Genre Openings

Thriller and Horror Film Opening Analysis

I am pretty much set on the idea that I will be creating a thriller film opening with elements of horror included. I am not entirely sure of the premise of my piece, but I have committed to making a psychological thriller. For that reason, this post will include film openings of past successful movies of the suspense and thriller genre. This post will serve me as a starting point and reference for my project. I hope to find inspiration and new ideas, as I am actively brainstorming a story and plan.

STIGMATA

EDITING:

The editing in this opening scene is probably what gives it the majority of its character. Throughout the entire opening, fast editing that matches the beat of the music is used to keep the scene moving and create a sense of recklessness and urgency as the introduced protagonist lives an impulsive, fast-paced life in a big city. Also, seemingly unconnected shots of the main character at her work and doing everyday things is interrupted periodically with biblical paintings and religious imagery. This serves to set the tone for the movie's future content and foreshadow upcoming events. Additionally, repetition and superimposed video are shown to express the whirlwind and hasty life of the main character. The fast-paced cutting between shots, the juxtaposition of unrelated content, and superimposed moving videos give the opening an almost scrapbook feel. The editing techniques serve to better communicate the careless, rash, and at times immoral existence of the protagonist.


MISE-EN-SCÉNE:

The opening uses iconic and traditional catholic symbolism as well as biblical calligraphy that most of the audience, regardless of religion, would easily be able to recognize. As the main character goes about her day, shots of the Virgin Mary, ancient scripts, Jesus, catholic apostles, saints, and crucifixes can be seen superimposed or in between shots. These are in place to clearly indicate that the movie will involve religion in some way and create contrast when the character begins to participate in conventionally unethical activities such as clubbing, drinking, tattooing, taking drugs, and sex. The location is also very clearly established in the beginning via the tall skyscrapers, shots of traffic and birds-eye views of geographical mapping. It is made obvious she lives in a big, fast city similar to New York. A lot of the opening is tinted or filtered in a yellow-orange color. This is used to reiterate the energy and outgoing nature of the introduced character and location. Every now and then a blue or purple filter is applied to one of the scenes including religious imagery to further emphasize the contrast between the behavior of the woman and catholicism. The protagonist is dressed in age-appropriate clothing that expresses her youth and the need for self-expression. It is clear that her income does not allow her to buy designer-brand clothing, but she does make enough to wear quality clothing of her choosing. Her friends near the end of the scene are dressed similarly, indicating that she fits in well within her group and that they are similar in age and income.


SHOTS/ANGLES:

Quick establishing long shots of skyscrapers and high angle geographic mapping serve to introduce the setting. When the protagonist is first introduced, very rapidly, a long shot, medium shot and a close-up of her face and body are shown as she steps out of a building. She can be seen smoking and handing a presumably homeless man a beverage. These shots are in place to show to the viewer: this is the main character, pay attention to her. A series of medium shots and close-ups of the protagonist cutting hair and conversing with clients allows the audience to pick up that she is both social and is a hairdresser for a living. Next, close-ups and medium shots of the main character are displayed as she does her makeup and prepares herself to go out. A series of close-ups, extream close-ups, and medium shots follow the main character clubbing with her friends and as she leaves with a man. The shots are quick and unrelated- the filmmakers move from one activity to the next without showing what happens in between- emulating the idea of having wholes in one's memory after drinking a lot or consuming drugs.


SOUND:

The film begins with a creepy, distorted prayer from a female voice that immediately intrigues the audience. Next, a loud rock song interrupts that interest, but the prayer continues and later subsides. This sets the tone as scary and suspenseful, but the loud and distracting rock music allows for the viewer to quickly forget about it. The rock song includes lyrics about sinning and religious names to match the content on screen. The song's tone matches the rebellious and unethical behavior of the character.

GET OUT

EDITING:

Not much editing is applied in this scene since the entire film opening is shot in one, long, take that does not cut at any point. The long take creates a slow-paced vibe that helps build tension and increase anxiety. The viewer knows they have to wait for what is to come so anticipation is achieved successfully in the scene. This opening sets the tone as suspenseful.


MISE-EN-SCÉNE:

The location can be clearly identified as suburbia; the manicured landscaping, clean and even roads, and wide sidewalks are characteristic of this type of setting. It is night time, and only a few street lamps light the way for the character, providing lowkey lighting that sets an ominous and sinister tone, foreshadowing that something bad or threatening will attack the character. The character that walks into the frame is wearing clothing that puts him in the 20 to 30 year-old range and is using technology that indicates the film is set in the present. The dated-looking white car that threateningly approaches the main character seems expensive, classic and vintage, hinting at the fact that it may be owned by an older, richer person.


SHOTS/ANGLES:

Camera movement is very important for this scene, for it is necessary to create a variety of shots that develop meaning without cutting at all. The filmmaker introduces the setting as a suburb via an establishing shot by filming the sidewalk before allowing the character to walk in. A long tracking shot from the font is used to follow the character as he walks and talks on the phone. The camera slows, and the character continues walking. This way, the long shot turns into a medium shot where the man's facial features can be seen more clearly and the audience can maybe recognize him later in the film. The frontal view later transforms into a medium track shot from behind where a car can clearly be seen spotting the character and turning to follow him. This serves for convenience purposes to better clearly understand the threat that is the oncoming car. As a way to subtly escape, the character turns and walks quickly and the camera follows closely behind him, evoking urgency and worry. When the music playing from the car distracts the character making him look back and stop while crossing the street, the camera gets a clear view of the car, revealing that the driver has exited the car, creating suspense. When the anonymous driver attacks the character, the camera follows the assault but only below their shoulders. The attacker drags the man after subduing him and puts him in the car trunk, leaving the viewer confused, engaged and wanting more information.


SOUND:


To give off that scary, bone-chilling creepy vibe, the filmmakers used an old, happy, 50's sounding, carnival song that includes the lyrics: run, rabbit run, don't let the farmer have his fun, he'll get buy without rabbit pie, run, rabbit run. The lyrics express the predatory actions of the attacker while warning the character to escape. The happiness and innocence of the song create a strong contrast while the character is being choked and dragged. The volume increases significantly at the time of the attack to give the sequence more energy and induces more stress in the viewer. The song abruptly stops at the time the driver closes the door and a more conventional, classical violin instrumental that matches the conventions of a suspenseful horror film are played to make it clear that this film belongs tot he horror and thriller genre.

Knives Out

EDITING:

The editing is fast-paced and does not linger on any of the shots. The cuts are quick and urgent, matching the music; despite the caregiver's lack of haste, the editing makes it seem like something is about to happen and warns the audience to prepare for a revelation or discovery happening in the future. Many parts of the house are emphasized as the maid walks up with breakfast, especially the many little trinkets that can be found around the house. The quick changes of focus express the filmmaker's desire to display the home and its many features as a whole, not just focus on a single one of the possessions inside. The quick change of shots inside the house also give the location importance.


MISE-EN-SCÉNE:

The first scene shows a large, dark, mansion in the fall or winter with dead trees and fog surrounding it. The house is big and intimidating, perhaps intended to hint at possible danger or evil. Inside the house is eclectic and maximalist. It shows that an eccentric and rich person lives inside. Some of the rooms look disheveled with empty champagne and wine bottles, suggesting that a party had occurred the night before. A variety of books by the same author are shown in the house. Emphasizing those books was done to give them some kind of relevance and foreshadow that they will in some way be involved in the film. In the final portion of the opening, when the maid discovers the dead body of whom I assume is Mr. Thromby, he is wearing formal clothing, that could be attributed to him never having changed after the party that I suggested happened the night before.



SHOTS/ANGLES:

The opening starts out with a still, low angle establishing long shot of the mansion; this establishes the location and implies that the house has something to do with the plot. The still, low angle gives it an intimidating feel. To further exhibit the mansion many close-ups and medium shots of accessories within the house are focused on as well. The caregiver can be seen bringing up breakfast to Mr.Thromby in a variety of diverse shots that serve to not only follow her actions as she moves through the house, but to show off the inside to the viewers. Once she reaches Mr. Thromby's room, a quick pan to the left reveals to the viewers an empty bed, signifying that Mr.Thromy is not in his room. A low angle follows as the maid takes the food up a small, tight flight of stairs leading up to Mr.Thromby's study. The low angle serves to increase the mystery and anxiety of what is at the top of the stairs. As the maid finds something gruesome (unrevealed to the audience) the camera zooms into her face while the opening's tension is at its peak. When it is finally revealed that she found Mr.Thromby's bleeding dead body, the camera zooms into him from a high angle. This was done by filmmakers to make this discovery as surprising as possible.


SOUND:

From the very beginning of the film opening, the music makes it obvious to the viewer that something is wrong. Even when the maid calmly walks up the stairs, the music tells the audience that she is walking towards a surprise, something that the audience should e anxious about. As a viewer, even if you don't know what the discovery will be, the music expresses apprehension. The intensity and unsettling tone of the music and the gradual increase in tempo and volume significantly contribute to the anxiety and suspense created for the grand reveal of the opening.