The use of Sound and Mise en Scene in Brick

The use of Sound and Mise en Scene in Brick

Laura’s Party/Meeting Dode

The Film Brick was written and directed by Rian Johnson. It was released in the UK on the 12th of May 2006, but first premiered in the USA at the Sundance Film Festival in January 2005. It pays homage to Film Nior, but is based in a high school, making it an unusual hybrid genre, and allowing the use of sound and mise en scene to represent and convey different thoughts, feelings and opinions to the spectators.

The scene in which the protagonist Brendan attends Laura’s ‘Halloween in January’ party, and then goes on to meet the ‘lowly stoner’ Dode, uses sound and mise en scene to represent these two characters and places and create opinions about them for the spectator.

When Brendan first steps into Laura’s house, the setting immediately informs the audience that she is of a high social economic status. The use of a large, spacious house with tall ceilings, marble floors and carved wooden furnishings represents a very wealthy family. Laura is now established as rich. The use of sound, however, narrows this representation into one of sophistication. The soft, sophisticated piano music that Laura herself is playing as Brendan enters shows that she is intelligent, elegant and classy. Sound and mise en scene work together to create an image of perfection for Laura, as the diagetic piano music is parallel to the use of Champagne glasses, a grand piano, and many glass vases and glass cabinets.

The use of glass in itself is a subtle action code to the spectator. Placing glass (cabinets, tumblers, vases etc.) as an allegory for Laura’s life subconsciously reminds the spectator of how easily life can fall apart (or, using the glass metaphor, break). The use of it as a prop enforces the view of a lavish and expensive interior, but also provides an action code that Laura’s easy, glamorous and drug-addicted life may well shatter by the end of the film.

The image portrayed by this scene of a party that the audience already knows contains strong illegal drugs, converts and glamorizes the images of this type of party that is often shown on the news. For example, in 2007, the teenager of the Bells’ threw a party containing liberal amounts of drugs and alcohol, and as a result caused £25,000 worth of damage to the family home. However, the actual ‘partying’ that is seen in this scene consists of old fashioned jazz music as the diagetic accompaniment, and little or no dancing. The partygoers themselves mirror the lifestyle that Laura portrays. They are also sophisticated; wearing costumes, playing piano, reciting poetry and drinking martinis or tumblers of whiskey. This glamorous image makes the spectator aspire to be part of the scene, and become one of the sophisticated people at this luxurious party.

The use of costume portrays set images of the characters, both strait and ironic, to the spectator. Brad Bramish, the ‘High School Jock’ that is supposedly a powerful drug dealer (though is often referred to as a ‘sap’) is darned in an outfit reminiscent of that of ancient Greek. This costume, coupled with the image of him surrounded by people and giving a speech, is providing an image of philosophers (such as Aristotle, Plato etc.). This demonstrates, through pure irony, the image the other characters (and therefore the spectator) have of him. His costume is in contrast with the Neanderthal, brutish and some what idiotic nature of the character.

Brendan, however, is dressed in plain, dull colours. This is a striking contrast to Laura’s costume, which further underlines the difference in their characters. Brendan is clearly more concerned with other peoples welfare. His lack of interest in changing or particularly glamorizing his clothes shows his concentration upon his mission to find out what has happened to his ex-girlfriend Emily.

Laura, in contrast, is instantly noticeable in a crowd with her use of costume. It contrasts strikingly to Brendan’s, with a tight-fitting deep scarlet dress. According to colour psychology, red is the most emotionally intense colour, and red clothing gets noticed. Therefore, Laura’s importance within the film is underlined once more. The effect this has on the spectator allows them to become wary of Laura. Red is traditionally associated with danger, and can act as a warning to the spectator not to trust the character dressed in red. However, it can also be seen as the colour of passion and lust, encouraging a feeling of closeness and/or sexual tension between the main female and male protagonists. Laura is dangerous. The mixed signals of danger, sex, lust and blood all collaborate to warn against her, and ensure the spectator is suspicious of her throughout the film.

Her costume also includes a red ribbon and flowers in her hair. With all the connotations of her character, these accessories seem out of place. They are traditionally feminine (or, ‘girley’), and therefore convert her image of power, dominance and independence. Contrasting to the rest of her costume, these aspects confuse the spectator, and imply that the use of such ‘innocent’ decorations may in fact be the real ‘costume’ she is wearing, not just for the party, but in her social life. The spectator becomes wary of her, and is invited to be curious about the ‘real’ Laura, and wish to see her without her social costume.

The femininity represented by these accessories links back to the use of sound. When Brendan leaves the room, the spectator expects Laura to follow him, as the music then changes back to (this time non-diagetic) soft piano music, which the audience now associates with Laura. The soft, smooth lament of piano is mixed with sporadic high notes which add a feminine touch to the tone of the scene. As expected, the scene is then punctured by the diagetic sound of Laura’s high heels walking across the marble floor. This sound alone connotes sophistication and femininity. Repetitive reminders of Laura’s femininity within the use of sound and mise en scene hold her sexuality in high recognition. Her interest in Brendan, and what he wants, is therefore constantly underlined by a tone of sexuality, and ensures Laura’s prolonged presence within his investigation. It also allows the spectator to view the character and relationship development between them, as they become aware that she is likely to play a larger part in the film than first thought.

When they sit in a room alone together, this sexual tone is continued. The soft, seductive tone of voice she is using is herd just over the top of the soft crackling of the fireplace and low, seductive music. This would all provide a distraction for Brendan, and so his strength of character and determination for his mission is shown in his disinterest of his surroundings. In terms of mise en scene, the low lighting caused by the fire place and candles parallel the use of sound.

Laura gets a hurried, just out of earshot message, and so leaves the room. Again, the feminine and glamorous clicking of her stilettos on the marble floor highlights the sexual femininity of her character. In contrast, Brendan runs after her to find out what she is doing, and the diagetic sounds of his footfalls are heavy and purposeful. This shows his disenchantment towards Laura’s seduction, and, when paired with the low, tension-building music, links to the film noir genre, and connotes a feeling of mystery and excitement to the spectator.

When Brendan covertly spies on Laura’s conversation with Tug, the audience are able to see, from his point of view, the use of dark lighting within the scene. It clearly represents the secret and dark tone of the conversation, and allows the spectator to follow Brendan’s thought track that Laura is involved in something troublesome. The solitary street lamp that illuminates their conversation suggests that each of them feel they are ‘in the know’. The diagetic sound of their discussion is low and just out of earshot, which frustrates the spectator along with Brendan, and increases their curiosity, ensuring they maintain their capture of the film.

As this scene ends, there is an almost graphic match to link the place where the character of Dode spends his time, to Laura’s house. However, this is purposely not achieved, as Laura’s large, grand house cannot be matched with a small and shabby Diner.

Here, the simple, monotonic non-diagetic music instantly represents the simple minds of the present characters. It connotes the wider issue of brain damage in drug users. This is enforced by the diagetic sound of someone blowing on a straw. This irritating diagetic sound connotes idiotic, simplistic characters, immediately providing a contrast between the sophisticated and classy characters in the last scene, socialising to jazz and piano music. Therefore, the spectator, simply from seeing this small contrast would inevitably wish to become more like one of Laura’s friends, rather than Dode’s.

In terms of mise en scene, the use of costume also contrasts strikingly to the last scene. Dode’s friends are seen in dirty, baggy clothing and hats, with long, dirty hair. The social connotation of traditional ‘grungers’ links to bands such as Nirvana, and so allows the audience to assume that these characters are strong drug users.

Dode himself has pale makeup and dark circles round his eyes, which connote illness and assure the audience they have the right stereotype for this group of characters. This image leaves the spectator believing that the character of Dode is ill. His complexion suggests he does not get much sunlight or nutritious food. The connotations of smoking cannabis are represented through this, and discourage the audience to follow his example, lest they begin to become like Dode.

In reference to props, the use of ‘joints’, a straw, trolleys and bins not only provide further contrast to Laura’s house and friends, but also link to much wider issues in society. The spectator is reminded of the poor and homeless, and concludes that this state of live is achieved through the taking of cannabis.

The contrast shown through mise en scene and sound between these to places and characters show a strong, and on the surface, moral undertone. Dode and his friends are homeless, poor, dirty, and brain damaged because they smoke cannabis. Laura does not, and she is show to have the life that is viewed as ideal within our contemporary society. However, it transpires that Laura is also a drug addict, but is partial to drugs in a much higher legal class, and far more damaging in the long term and shot term. The difference in damage and addiction between the two different types of drugs that Dode and Laura take leaves the spectator confused and wary; Laura clearly has a better life than Dode, but takes even more harmful and addictive drugs. The spectator is almost left to believe that Brick is glamorising the use of Heroine and Cocaine.

Brick uses sound and mise en scene to capture, maintain and inform its audience, as well as represent its characters. On a surface level, it seems to glamorise drug abuse, with the lavish and sophisticated life of Laura by example. The constant link between sex and drugs shown within the film would clearly make drugs an appealing option to most spectators. However, the representation of the characters, especially as they are portrayed through contrast (provided by sound and mise en scene), show an attempt to teach and to discourage the audience. Drugs are not presented, in their entirety, in a negative way, but the gateway theory of cannabis use is highly discouraged through the unappealing representation of those characters within in the text that use it. Young people who smoke marijuana are two to five times more likely to move on to harder drugs, and Brick attempts to combat the wider issue of inevitably moving on to harder and more dangerous drugs through the use of cannabis, by discouraging the latter.

Gripping and immensely intriguing, Brick achieves a moral, legal and health related message without patronising or insulting the spectator. Without the face value, ‘Don’t do drugs Kids!’ message, the film gains the popularity and trust of the audience, and leaves them discouraged from drug abuse, whilst feeling respected. This perfect medium is shown through the contrast provided by sound and mise en scene.