrown off the bus. A high-pitched trumpet resembling the ringing is heard.

c. Theo and Kee enter Bexhill.

d. They find Marichka, and she takes them to their room.

e. Kee gives birth to a girl.

13. Escaping from Syd

a. Theo and Kee are woken by Syd banging loudly on the door.

b. Marichka and Syd discover Kee’s baby.

c. Syd leads them downstairs at gunpoint.

d. Marichka attacks Syd and they all escape. As Syd tries to follow them Theo knocks him out with a rock.

e. Marichka takes them to her home and agrees find them a rowboat.

14. Streets of Bexhill

a. Theo and Kee are led through the streets by Marichka and apparently her relative to the rowboat but are captured by the Fishes. A non-diegetic high-pitched orchestra plays as they run.

b. Luke takes Kee and the baby away, and Patric kills the gypsy. The Fishes are shot at and Marichka and Theo escape.

c. Theo and Marichka separate, Theo makes his way to the building Kee and her baby were taken to.

d. Before he enters the building a tank shoots it. The ringing returns and Theo enters the building.

15. Rescuing Kee and the Baby

a. Theo makes his way to where Kee is. On the way Patric is killed.

b. Luke shoots Theo and is then killed.

c. Theo and Kee walk out of the building and into the streets with the army.

d. Someone in the building opens fire on the army. This distracts everyone, and Theo and Kee run off in the confusion and find Marichka.

16. The Rowboat

a. Marichka leads them to the rowboat, but refuses to join them.

b. Theo and Kee row to the buoy where they are to meet the Human Project on the boat the Tomorrow. On the way planes are seen bombing Bexhill.

c. Theo reveals that he was been shot, and Kee says she’ll name the baby after Theo and Julian’s son Dylan.

d. Theo dies.

e. The Tomorrow notices the rowboat and makes its way to Kee and Dylan.

f. The screen is blank with the title of the movie and children’s laughter is heard.

E. End Credits