Rear Window Sequence Analysis ：‘Lisa, what do you? Don’t go’
The sequence to be analyzed is selected from Rear Window (1954), and appears before the climax when the suspect Lars Thorwald (Raymond Burr) comes back and finds Lisa (Grace Kelly) hiding in his room. In this sequence, for proving their hypothesis about the ring, Lisa climbs up the window and reaches Thorwald’s house to find the marriage ring of Mrs. Thorwald. This plot is one of most tense parts of this film, and this is also the transition of the narrative of the film, from which Jeff (James Stewart) begins to be confronted with the murderer face to face. At the end of this sequence, Mr. Thorwald stepped into the house and we see the his shadow on the windowpine.
As the much of
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When Lisa is finding the ring in the room, the camera tilts down and Stella finds that “Miss. Lonely heart” wants to kill herself. But luckily, she stops by the beautiful music outside and reaches to window to hear. The music here is the significant part of plot. Miss. Lonely stops by the music from the song writer and in the following story, she falls love with him and has a happy ending. In this sequence, the director does not employ a traditional sound with fast beats to support the dramatic scenes. The skillful and creative use of sound produces a strong and dramatic contrast here.
At the same time, when Mr. Lonely appreciates the music by the window, the extreme long shot shows us that Lisa is standing by the window too, and the murderer appears on the screen now. Jeff and Stella are extremely stressful when they witness the situation. Soon Lisa hears Mr. Thorwald opening the door and hides herself. At the end of sequence, the shadow of Mr. Thorwald reflects on the window. We cannot see the real expressions but only a blurry reflection, which deepens our uncertainty and
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In this film, compared with Jeff, who is confined to wheelchair, Lisa is able to move freely. By contrast, Mr. Thorwald has to take care of his wife who is ill in bed. This interesting and joking comparison provokes our thinking about marriage. Presumably, at first, the murderer and his wife loves each other, but the marriage ends up with a dreadful murder. Rear window is defined as a thriller movie but also a love story. Throughout the movie, the lonely lady and the song writer, the sexy dancer and her soldier boyfriend, all of these subplots are talking about the love and marriage with the narrative of a thrilling murder event. In this sequence, Lisa takes risks to find the wedding ring, which symbolizes the marriage, but now it is the symbol of a cruel crime. Even though at the end of film it is a traditional Hollywood’s happy ending for the couples, we still would like to question the meaning of
In the film the music is very important. At the beginning it is set at
In the film Rear Window directed by Alfred Hitchcock, a significant shift of power is portrayed. This shift occurs between the protagonist of the film, L.B Jeffries and his romantic partner, Lisa Freemont. This shift also aids in outlining the main theme of the film, which is marriage, as all aspects of marriage are observed and taken into account by Jeffries. The change of dominance within Lisa and Jeffries relationship can be broken down into three stages, which develop and change throughout the film. At the beginning of the film Jeffries is shown to have the power within the relationship as he dictates the parameters of the relationship, however he is also intimidated by Lisa 's social standing. Towards the middle of the film the possession
Furthermore, to increase dread and trepidation, affect the audience’s feelings, and intensify fear the film director skillfully uses the non-diegetic music. “Filmmakers carefully choose which sounds to include on the soundtrack, knowing that emphasizing a particular sound helps to shape the audience...
...is helps to show that they both have achieved happiness even though it is away from each other. Altmans views on the dual-focus strategy, the parallel between the couple and the plot, and relationship between music and plot are all shown in this scene.
A joyous celebration of the sanctity of life is generated through the element of Mood and atmosphere. The clip begins with a soft orchestration of piano and violin, creating a magical melody. The choice of melody creates the mood and atmosphere that influences the audience to feel joyous from the outset. The use of lighting adds dramatic effect to the mood and atmosphere of this scene; a warm yellow beam of light streams out of the barn, cutting through the dark and rainy morning, which
The Lives of Others experimented with the use of sound as an element to convey narrative structure and did so brilliantly. The use of music is an accomplishment which celebrates the arts as an essential part of our human condition. If our right to express ourselves freely is imposed upon, we can no longer communicate our deepest thoughts and no longer discover that we are all united by the same qualities. Our need for love and companionship transcends our political aspirations or ideological shortcomings. We are human and we need other human in order to give our lives a deeper and richer meaning than just the solitary musings or an ideal world. This film took these ideas and expressed them with a piece of music which was able to break down a wall around a human’s heart and function as a symbol for the greater global instance of the Berlin Wall’s demise.
Enhancing the sustained fright of this film are an excellent cast, from which the director coaxes extraordinary performances, and Bernard Herrmann's chilling score. Especially effective is the composer's so-called "murder music," high-pitched screeching sounds that flash across the viewer's consciousness as quickly as the killer's deadly knife. Bernard Herrmann achieved this effect by having a group of violinists frantically saw the same notes over and over again.
Music can decipher a narrative event by indicating a perspective. To unify a set of diverse images and provide rhythmic and formal continuity and momentum, a film’s structure is more often than not, directly articulated by a musical structure. Music can assist the dialogue and visuals of film and often is inaudible (e.g. music is meant to be heard unconsciously, not consciously). Music has been used by directors to reinforce or strengthen certain weak scenes in film and then on the other hand when music is not needed to reinforce a scene
Marion gets in the shower, and all you can here is the water. Right as Norman opens the curtain, screeching of the violins begins. The music paired with Marion's screaming, Norman's stabbing and the quick film clips, makes the horror scene extremely uncomfortable. Once Marion collapses to the bathroom floor, the music stops and the shower is left running. Music is crucial to the effectiveness of this murder scene. This alone is horrifying but paired with the other techniques Hitchcock uses, the fear in the audience in amplified even
... music to set the mood. When times were depressing, there would be dark and sad music playing. One example is when Tom accidently broke one of Laura’s glass figures. Laura was astonished and disappointed which made Tom feel horrible. Another example was when Laura and Mr. O’Connor were dancing, there was waltz music playing.
A key aspect that was used in this scene was the way that the director builds and releases tension when required using the sound track. This is used as Tim gets up to put his clothes in his draws. The slow, high pitch music in the background started to become more high pitch and louder as the light falls and breaks, the door then opens revealing a shadowing figure as the music comes to its climax. This non-Diegetic music serves the purpose of amplifying the emotion and tension of the atmosphere in this scene in the way that diegetic sounds are restricted from. The use of the monotonous, string based, music served as a way of emitting a
To begin, the first symbolic meaning one can interpret from the window is when Mrs. Mallard gazes out over the trees and gets lost in the little specks of sunshine peering through the cloud-covered sky. This can be seen as a sign is freedom, and in a sense she can fly away like a bird. Marriages in 1894 were not like they are today, most marriages were arranged by the families, and the wife was expected to be the
Sound is an incredibly relevant part of filmmaking. Although often misunderstood, it helps to generate a more realistic episode by recreating the sonic experience the scene needs. Its main goal is to enhance the emotions that each section is trying to convey by adding music and effects alongside moving images. Psycho (Hitchcock, 1960), is one of the most popular films of the XX Century (Thomson, 2009). Commonly recognised as a masterpiece for its cinematographic, editing and musical values, it changed cinema forever by “playing with darker prospects (…) of humanity such as sex and violence (Thomson, 2009)”. This paper will analyse the sound effects used in the shower scene and its repercussions
Without realizing it, she has created a struggle between a friend in whom she can confide but cannot love like a husband and a husband whom she can love as such, but in whom she cannot confide. The saddest part of the story, and the part which finally shows the consequences of the wife 's ineptitude, is the final scene. Upon awakening from a stoned slumber, she finds her blindman, her confidant, sharing a close conversation with her husband, her greatest desire, as they draw a picture of a Cathedral together. Her makes her jealousy evident when she exclaims, “What are you doing? Tell me, I want to know...What 's going on?” like a child shouting to be heard (Carver 193). Her desperate tone stems form the fact that she must observe her heart 's greatest desire occur before her eyes, but from the side lines. She so desperately desires to become a part of the relationship forming between her husband and the blind man, but she cannot. Once again she falls behind, this time spiritually as her husband experiences a revelation, while she remains in the dark. The husband realizes the importance letting people “in” ones life at the blind man 's words, “Put some people in there now. What 's a Cathedral without people,” but the wife does not (193). Obsessed with becoming a part of their conversation, she completely overlooks the relevance of the
Sound is an extremely important element to a film. Music, the sound chosen in this scene, is categorized as non-diegetic, which means that the music is not in the story world. The directors use deep, dramatic, intense music when Nick is interrogating Judy about her speech. The music in the scene helps the audience feel the anxiousness that Judy is feeling towards predators, particularly Nick. As the music plays in the background, the intensity of the scene grows immensely. The directors use the music to help heighten the emotion during this encounter and reveal Judy’s inner fear of predators that gets the best of her in this