Thursday, October 6, 2011
Horror Mise-en-scene
I want you to think about the mise-en-scene in Let the Right One In. Examine all aspects of mise-en-scene. Lighting, composition, set, properties, etc. This would include colors as well. Discuss the concept of "monster" through the mise-en-scene in the film. This exercise is going to help prepare you for your Independent Study. Examine CLOSELY and offer me many details and examples. Think about what the director is trying to say IMPLICITLY. Please do this in 2 well-developed paragraphs.
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The horror genre is one of, if not the, most atmospheric of all film genres. A director must use mise-en-scene – whether it is the lighting, composition, or set – to elicit a certain emotion from the viewer. Although all films (comedies, dramas, etc.) must do this, a horror film must be precise in regard to mise-en-scene or else the viewer will not feel the anticipation, tension, or fear. “Let the Right One In”, directed by Tomas Alfredson, is a romantic horror film revolving around the relationship between a 12 year old boy, Oskar, and a vampire, Eli, in the body of a twelve year old girl. The setting of the film takes place in the wintertime, with the shots of young Oskar behind a white, snowy landscape, with the sun reflecting off of it during the daytime and moonlight darkening it during night. Oskar, with his childish winter-jacket and hat, is set in a very naïve light, both figuratively and literally. Many times Alfredson shows Oskar in a close-up and often out of focus, very much trapped in his situation; whereas at night when he is with Eli the two are shown in clear, wide shots, much more free. The film does not follow the normal conventions of horror films, and could even be considered more of a love story than a pure horror film, and the implicit meaning is adamant that love will conquer all. Though the vampire of the film is used to create tension in the film – largely with the wide shots and low angles – in the end the vampire is not the horror or “monster” of the film.
ReplyDeleteHorror films always deal with a “monster”, or at least the concept of a monster. However, the horror films that make a difference never label the monster as a creature or a single man. In “Alien” the monster is more than just the creature, it is technology and sexuality; in “The Shinning” the monster is not just an insane man, but the insanity itself that extends from isolation. In “Let the Right One In” the monster is society and the effects that it has on outsiders: how it has the tendency to turn the eccentrics and individuals into pariahs and misfits. Alfredson has a tendency to enclose his shots, so as to give the viewer a sense of entrapment and even claustrophobia. Many times when Oskar is in his home he is shown through a doorway, framed in between it – which can be juxtaposed to the outside shots when he is with Eli and even more specifically the final shot on the train. One can easily relate to Oskar, a young boy who does not know his place in society, and barely knows himself because he is bullied so pervasively. He does not feel acknowledged by his mother or his alcoholic father, and he gets little support at school or anywhere else – until he meets Eli. One cannot so easily give sympathy for a killer of innocent people, even for the sake of survival, such as the case with Eli. However, once the two are shown to be one in the same, the sympathy is easily transferable. To evoke sympathy is not a mere trick of the script or actors (though these must align as well), but it is highly dependent on the mise-en-scene. Soft lighting never hurts a plight to stir sympathy for a character (which Oskar generally is shown in), but Alfredson likes to juxtapose the harsh climates of the tundra with the inner-turmoil of the two characters both trying to survive their own respective situations, yet are somehow intertwined because of them. The isolation is the horror of the film, the setting and composition being crucial, and in the end the boy and vampire must overcome this horror to keep their lives and their love – though the two could be considered synonymous.
“Let the Right One In” is a Swedish horror film/love story directed by Tomas Alfredson. Through mise-en scene, Alfredson attempts to implicitly impact the audience’s perception of the film and its characters.The central plot of the film revolves around the relationship between Oskar, a bullied outcast and Eli, an androgynous vampire. What really appears to bring Oskar and Eli together is their shared loneliness. The viewer can particularly perceive the characters’ isolation in the scene where Oskar and Eli meet for the second time. Throughout the scene the colors are extremely subdued; dilapidated brown brick apartments, white snow, Eli’s neutral colored clothing and Oskar’s brown coat. However, the addition of the Rubik’s cube to the scene contrasts extremely against the remaining stark mise-en-scene. There is no other moment in the film where such rich, vibrant colors are displayed, especially together. Alfredson is purposely focusing the viewer’s attention toward the inaugural physical interaction between Eli and Oskar through the use of the rainbow colored Rubik’s cube. This ploy is consistent throughout the film. Alfredson repetitively utilizes brightly colored props to implicitly suggest their importance. Another instance of this takes place when Oskar hits Conny across the ear with a red iron rod. The violent capabilities of the rod and its importance in causing the turning point in the turbulent relationship between Oskar and Conny are further emphasized by the rod’s blood red coloring. The composition of the scene as Oskar cracks the rod across Conny’s ear is a wide, full body shot of Oskar and Conny standing equidistant apart against a backdrop of tall evergreen trees. Alfredson is implicitly suggesting that the two are now on equal footing.
ReplyDeleteAlfredson’s use of costume throughout “Let the Right One In” is particularly notable. Jimmy’s sadism is echoed by his blood red sweater as he attempts to drown Oskar. Before Oskar learns that Eli is a vampire she dresses in light, neutral tones and pastels. However, following Eli’s admission of her vampirism, the defining color of her outfits quietly evolves into shades of dark red. When Eli wears her long red sweater or her red flannel, the audience is implicitly reminded of her cravings for human blood. Throughout the film the viewer is often forced to consider if Eli is a monster or not. Even Oskar appears to struggle with this notion, albeit, for a very short time. Having not seen the film, an unbiased observer being told the plot might feel sympathy for Lacke, who loses his best friend, Jocke, and his girlfriend, Virginia, to Eli’s monstrous thirst for blood. However, the audience feels very little sympathy for Lacke; we become conditioned to the level of violence in the film and through Alfredson’s expert mise-en-scene we inevitably side with Oskar and Eli.
In “Let the Right One In”, directed by Thomas Alfredson, mise-en-scene is used to elicit strong emotional responses from each and every viewer. Lighting, composition, costume, and props are all implemented not only to add depth to the story but also to enrich the viewers understanding of the implicit meanings. In horror films, lighting is traditionally used in a harsh and dark manner to portray evil or to separate that of bad and good. However, in this film, there really is not a strong use of unnatural dark shadows or dark tints upon Eli. In fact, she is represented in the same dull, natural, and naive light Oskar is. This illuminates the implicit questions of good versus evil. Does is exist? Is someone born evil or is it simply thrust upon them? Clearly Alfredson wants us to see that the power of love stretches far beyond societal norms. Eli can be seen as a “monster” in some eyes, but to Oskar, she is just another 12 year old girl. This concept is shown in the scene where Eli tells Oskar to fight Conny. The camera goes back and forth between the two children in constant close-ups. Their faces are shown in the foreground and an unfocused portion of Eli’s vibrant sweater and apartment buildings are shown in the middle and background. The soft pink and green colors of Eli’s sweater highlights her childish attributes and supports Alfredson’s claim that she is not truly evil.
ReplyDeleteThe composition and camera framing are two very crucial tactics used by Alfredson to not only highlight the main themes present in the film but to also give deeper insight into each character. As Alex pointed out, when Oskar is shown inside of his home, it is generally shot through a door frame or window. This shows the viewer how tapped and lonely he is while also giving the viewer feelings that they are trapped themselves. These closed frames leave little room for interpretation as to how Oskar’s life is like outside of his small apartment. These shots strongly juxtapose with the outdoor playful scenes between him and Eli. Rather than it being a very tight shot, these have wide open frames which hint that for these two young lovers, anything is possible. As we see the snow fall over and over again within the many shots of Oskar and Eli on the playground, their love seems real and endless. Despite all of the horrendous things Eli does to survive, in these instances, all we see are two children, desperate for companionship. We do not see a monster inside of Eli, which is perhaps exactly what Alfredson intended.
Thomas Alfredson’s “Let The Right One In” is a hauntingly beautiful statement on the pain of isolation: an everpresent aspect of human emotion that Alfredson attempts to convey through the film’s carefully crafted mise-en-scene. The contrasting colors, staunch lightening, and bleak shots of nature create a beautiful union of cold and hot, apathy and passion, and death and life, in both the figurative and literal sense. The colors throughout the film are very bland, namely whites, grays, and browns, and when combined with the plethora of shots with snow and ice, evoke a coldness in the viewer. We feel frozen, just as Oskar and Eli are frozen in their lifeless existances. These shots, although most prevelant in the film, are juxtaposed with brief glimses of color and life, most notably when the two children are together. Oskar gives Eli a friend in her lonely existance, and Eli, frequently clothed in soft colors representative of passion, helps Oskar find joy. In these shots Eli is lit in a soft lighting that portrays her innocence in the face of some of her dark actions, and is representative of her renewed life. She is then able to inspire Oskar, who also begins to live. When he finally stands up to Conny, the light is unusually bright, as if Oskar has finally awaken from a haze and decided to live his own life. This is supported by the red rod and blood: Just as Oskar allowed Eli to live again by giving her friendship, Eli also gave Oskar confidence and life.
ReplyDeleteThe glimses of color, and instances of soft lighting, make us like Eli, despite who she is. If one only viewed the disturbing scenes of Eli killing, all dark and filled with deep red blood, it would be reasonable to assume that she, as the vampire, is the monster. But after seeing the film as a hole, one is confronted with the characters’ pain, and see that Eli serves as a relief from the real monster: isolation. At the film’s opening both character’s are outsiders, without any friends or familial support. It is clear that before they met that any hope had been torn apart, and any dreams of really living turned to shame. However, when they are together the frame opens, the colors ignight, and it seems as though they have a chance for the happy and colorful life they desire.
Leah Suleski said...
ReplyDeleteA closer look at the horror genre reveals its extreme reliance on mise en scene in the execution of its primary purpose, which may be to purely frighten the audience or possibly evoke a genuine response to the events taking place. In his film Let the Right One In, director Tomas Alfredson effectively but implicitly calls attention to the true monster in each sequence through shot composition and other cinematic elements. Camera angle is commonly utilized in achieving characterization, as exemplified in the scene where Lacke seeks out Eli’s apartment in attempt to kill the one who has taken everything from him. In consideration of her relationship with the ever so innocent Oskar and her overall portrayal in the film, one cannot help but root for Eli in the situation at hand, thus creating a depressed and crazed Lacke as the bad guy. Cinematically, this is presented through consecutive high angles of Eli as she sleeps, burrowed beneath blanket upon blanket in the bathtub, and several low angles of armed Lacke. A sudden feeling of desperation comes over the audience as he peels the covers away from the “young” vampire’s body, and is then soothed by Oskar’s rescue.
The use of specific lens focus is likewise common throughout the film, mostly to convey a character’s emotional or psychological well-being. Continuously, Oskar can be seen slightly out of focus while those around him appear crystal clear. An example from the introduction of the film where we first meet Conny as he calls Oskar a pig and flicks him on the nose, makes the dominance of Oskar’s bully quite obvious as Conny’s features are distinct (especially his stark and self-satisfied grin) while Oskar himself is just a blur in the foreground. Lack of focus seems to represent thelack of self-confidence in this case. When Eli is present Oskar noticeably becomes more clear in relation to the camera lens.
Lastly, an aspect of mise en scene independent from the two above, is the setting. Winter is key in setting the mood, as characterized by its lack of color and bitter or lonely atmosphere. The neutral and somewhat gloomy environment allowed for bold use of color elsewhere, of course most noticeably in the Rubik’s cube Oskar gives to Eli. It seems to represent a change in the course of Oskar’s life, and the fact that Eli is able to solve the puzzle symbolizes that glimmer of hope that his situation will improve. Red is obviously utilized to hint to Eli’s bloodlust, and eventually Oskar’s as well, as he uses the bright red stick to strike back against Conny at the park. Winter also allows for one’s breath to actually be visible, which I found a significant detail in Hakan’s second suicide attempt. After he falls from his hospital window since offering his own blood to Eli, a closeup of Hakan’s mangled face against the pavement reveals that he is still breathing after the fall. This intensifies the situation for a brief moment, making his death even more horrific seeing as it was not at all fast or easy. Hakan is indeed trapped.
I first just want to say that I loved “Let the Right One In.” It was a horror film that didn’t only have stereotypical horror film characteristics but also had the qualities of a love story. I thought that was interesting. The mise-en-scene of the film was very vivid in terms of lighting. I didn’t realize any unnatural light that was used throughout the film to show Eli in a different light than Oskar. I feel that they were both seen in this natural dim light throughout the entirety of the film. The snow in the film was an important aspect of the set. I feel that the snow served as another suspenseful asset in comparison to if the film was set during the summertime. I feel that if the film was recorded in the summertime the director wouldn’t have been able to portray the same mood that he was able to portray through the darkness and coldness of the wintertime. Another aspect of the mise-en-scene is the costumes. One thing that I definitely picked up on is the lack of clothing that Eli wore in the winter time in comparison to what Oskar and the rest of society was wearing to keep warm. It gets the viewer questioning Eli in the very beginning when they see that she is walking through the snow barefoot. In terms of the sweaters that she wears I see that she wears red sweaters, which is a direct portrayal, or symbol that leads to her need for blood. The scene where Eli kills and has blood all over her, while wearing a red sweater, Oskar helps clean her up, but he doesn’t ask questions or get disgusted, he helps her out and offers her one of his mothers dresses. When she comes out of the room to reveal herself she is wearing a dress that is not red and I think this was used to symbolize how Oskar has been a change in her life, she hasn’t stopped being a vampire, but having that love and connection for Oskar is definitely a change in her life.
ReplyDeleteI think the concept of “monster” changed from the beginning of the film to the conclusion of the film. In the beginning of the film the monster was a mystery in the way that nobody knew who was committing the crime, but towards the middle of the film Oskar meets her and realizes what is going on, but then towards the end of the film I feel that the real monster is society and how they would react to the love that Eli and Oskar felt for each other, but they were not effected by this. Another Scene that was prominent in terms of color was the scene with Eli and Oskar outside at night and Oskar is playing with a Rubik cube and offers it for Eli to borrow. In this scene everything in the background and Eli and Oskar are both wearing bland colored clothing so the Rubik cube is the only source of color in the shot. I feel like this was a way for the director to let the viewer know that these two shares a connection between each other and that Oskar is inviting her into his life. And when Eli takes the cube from Oskar, a close up is used on the hands and the transaction from one hand to another so that viewers take importance of this moment.
In the film Let The Right One In directed by Thomas Alferdson, the mise-en-scene in the film is one of the most important aspects, given the genre. The director has to be very particular with the lighting especially. You may notice that the lighting is usually very stark or very dull. In scenes where Eli is not seen the lighting is much brighter, showing shades of white, light blues and greys. As opposed to the scenes including Eli where the colors are darker for example blacks navy blue, deep green, and dark grey. This color scheme is chosen purposefully for the viewer to understand what exactly Eli is without considering the man she had collecting blood for her. The fact that the setting is in the winter is another important attribute. The director had to understand which season would give that dry cold feeling of the Eli’s subjects along with her inability to feel remorse for her subjects even her ex-Oscar. The idea that vampires are cold blooded and cannot survive under direct contact with the sun is much easier to portray in the winter. The blood is also perfectly contrasted against the clean snow. Even the apartment that Oskar stayed in seemed to always be a little dark as if he should just turn on one more light, but this lack of light was necessary to keep the mood of the film. Though in contrast to Eli’s apartment Oskar’s’ was bright and sunny. The windows are covered and only a little artificial is visible. The lighting or the lack there of conveys a feeling of animalism. It is known for animals to live in dark holes and caves, putting a greater emphasis on Eli’s condition.
ReplyDeleteAlferdson was truly talented at compelling the audience to not only want, but also need to continue watching. Forcing them to find out happens next. By not actually showing the act of the murder at first and in instead forcing the viewer to create their version of what happens is genius. The viewer is then put in a position where they have to find out what is actually taking place during these murders and why. Alferdson reveals the story piece by piece so you are following the plot as it is happening without much background. I prefer this type of composition. especially in scary movies because I’m sucked into the movie and even something as simple as two children talking outside conversating at night, in the snow is compelling because you don’t know what to expect.
In Tomas Alfredson's "Let The Right One In", mise-en-scene is used to develop and unfold the story, as well as spark emotions in the viewers. As Flora stated previously, this film is a "hauntingly beautiful statement on the pain of isolation." Not only does this speak to the pain of isolation, it also speaks to the joys of unity between two people, 12 year olds Oskar and Eli. In my opinion, the story was told predominantly through the mise-en-scene- lighting, colors, costumes, composition, setting, etc.
ReplyDeleteThe film was set in the winter time, the most isolated season. The cold atmosphere creates a sense of separation from the world, which is something that Oskar felt throughout the film. This also worked perfectly considering the fact that he fell in love with a being who is supposedly ice cold, a vampire, Eli. This also worked well because it tied in with the lighting. White is a pure color and gives a sense of purity. Because the film was shot in the white, the snow created brightened every shot, giving the main characters a sense of purity. Another color that was seen often was red, for the color of blood. The color of blood did not necessarily mean the color of death, but in actuality, it stood for survival, as well as protection. When ever blood was seen, it was because Eli was drinking it to survive, and at one instance, to protect Oskar. Also, blood symbolic stood for a stain to purity when it was seen on top of the snow. Another thing that stood out to the implicit meaning of the story was the compositions of shots. As previously stated by my peers, when Oskar was in the shot by himself, he was often somewhat blurry and obscure. But when he was with Eli, the two were seen sharp and clearly. This speaks to the fact that the two completed one and other. All of these different parts of the mise-en-scene spoke to the implicit meaning of the film, which was the fact that love had no limits or boundaries.