Opening Sequnce Analysis

Explore the use of film language for effect in an opening sequence to a thriller. How does the director engage the audience?

I have chosen the film scream directed by Wes Craven in 1996. Scream is renowned as one of the most original horror thrillers and won 7 various awards for its filmmaking. Craven skilfully is able to immediately entice the viewer in the opening scene through clever camerawork, sound and mise en scene.

The film begins with a subtle reference to the infamous Halloween mask used for the killer, as the title in white letters on a black background reflects this. The title then flashes to red, suggesting blood, and is followed by a high pitched scream, in particular that of a girl. This symbolism is key in the title as Craven references to three main points later in the film – the unknown masked killer; the death of someone through the red blood and the scream suggesting that the victim is most likely female. The first camera shot of Drew Barrymore is a close up at eye level, this makes the audience feel more involved and relaxed, introducing you to the character. Top lights are used along with filler to create less shadow; we see this change as the scene progresses, showing the tension build through the lighting. The character being a young girl and wearing white clothing, adds to her innocence and vulnerability. When the phone rings for a second time, Craven tilts the camera. This gives an interesting view with Barrymore to the right side of the shot, and gives the audience the feeling that something isn’t right. The frame is also fairly open at this stage and is more objective, allowing the viewer to look over other elements of the frame as well as the character. The deep voice of the caller, causes unease which contrasts to Barrymore’s innocence   Craven creates depth of field when he keeps the camera in the same position when Barrymore moves, focusing on the garden windows, to later come of interest.

Chiaroscuro is created on the camera shots outside of the house, particularly on the tree; this creates mystery and slowly builds the suspense. Furthermore, there is the faint hissing sound of bugs, an almost eerie unnatural sound, and a subtle but noticeable movement of a swing outside the house.  Craven follows this by using an extreme close up of the stove lighting. Although this is a common site in every home, he is still able to portray something creepy about it and therefore building the tension further. Long shots of Barrymore are used as she walks around the house, to give the audience a tour whilst also inferring all the possible entrances and exits. A key cinematic moment in the opening scene is when the knife glints in the light when Barrymore causally lifts it out of the block. Top lighting is used here to catch the light on the blade ad to continue the soft edged look before the danger begins.  Yet you can still feel the tension building as Craven uses the sound of the popcorn to almost overpower her voice, this could be seen as a rise in heartbeat as the pace speeds up. We then see Barrymore walk through more of the house with low-key lighting coming from the window; this creates silhouettes of the plants outside and creates a greater contrast of shadows on the main character. As the camera shows an open frame wide angle shot of the garden, this increases the depth of field and shows the mist rising off the swimming pool. When this image is taken further, we could depict that the mist implies something hidden or ghost-like, much like the killer in the film.

The lighting becomes increasingly more stylised and a closed frame is used, as the room becomes darker to portray the building tension and more chiaroscuro is also used.  Heighted mid shots concentrated on the area as a whole suggesting to the audience that they should be looking around the room, not only at the character. This is followed by a slow close up of Barrymore that moves with her character, this is significant as it shows the main transition from the previous calm to her new freighted state and shows a realisation that she is in danger. A tracking dolly shot of Barrymore as she runs round the house locking doors, frantically shows her discomfort and alarmed thoughts.  The sound of the doorbell ringing sounds jovial contrasting to the current situation in the film and therefore becomes a scare to the audience itself. The dolly camera then follows Barrymore as she tries to walk away from it.  This creates the feeling that in this particular shot, the audience has become the caller walking towards her. Then it switches to the camera moving away from the door, becoming her point of view shot, and so this gives the audience both perspectives of the 

caller and the victim.

By using a variation of techniques Wes Craven is able to successfully build an atmosphere suspense and tension in Scream.  When watching as an audience you feel involved in the camera work, with point of view shots and close ups, this is all heightened by the occasional significant sound such as a scream or the popping of corn.