So...I may have watched the Ramil/Paytai kiss scene a few times now. One of the things I'm really enjoying during the rewatches is the way the music/sound emphasizes what is going on for our characters...particularly Ramil.
Note: I enjoy music greatly. It can make and break scenes for me. But I'm not a trained musician. I will not use the correct words to describe some of the changes. I am in no way qualified to do this analysis, and I would love it if someone who actually knows the right terms does it. But until that happens, I'm going to say what I noticed anyways.
We start with the club music as Khanin gets some of our royal crew onto the dance floor. The music is generally cheerful with a lot of heavy beats. It's good bopping music. It's the type of music you feel in your chest if the sound is loud enough.
Then the music shifts when Khanin gets Charan on the dance floor. We pick up tempo and the soundscape changes tone while adding a new melody on top of the beats.
But it doesn't change until right after we get this shot of Ramil. This is no longer fun for him. It never really was, but - like the tempo - his annoyance has increased.
Then the music slows down while focusing on Charan/Khanin and takes on almost a dreamlike quality with slow motion shots too. Eventually the heavier beats drop out. We're no longer focusing on the fun in the club, but what this interaction between Charan and Khanin represents.
This shift is what triggers Ramil. He's noticing the dream. Khanin is getting to do the things he wishes he could do with Paytai. He's no longer just annoyed.
So Ramil acts out by dropping the glass. Basically signaling that he wants Paytai's attention...now. He's done with watching Khanin have fun with Charan. The dreamlike soundscape ends with Ramil shaking the glass and the exaggerated clinking of the ice within it.
All sound stops as the glass drops and shatters, and we're back to the initial club music. The dreamlike spell is broken for this trio, but Ramil's tantrum doesn't bother them. They weren't the intended audience, and they get back to bopping pretty quickly.
The club music follows Ramil/Paytai into the tunnel. Ramil is still focusing on Paytai dancing with Khanin.
And it continues until right before this line:
During this line, there's a moment of silence. His attention has shifted. It's no longer on the club or the previous dance. It's on Paytai and what Ramil wants from him. The silence is followed by a single lingering tone before Paytai says his line. Followed up by another beat of silence.
Then another lingering tone. Ramil is wanting but waiting.
Then he breaks.
The tones stop lingering and speed up beating with more urgency and additional layers of sound are added. Ramil is taking what he wants, and his focus is all on Paytai. But there is also a hesitancy in the sound, the notes of the other layer are shorter with a detachment between notes that depicts the twinge of anxiety Paytai has about this being a public place.
But once Paytai confirms no one is here, an ascending swell starts in the music. The notes are now connected in runs. The detached beats are still underneath, but they are drowned out by the melody. Paytai's focus is now on Ramil. He's giving in, and I'm sure Ramil clocks that shift. We get a lot of ascending and descending notes that almost match their breathing.
There is another musical shift at the moment when Paytai grabs Ramil's wrist to hold him back a bit.
The detached notes and ascending/descending lines are still there, but we add in another layer with long, lingering notes that gives us more of the yearning sound. I wish I knew the proper words to describe what I'm hearing that creates that sound, but I don't. It might be something to do with resonance and vibrato. But regardless, the music has multiple layers - underlying anxiety (detached notes), their desires (the ascending/descending lines) and the yearning sound because they really can't have what they fully want at this moment.
As the kissing slows down, the music begins to calm down with softer, longer notes on top. The detached notes becoming more prominent again as Ramil fixes Paytai's clothes.
And then we're back to our steady rhythmic tones (Ramil) with a short detached/staccato melody that repeats occasionally on top (Paytai).
The rhythmic tones slow down and soften as soon as Ramil takes his hands off of Paytai. He's back under control.
There's a final run of the detached/staccato melody as Ramil leaves frame.
Leaving us in silence...
As Paytai smirks and follows Ramil.
