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LINGUISTIC DISTINCTIONS AS MARKERS
OF SOCIAL CLASS IN THE MOVIE
DIE MOMMIE DIE
SAM COHN
LINGUISTICS 001
PROFESSOR LIBERMAN
TA: GIANG NGUYEN
DECEMBER 6, 2006
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1.
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INTRODUCTION
The 2003 film Die Mommie Die, directed by Mark Rucker, longs to be part of the great tradition
of the melodramatic woman’s picture of the 1940s and 1950s. As most of the film’s plot takes
place in 1967, this does not mean simply depicting the period accurately. There is something
more, something that identifies Die Mommie Die as belonging to the same genre. There are
certainly appropriate plot choices, such as the fact that the film looks into the lives of the rich and
famous to expose dark secrets and dramatic events. It is the family of Charles Busch’s character,
Angela Arden, around whom the entire plot revolves. The look of the movie also has a lot to do
with its style: a mansion set in Beverly Hills, lavish costumes of the era, and vintage-looking
graphics in the opening credits. One critical piece of the puzzle, however, is the sound of the
movie. The very speech of the film tells a lot about the characters. For example, Angela Arden’s
dialect is enough to distinguish her from that which is pedestrian, and imply that she is of a higher
social class than most. Her speech is sufficiently unique than that of any other character, but in
particular, it is especially different from the speech of the character of Bootsie Carp, the Arden’s
live-in housekeeper, who is of a decidedly lower social stratus. In this project, I will analyze
Angela Arden’s language to determine its unique traits which ultimate combine to give a sense of
wealth and privilege, and which thus help establish the feel of the movie.
2.
METHODS
The audio I wished to analyze comes from the movie Die Mommie Die, a film directed by Mark
Rucker. The characters whose speech is captured in my audio recordings are Angela Arden,
played by Charles Busch, Edith Arden, played by Natasha Lyonne, Tony Parker, played by Jason
Priestly, and Bootsie Carp, played by Frances Conroy.
To begin, I needed to find suitable excerpts from the movie. I watched the entire film one time in
its entirety (I have seen it five or six times before this; it’s one of my favorite movies) and
recorded the time code of segments where Angela had dialog that was lengthy enough to lend
itself to analysis and was representative of her speech across the entire film. Eventually, I used
Audacity to obtain .mp3 files of the audio clips. I finally had 8 audio excerpts, lasting a total of
6:11. These are all transcribed in their entirety in the Appendix.
I identified three main aspects of Angela’s speech: r-dropping, g-dropping, and a vowel change.
For the r-dropping, I went through all of the recordings and noted every single instance of a
dropped /ɹ/. I then went back and transcribed many of the examples in IPA so that I could
deduce a morphological rule for dropping /ɹ/ and when it is kept intact. Second, I quantitatively
analyzed by character all instances of g-dropping in all excerpts of speech I collected. For the
third part of the analysis, I only looked at Angela speech from each of the 8 clips. Comparing it
to modern standard American pronunciations of English (pronunciations without any detectable
regional dialect), I transcribed any differences in Angela’s speech using IPA. Then I looked for
patterns among the change in vowel pronunciation and graphically depicted the results over an
IPA vowel chart.
3.
DATA
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3.1
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R-DROPPING
The speech of Angela Arden is replete with examples of R-relaxing. The R phoneme becomes
relaxed to the point of blending in with the preceding vowel. Of the 64 total instances of this, 12
are transcribed in IPA below. Note that an R is not dropped if it is as the beginning of a
morpheme. So, for example, the R is not dropped in the words “rather,” “friend,” “cherished,” or
“lingering.”
Word
Rather
Severe
However
Years
Colors
Darling
Perhaps
Wonderful
Dirty
Burner
Corner
Furthermore
Normal Pronunciation
ɹæðɜɹ
sɪviɹ
hæwɛvɜɹ
jiɹz
kʌlɜɹz
dɐɹlɪŋ
pɜɹhæps
wʌndɜɹfʊl
dɜɹdi
bɜɹnʊɹ
kɔɹnɜɹ
fɜɹðɜɹmɔɹ
Dropped-R Pronunciation
ɹæðʌ
sɪviʌ
hæwɛvʌ
jiʌz
kʌlʌz
dɐlɪŋ
pʊhæps
wʌndʊfʊl
dʊdi
bʊnʌ
kɔnʌ
fʊðʊmɔʌ
FULL LIST OF WORDS WITH THE DROPPED /ɹ/
R in final morpheme
Rather
Severe
However
Never
Years
Colors
There’s
Daughter
Square
You’re
Other’s
Her
Dear
Start
Summer
Secure
Are
Yours
Dark
Hair
Favors
Bear
More
Were
Stronger
Ever
After
Dear
Rather
Yours
Floor
Liar
Yours
Bitter
Your
Word
First
Were
R in non-final morpheme
Darling
Perhaps
Wonderful
Dirty
Squaresville
Garden
Arguing
Personal
Vermouth
Dearly
Nearly
Darling
Desired
Service
First
R in multiple morphemes
Burner
Corner
Furthermore (All Three Rs)
Forever
Parker
Murder
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As shown above, there seem to be three distinct types of words that cause the R-dropping in
Angela Arden’s speech: a category of words whose /ɹ/ comes at the end of the final morpheme,
a category where the /ɹ/ comes at the end of a non-final morpheme, and a third category that
has an /ɹ/ in both of these places. Notably, the dropped R seems to function independently of
the plural /s/ morpheme.
The way in which this morpheme is altered seems consistent within a given category. For words
where the /ɹ/ is part of the final morpheme, ɹ becomes ʌ, where the ɜɹ sound acts the same as ɹ
itself. So, “severe” becomes sɪviʌ and “however” becomes hæwɛvʌ as both the ɹ and the ɜɹ
change to a ʌ, respectively.
For words where the /ɹ/ comes in a non-final morpheme, it is simply eliminated, leaving the
preceding vowel sound in its place. Similar to the previous category, if the morpheme containing
/ɹ/ is ɜɹ, there is a bit of an exception. ɜɹ becomes ʊ, but in all other instances, the /ɹ/ is
dropped, leaving the vowel immediately before. Thus, “darling” becomes dɐlɪŋ and “wonderful”
becomes wʌndʊfʊl.
The third category mentioned is a mixture of the first two, and follows both of their rules. The
word “corner” follows the first group’s conventions by dropping the final ɹ and replacing it with a
ʌ, and follows the second group’s conventions by dropping the first ɹ, leaving just the preceding
vowel ɔ.
3.2
G-DROPPING
In words where there is the –ing ending, there is the tendency to drop the final /g/ depending on
speaker and circumstance. Notably, however, there is a lack of any substantial examples of this
g-dropping among any of the characters’ speech samples except for the speech of the character
Bootsie. In the following lines, Bootsie gives 3 counts of pure g-dropping, and 2 of the gdropping and contraction of “going to” to get “gonna” for a total of 5 examples of g-dropping
within 5 sentences. Angela Arden only gives 2 counts of g-dropping across all of the samples,
and it comes in the very next line, while threatening Bootsie: “scrubbin’” and “nothin’.”
Bootsie: Now it’s you who’s showin’ her true colors. You never fooled me, not for a minute. I
always knew you were nothin’ but trash washed over the Canadian border. You’re never
gonna write a book about Mr. Sussman because I won’t let you! You’re not gonna make a
penny spoilin’ his good name!
Angela: You floor-scrubbin’ old hag. You’ve got nothin’ on me, and even if you did, who would
believe you? You’re a liar, a cheat, and a drunk.
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3.3
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VOWEL CHANGES
Angela Arden speaks with a distinct dialect relative to today’s standard American pronunciation
of English. In the clips I analyzed, the following are all instances of non-standard pronunciation:
Word
Standard
Arden
Change
Pronunciation
pronunciation
Tony
Tone
Alone
Show
Own
Devoted
Wrong
Because
Colony
Reception
Everything
Really
Glass
Cabinet
Plan
Actions
Attractive
Terribly
toʊni
toʊn
ʌloʊn
ʃoʊ
oʊn
dɪvoʊtɪd
ɹɔŋ
bɪkɔz
kɐlʌni
ɹɪsɛpʃɪn
ɛvɹiɵɪŋ
ɹili
glæs
kæbɪnɪt
plæn
æktʃɪnz
ʌtʃɹæktɪv
tɛɹɪbli
tʊuni
tʊun
ʌlʊun
ʃʊu
ʊun
dɪvʊutɪd
ɹɔuŋ
bɪkoʊz
kɔlʌni
ɹisɛpʃʊn
ɛvɹɪɵɪŋ
ɹɪʌli
glɛʌs
kɛʌbɪnɪt
plɛʌn
ɛktʃɪnz
ʌtʃɹeɪktɪv
teɹɪbli
oʊ to ʊu
oʊ to ʊu
oʊ to ʊu
oʊ to ʊu
oʊ to ʊu
oʊ to ʊu
ɔ to ɔu
ɔ to oʊ
ɐ to ɔ
ɪ to i, ɪ to ʊ
i to ɪ
i to ɪʌ
æ to ɛʌ
æ to ɛʌ
æ to ɛʌ
æ to ɛ
æ to eɪ
ɛ to e
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As shown above, there are 10 distinct types of shifts in Angela Arden’s vowel pronunciations.
They are depicted graphically on the vowel chart. With the exception of the i to ɪ change and
the ɪ to ʊ change, all of the vowel shifts involve a movement towards a more closed vowel sound.
Open-mid may become close-mid or close, or close-mid may become close. Typically, though,
sounds remain in the original class of front, central, or back.
There are three classes of shifts with more than one instance above: oʊ to ʊu, æ to ɛ, and i to ɪ.
The first two preserve their position, back and front, respectively, and both represent a shift of
one step towards a closed vowel sound. The third moves from a closed front sound to a close-mid,
front-central sound, effectively eliminating the front closed /i/ sound.
4.
CONCLUSIONS
Looking at the data above, it is clear that there are three main aspects to Angela Arden’s
signature style of speech: r-dropping, g-dropping, and a shift of her vowel sounds, and there is a
definite pattern for how these changes are materialized.
First, r-dropping only affects ɹ at the end of a morpheme. When this morpheme is at the end of
a word, this phenomenon is manifest as replacing ɹ or ɜɹ with ʌ. When within a non-final
morpheme, the ɹ blends with the preceding vowel sound. A word can have both ɹ sounds, and it
will then follow both rules simultaneously.
The second focus of analysis was not so much a facet of Angela’s speech, but a marked deficit in
it. In over six minutes of audio samples, which featured Angela the vast majority of the time,
there were only two clear examples of g-dropping. It happened, incidentally, while she argued
heatedly with Bootsie. In her calm, normal tone of voice, there were no instances of g-dropping
across any of the audio samples. Bootsie, on the other hand, is a supporting character in the film
and thus has fewer lines. Even so, there were five times where she dropped the /g/ from her
words.
Thirdly, Angela Arden’s vowels tend to shift within the same place of vowel production (front,
central, back) in the direction from open towards close. Thus, open-mid back vowels shift to closemid back or to close back vowels. This represents a general trend to constrict the vowels (that is,
to make the vowels more closed). Also, there is a second, less striking shift, which is that certain
vowels move in a direction from front towards back, shown by “i to ɪ” of “everything” and “ɪ to
ʊ” of “reception.”
Context is important. While this film emulates a style of film that originated about half a century
ago in the 1940s, it is produced for modern audiences. Thus, these three facets of Angela
Arden’s speech produce a very different dialect, but different from what? It is a speech that is
phonetically different from modern standard pronunciations of English as the movie’s audiences
know it, not necessarily as audiences would have known it had they seen these pictures when the
originally premiered.
This begs the question, why do these changes to a speaker’s language suggest that the speaker
belongs to a higher social station or a position of privilege? To a modern audience member, the
vowel shifts, the eliminated /ɹ/ and the meticulously intact /g/ appear to have an air of
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sophistication to them; perhaps this is because these characteristics are also found in the “Queen’s
English” British pronunciation of English. The United States of America, after all, has long looked
to our British motherland as the center of high society and culture. Consequently, any linguistic
approximation of a British pronunciation imparts a feel of sophistication that, more often than not,
accompanies a life of wealth and power. This may be why Charles Busch can manipulate his own
speech in these three ways and achieve the character of Ms. Angela Arden, who not only dresses
the part thanks to the wardrobe department, but sounds it as well.
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5.
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APPENDIX
§ 3.1: R-DROPPING: * corresponds to a dropped r in the morpheme directly above
§ 3.3: VOWEL CHANGES: underlined words are those with unique pronunciations, transcribed in
the Data section.
A Square from Squaresville (0:57)
Angela: Such a sunny day, one could almost walk around nude.
Edith: Mother, you would.
Angela: There’s nothing wrong with nudity. Tony frequently visits a nudist colony at Big Sur.
*
*
Tony: It feels good letting everything hang in the breeze.
Edith: That’s revolting.
Angela: Darling daughter, you sound like a square from Squaresville!
*
*
*
*
Edith: Square to you because I don’t sleep around with every delivery boy and valet parking
*
attendant.
Angela: You’re affecting a rather severe tone, young lady.
*
*
*
Edith: Severe? To a woman who rubs cocoa butter on Sammy Davis Jr.?
Angela: Sammy is a cherished friend of this family. I refuse to justify my actions to you.
Edith: Because you can’t!
Angela: Edith why must we be forever at each other’s throats?!
*
*
Tony: Can’t you try and meet your mother half way? She’s a good egg.
Angela: It’s no use talking to her when she’s in a mood. Tony, be a dear and fix me something
*
*
nice and cool, and meet me in the garden.
*
As Vermouth Into a Glass of Gin (2:07)
Tony: Quite a picture. Angela Arden surrounded by her award-winning Angela Arden roses.
Angela: I seem to have a green thumb for everything but raising children.
Tony: It’s just a phase, Angie. All kids go through it.
Angela: When did it start? When did it all go wrong?
*
Tony: After your sister Barbara died?
Angela: Why should you say that?
Tony: Sometimes a death in the family, the death of a beloved aunt can be a traumatic
experience for a child.
Angela: Perhaps something did happen that summer. One feels a memory lingering like smog
*
*
over the canyon. Whatever it was, I’ve paid for it dearly. What about you, Tony? Have
*
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I paid enough for you?
Tony: You stop it right there, that’s not funny. You know you’re my girl.
Angela: Am I? You ask me to give up everything safe and secure for a man whose reputation is
*
that of a highly paid gigolo.
Tony: I’ve always been the kinda guy that people start rumors about. Hell, it was a certain rumor
about me that got you to reach for the phone in the first place.
Angela: Who are you, Tony Parker? You’ve slipped into my life as easily as vermouth into a
* *
*
glass of gin: Quickly, and just a bit too smooth. Your life is a locked file cabinet of dark,
*
*
ugly secrets.
Tony: What have you heard?
Angela: I have it on excellent authority, by way of every hair-burner in West Hollywood that the
*
*
favors you’ve received are not only courtesy of the ladies, but les garçon as well.
*
Tony: You get this straight. I’m no fag! I’ve torn men apart for saying less.
Angela: Darling, listen to us. We were nearly arguing! I’ve never desired any man as I’ve
*
*
* *
*
*
desired you.
*
I Can’t Bear to Be Surrounded by More Death (0:22)
Angela: All in all, I think it was a lovely service and reception. Hello Tony, how kind of you to
*
join us in our mourning.
Tony: Nothing could keep me away.
Angela: Bootsie, remove some of these floral tributes. They’re wilting, and I can’t bear to be
*
surrounded by more death.
Bootsie: I think I’ll put some of these petals in the pages of my Bible.
Angela: As you wish.
I Plan to Contest This Will (0:22)
Angela: Well, Bootsie, you were devoted, and extraordinarily loyal to Mr. Sussman.
*
Bootsie: My, how that man loved my corn fritters.
Anglea: Indeed he did; however, I plan to contest this will. Tuchmann, you better slap on your
*
jock strap, because I intend to give your cajones a mean twist. Nothing personal, Bootsie.
*
Pen My Memoirs for Quite a Tidy Sum (0:26)
Angela: I’m changing my mind. Maybe I won’t contest that will after all. I’m going back into
show business; my voice is stronger than ever, and furthermore, perhaps I’ll pen my
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*
*
* * *
memoirs. Yes, for quite a tidy sum, I’ll reveal every dirty little detail of my sham of a
*
marriage to that late, great son-of-a-bitch shitheel, Mr. Sol P. Sussman.
Murder the First Time (0:19)
Angela: It takes great courage to murder the first time. That’s when you can no longer claim your
* *
*
soul as your own. After that, it becomes remarkably simple. You’d never be quite sure
*
what lay around the corner, would you, dear?
* *
*
It’s Not Terribly Attractive (1:19)
Bootsie: She who transgresses the laws of man shall dwell forever in the fires of Beelzebub.
Angela: That’s a rather odd thing to say, Bootsie, even from you.
*
Bootsie: Heathen, purge thy sins! After twenty-five years in this house, I know all your dirty little
secrets, and I mean ALL of ‘em!
Angela: And after twenty-five years, you finally show your true colors. I must say, it’s not terribly
*
*
*
attractive.
Bootsie: Lady, I’m gonna be around your neck like an albatross ‘til the day you leave this green
earth, and I mean it.
Angela: Listen, sister. I don’t take threats from maids.
*
Bootsie: Now it’s you who’s showin’ her true colors. You never fooled me, not for a minute. I
always knew you were nothin’ but trash washed over the Canadian border. You’re never
gonna write a book about Mr. Sussman because I won’t let you! You’re not gonna make a
penny spoilin’ his good name!
Angela: You floor-scrubbing old hag. You’ve got nothing on me, and even if you did, who would
*
believe you? You’re a liar, a cheat, and a drunk.
*
Bootsie: I dried out at one of those fancy sanitariums years ago.
Angela: I know how much of our booze you’ve been knocking back, alone, in your pitiful little
*
maid’s room. You’re a lonely, bitter souse, Bootsie. No one’s going to believe your word
*
* *
against mine. And I mean no one.
Bootsie: Woe onto ye who makes mockery of the righteous!
I Won’t Be Alon e, Not Really (0:19)
Tony: I’ll go with you. You shouldn’t do this alone.
Angela: Thank you, Tony, but I won’t be alone. Not really, because, for the first time, I have me.
*
And that’s a wonderful feeling.
*