Fargo
Directed by: Joel Coen
Written by: Joel and Ethan Coen
Released: 1996 USA
Mise-en-Scene
The use of setting in Fargo symbolises the isolation the characters feel, especially Jerry, the main character. The large, flat, snow covered landscape is set in Minnesota, and the use of the flat land allows the viewer to see the set from its far angles, allowing people and cars come into focus. However, the lack of said cars and people show how alone and segregated from the rest of the world Jerry and the kidnappers feel.
The lack of non-diagetic music within this film also has a profound effect. The most pronounced sounds are diagetic ones, such as the common occurrence of the phone ringing. The effect of this is that the spectators are able to feel more closely involved with the characters, and can become more involved with the story.
The colour red is used commonly throughout the film. Red connotes danger, blood, pain and death, and this is fully exploited for the mise en scene. As the kidnappers are driving away, they get pulled over by a police car. This is shown by the diagetic sirens and the mass of red light that floods the car from behind. He then shoots the police man, and consequently the white snow is splattered with red. As another car, with two people in, see what they have done, the meaner of the accomplices turns the car around to follow the two red lights from the escaping car. He looses sight of the car and only regains it when his own car floods with red again because the escaped car has turned over to the side. The young boy who then runs from the car is wearing a bright red jumper, and stubbles across the snow trying to get away. He then splatters the snow with red himself as he gets shot, as does the young girl in the car.
The symmetry in the film is repeated with this gesture. Both criminals die by gun whilst trying to cross the snow, as the young boy did. They both stumble on the snow as he did, and spray the white set with red. The repetition of red is circled off by the red light from the police car at the end that comes to arrest the remaining criminal. The police woman receives all her phone calls whilst she is in bed with her husband, and as Jerry trys to escape at the end of the film, he attempts to crawl out the window as his wife attempted to when she was first kidnapped.
The use of costume helps the viewer to understand the characters in more depth. Jerry, for example, is placed in beige and fawn suits to imply his dull nature and outlook to the world. It is a comical point that such a dull character is the ‘mastermind’ behind the fake kidnapping, in order to swindle everyone out of almost one million dollars.
Small actions and phrases are used in the performances within Fargo to help viewers relate and understand the characters. Throughout the film Jerry’s performance is nervous and fidgety to show that he knows he is in over his head, as his scheme is not going according to plan. The word, ‘Yah’ is used commonly throughout the film to help set the setting. The writers also put this in to add self-humour to this American accent. Finally, the pregnant police woman is always eating. It is common knowledge that one should eat more if pregnant, but Coen uses this as a way of connecting the spectators to this character through introducing them to her quirks and personality traits, as well as a point of humour.
Fargo is extremely well made in terms of Mise en scene. I found the plot line slightly lacking and uninventive however, but enjoyed the film as a piece of cinema (if not so much a piece of entertainment). It is worth seeing if you enjoy simple film noir or gangster films, but cannot be held next to the likes of Slightly Scarlet, Brick or Pulp Fiction.
Wednesday, September 24, 2008
Wednesday, September 17, 2008
Mise en scene in the car to the prom in The Virgin Suicides
Director: Sofia Coppola
May 2000, UK
Coppola uses Mise en scene in the car scene to ingrain the personality traits of the Lisbon sisters, as well as to segregate their behaviour in their sheltered home life compared to the outside world, and the segregation of Lux, the more outgoing, rebellious sister, to her conforming sisters.
Before they are to leave for the prom, Mrs Lisbon calls her daughters down the stairs to meet their escorts properly. The use of the upward camera angle as the girls make their way down the stairs signifies the awe the young boys feel for this group of sisters. Throughout the film, the boys are trying to follow, and be apart of their lives, and so this adoration and longing is show by the camera angles.
The costume effect is also significant in this scene. Possible intertextuality in this scene could be any teen film where the female character has a slow decent down the stairs in their prom dress, looking stunning (such as she’s all that). However, this scene challenges this expectation, as the girls descend in what could be described as, ‘four matching white potato sacks’. The effect of the dresses shows that the girls have a very sheltered home life, and are strongly discouraged from looking appealing to the opposite sex (as is also shown when Lux is forced to put her jumper on when they have a male guest in an earlier scene), as their mother has ensured their dresses cover their legs, cleavage and do not hug their figures. The colour white connotes innocence, virtue and virginity, and portrays all the ethics the sisters have been brought up with, and ensure the audience understand the expectations of the characters. Lux is also immediately segregated from her sisters by the editing showing her underwear, with which the word ‘Trip’ (the name of her date) had been written onto her costume with a heart. Lux is instantly portrayed as the more rebellious sister in this gesture. All four sisters are also blond, which connotes both fertility and innocence, enhancing the angelic reputations of the sisters, but also reminiscent of sexual appeal.
Once in the car, the performances of the sisters change dramatically. Whist subsistent in the house, the girls are free to act as they please in the car with their accompanying boys. The use of light plays on illuminating their faces, signifying the freedom they now feel when away from their over-dominating parents. In terms of performance, the sisters all begin to smile and giggle, whilst discussing gossip, and their body language become more relaxed.
The use of light in this scene then develops, as it skips to nightfall. As much a the sunlight appeared to free the sisters, the darkness seems to free Lux, as her body language then relaxes, and she even feels free enough to light a cigarette. This underlines the segregation between Lux and her sisters, as her body language and actions seem un-inhibited, her sisters seem to have regressed into disapproving silence. The darkness in the scene plays on their reactions as they then begin to frown, communicating only, ‘Dad will smell it on you.’ Lux’s performance further still expresses her ease as she casually replies, ‘I have a mint.’ And, ‘Ill just tell them some girls were smoking in the toilet.’
Finally, the use of Lux blowing a smoke ring underlines the title of the film. One of the young boys puts his finger through the hole and says, ‘Don’t let it die a virgin.’ This is met by disapproving performances from all the other characters. The prop of the smoke ring reminds the audience that the girls are all virgins, and the characters speech brings the harsh reality that you know they are going to die, back into the audience’s minds, and hints at what’s to come.
May 2000, UK
Coppola uses Mise en scene in the car scene to ingrain the personality traits of the Lisbon sisters, as well as to segregate their behaviour in their sheltered home life compared to the outside world, and the segregation of Lux, the more outgoing, rebellious sister, to her conforming sisters.
Before they are to leave for the prom, Mrs Lisbon calls her daughters down the stairs to meet their escorts properly. The use of the upward camera angle as the girls make their way down the stairs signifies the awe the young boys feel for this group of sisters. Throughout the film, the boys are trying to follow, and be apart of their lives, and so this adoration and longing is show by the camera angles.
The costume effect is also significant in this scene. Possible intertextuality in this scene could be any teen film where the female character has a slow decent down the stairs in their prom dress, looking stunning (such as she’s all that). However, this scene challenges this expectation, as the girls descend in what could be described as, ‘four matching white potato sacks’. The effect of the dresses shows that the girls have a very sheltered home life, and are strongly discouraged from looking appealing to the opposite sex (as is also shown when Lux is forced to put her jumper on when they have a male guest in an earlier scene), as their mother has ensured their dresses cover their legs, cleavage and do not hug their figures. The colour white connotes innocence, virtue and virginity, and portrays all the ethics the sisters have been brought up with, and ensure the audience understand the expectations of the characters. Lux is also immediately segregated from her sisters by the editing showing her underwear, with which the word ‘Trip’ (the name of her date) had been written onto her costume with a heart. Lux is instantly portrayed as the more rebellious sister in this gesture. All four sisters are also blond, which connotes both fertility and innocence, enhancing the angelic reputations of the sisters, but also reminiscent of sexual appeal.
Once in the car, the performances of the sisters change dramatically. Whist subsistent in the house, the girls are free to act as they please in the car with their accompanying boys. The use of light plays on illuminating their faces, signifying the freedom they now feel when away from their over-dominating parents. In terms of performance, the sisters all begin to smile and giggle, whilst discussing gossip, and their body language become more relaxed.
The use of light in this scene then develops, as it skips to nightfall. As much a the sunlight appeared to free the sisters, the darkness seems to free Lux, as her body language then relaxes, and she even feels free enough to light a cigarette. This underlines the segregation between Lux and her sisters, as her body language and actions seem un-inhibited, her sisters seem to have regressed into disapproving silence. The darkness in the scene plays on their reactions as they then begin to frown, communicating only, ‘Dad will smell it on you.’ Lux’s performance further still expresses her ease as she casually replies, ‘I have a mint.’ And, ‘Ill just tell them some girls were smoking in the toilet.’
Finally, the use of Lux blowing a smoke ring underlines the title of the film. One of the young boys puts his finger through the hole and says, ‘Don’t let it die a virgin.’ This is met by disapproving performances from all the other characters. The prop of the smoke ring reminds the audience that the girls are all virgins, and the characters speech brings the harsh reality that you know they are going to die, back into the audience’s minds, and hints at what’s to come.
Wednesday, September 10, 2008
thelma & Louise
The opening of Thelma & Louise
Director : Ridley Scott
Released: 1991
The opening of Thelma & Louise effusively informs the spectator of the two title roles. The five minute opening prepares the audiance for the film to come, and leaves action codes to hint at the character development to come.
* The opening music is typically southern american, which establishes the characters origans, as well as leaving the spectator with the image of Louise, accompanyed by the lyrics, 'Aint looking for a guy.'
* Louise is introduced in a diner - a working girl - with the audacity to smoke in the kitchen of her work (and without bieng challenged).
* An added appeal of the film is the title role Louise bieng played by Susan Sarandon, an A list actress.
* Her smoking at work, along side the customer's, also establishes the age of the film in the 90's, before smoking became a taboo habit.
* Mirrored in contrast, Thelma is introduced in her kitchen at home, almost as a prisoner in her own walls, wrapped in a dressing gown, denied the allowence to even leave the house.
* As her husband is introduced, the spectator is automatically against him, as he enters, moning at our heroine for every small detail. He is portrayed arrogant and unrully as he then proceedes to insult her after the implication that he may be having an affair. The specator is then satisfied as he falls down his own driveway.
* The contrast between Thelma's and her husband car ingrains the spectators dislike, as the climes into his expensive red sports car, where as her delapidated one 'Can barely get down the driveway.' Louise has a smooth blue convertable, which represents her frredom and independance, alongside converting the stereotype of 'blue for boys'.
* The mountains behind Louise as she approaches her car hint to the adventures to come, as Thelma & Louise set out on their fishing trip even though niether knows how to fish, leaving an ominous outlook to the adventure.
* Thelma was to scared to ask her husband if she can go, and so the audiance expects uproar on his behaf, and even begins to suspect that Louise may use this opertunity to leave the empty shell marrage.
*The editing is very effect when showing the two girls packing. Louise's independance has already been asserted, but is renforced by the spotlessly, almost compulsivly clean house she maintains by herself. Cut to Thelma, who nervous, scatty reck as she is, stuffs everything and anything into bags, taking up alot of room, and reforming the idea that she may be preparing to leave her husband for good, not just the weekend.
* This reflect the wider issues in society about empty-shell marrages, overbaring husbands, and divorce. Contrasting to Louise who reflects the issue of a single life, and how an older, single woman is viewed in society.
* Whilst hurridly packing, Thelma throws a gun into her bag. This gives the spactator and action code of whats to come, and hints that it may be used later on.
*Finally, the use of the picture they take together shows a significant moment. Picture taking is often used in films to indicate a significant moment, maybe the start of something, the end of something, or the last time the characters are toghether. After the picture the characters always evolve, develop, possibly drift appart or even die.
Director : Ridley Scott
Released: 1991
The opening of Thelma & Louise effusively informs the spectator of the two title roles. The five minute opening prepares the audiance for the film to come, and leaves action codes to hint at the character development to come.
* The opening music is typically southern american, which establishes the characters origans, as well as leaving the spectator with the image of Louise, accompanyed by the lyrics, 'Aint looking for a guy.'
* Louise is introduced in a diner - a working girl - with the audacity to smoke in the kitchen of her work (and without bieng challenged).
* An added appeal of the film is the title role Louise bieng played by Susan Sarandon, an A list actress.
* Her smoking at work, along side the customer's, also establishes the age of the film in the 90's, before smoking became a taboo habit.
* Mirrored in contrast, Thelma is introduced in her kitchen at home, almost as a prisoner in her own walls, wrapped in a dressing gown, denied the allowence to even leave the house.
* As her husband is introduced, the spectator is automatically against him, as he enters, moning at our heroine for every small detail. He is portrayed arrogant and unrully as he then proceedes to insult her after the implication that he may be having an affair. The specator is then satisfied as he falls down his own driveway.
* The contrast between Thelma's and her husband car ingrains the spectators dislike, as the climes into his expensive red sports car, where as her delapidated one 'Can barely get down the driveway.' Louise has a smooth blue convertable, which represents her frredom and independance, alongside converting the stereotype of 'blue for boys'.
* The mountains behind Louise as she approaches her car hint to the adventures to come, as Thelma & Louise set out on their fishing trip even though niether knows how to fish, leaving an ominous outlook to the adventure.
* Thelma was to scared to ask her husband if she can go, and so the audiance expects uproar on his behaf, and even begins to suspect that Louise may use this opertunity to leave the empty shell marrage.
*The editing is very effect when showing the two girls packing. Louise's independance has already been asserted, but is renforced by the spotlessly, almost compulsivly clean house she maintains by herself. Cut to Thelma, who nervous, scatty reck as she is, stuffs everything and anything into bags, taking up alot of room, and reforming the idea that she may be preparing to leave her husband for good, not just the weekend.
* This reflect the wider issues in society about empty-shell marrages, overbaring husbands, and divorce. Contrasting to Louise who reflects the issue of a single life, and how an older, single woman is viewed in society.
* Whilst hurridly packing, Thelma throws a gun into her bag. This gives the spactator and action code of whats to come, and hints that it may be used later on.
*Finally, the use of the picture they take together shows a significant moment. Picture taking is often used in films to indicate a significant moment, maybe the start of something, the end of something, or the last time the characters are toghether. After the picture the characters always evolve, develop, possibly drift appart or even die.
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