BLOG #4
Scene Analysis : The Untouchables
In the “baby scene”, the mise-en-scene entails a steep staircase, a clock (one of the key component later in scene), wide spacious area, a balcony, and limited of people. The implicit meaning of the mise-en-scene tells us that the scene is located in an urban setting in the city of Chicago, it also entails that with the spacious area of the train station, there is a course of action bound to take place. Ness and Agent George Stone, are dressed in a long coat ad underneath lies a suit and hat that gives an indication that they are from a specific social class within the 1930’s. Not only does the costume is an indication of their social class and their employment, but it also show their morality. The mom in the scene is wearing a red long coat to give a direct sense of danger. Director De Palmer employ high key lighting and low contrast to intensify of the scene. In the beginning of the scene, we see Ness and Agent George Stone enter the premises of the station. De Palmer uses the camera in a long establishing shot position to show the mise-en-scene and one of the important key components of the scene, the clock. As Agent George Stone walk down the steep stairs the camera slowly tilts down giving us the feeling that he is coming towards us. Soon after, he is caught up in a close up giving us a serious facial expression. In the next shot, the camera is at a low angle when we see Ness behind the balcony waiting for Al Capone entourage to arrive. This entails that he is of power (especially when the camera places him in a medium close up, which tells us he’s ready for action). As he waits, the objective point of view allows the audience to see that he is trying to be aware of his surroundings. The camera then pans over to the clock (the time is 11:55 p.m.) that is placed above the door. We get a subjective point of view giving the audience the feeling that we are the eyes of Ness.Showing his anxiety as he waits for the book keeper, we hear a diegetic noise of a baby crying. In the shot, De Palmer uses a medium close up conveying Ness state of mind and his reaction to the crying noise. In a high angle shot, there is another subjective point of view stating that Ness is looking over the balcony towards the baby and mother. The high angle shot employs vulnerability and weakness of the mother. Suddenly, there is a non-diegetic music playing of a sentimental lullaby heightening the appearance of the baby and mother. As the song non-diegetic song is playing, we hear the diegetic operator announcing the train and its arrival. The camera then switched back to Ness objectively looking at the clock (the time now is 11:57 p.m.). This shows his anxiety and impatience. The camera then cut back to Ness looking at the crying baby and the mother struggling to climb the stairs. This gives the audience suspense because we know Ness to be the family man and carries a character of “standard-bearer of civilizations values.” (Stanely, 247). But then, we also know that if he does help then he might miss his opportunity to catch the book keeper. Is he going to help? “Or is he going to let this mother struggle?” We might ask. In the midst of the questions, an Al Capone man finally enters the station and now the music went from sentimental to a sound of heavy violins. This entails that danger is coming and something is “about to go down”, but what? Soon after, we experience again a subjective point of view of Ness looking at the clock for the last time. Director De Palmer then employ an extreme close up letting us see that it is 12:00 a.m. giving us the indication that time is running out and something is going to happen. De Palmer finally brings our emotions at ease when our questions are answered as we see Ness help the single mother. De Palmer uses reverse angle shot between the Ness and the baby to show the connection between the two. At the top of the stair case, De palmer employs subjectivity not in the eyes of Ness but in the eyes of the villain (one of Al Capon’s men). Soon after, the camera cuts to an extreme close up of the villain implying his evilness.
As the shooting scene begins, De Palmer employs an eye-level shot of the carriage. Slow motion in implied, given a sense of emotion when we see the carriage sliding down the stair case. The tension is heightens when the weak mother yells for her child. At this point, there is a similarity drawn to the 1925 silent film “Battleship Potemkin”. We can see the connection and the connection that De Palmer is trying reveal in his craft. This causes new set of questions as we watch the unfolding drama. Looking at this we may ask “is the baby going to make it?” “Is the mother or baby going to be shot?” “Or is the wheel of the carriage going to get caught in the stairwell causing the baby to tip over?” De Palmer brings our questions to an end when he uses a low camera shot to show Agent George Stone rescuing the baby. This strategy was implemented to give Agent George Stone a sense of power and dignity, leaving him with a heroic characteristic.
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