Robin
Wood believes that deep relationships will help in fighting off the
birds. Donald Spoto argues that this film
is a meditation on relationships. But in analyzing this film’s relationship
aspects with the sounds of the film, a different conclusion
is drawn. Isolation, not one’s desire to love someone, is the reason
why relationships in Bodega Bay form. 
The appearance of the Tristan and Isolde album in Annie’s house and not its music confirms this concept, since the silence signifies the isolation, the fear of abandonment aspect of the play. Had Herrmann incorporated music from the music drama in this scene, the emotional shift would be directed away from isolation to the more romantic aspects of the play. Understand, Annie Hayworth dies the most tragic death: alone. Such a death is not desired by Lydia Brenner, who possessively clings to her son for fear of his leaving. Through the incorporation of Debussy’s subordinated piano music in kitchen scene, it is understood of Lydia’s intentions for her latest threat: Melanie Daniels. She does not want him to play any part in Mitch’s life, but rather take a submissive role. Since the birds are attacking the town, forcing the family into cages, Lydia has really no choice but to adopt Melanie as a daughter so as to keep Mitch from loving her. However, Melanie must be subdued and controlled. Vital to this concept is the silence in the final bird attack against Melanie. The silence throughout this scene signifies the control Lydia has over her. So in the end, Melanie, practically on the verge of a breakdown, bandaged and bruised, is finally accepted by Lydia Brenner into a relationship. It is appropriate to end the film quietly, with the car slowly driving off amidst the gathering birds. True, a relationship is formed, but it is nothing more than the cold, silent murmur concluding the film.