Thriller Deconstruction 1: Van Helsing, 2004
Film Ident
1
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| 00:00:00 - 00:00:08 |
The change between the coloured and greyscale versions of the Universal ident tells the reader stright away that the film is set in the past. Note the soundtrack over the ident, this attracts the reader because they want to find out what is happening to make the ident change to greyscale.
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| 00:00:08 - 00:00:15 |
2
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| 00:00:15 - 00:00:18 |
Fifteen seconds in, the Universal logo combusts and is covered in fire, this shows the force of destruction that is happening in the film, and introduces it better. Three seconds later, the flaming earth is turned into a torch that a member of what appears to be an angry mob is carrying.
Film Begins
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| 00:00:18 - 00:00:22 |
3
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| 00:00:22 - 00:00:25 |
A crane shot is used in this shot, revealing to the viewer the sheer amount of people in the angry mob. A mob of that size will cause heaps of destruction, and so affects the reader by making them wonder what's happened to make so many people so angry.
4
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| 00:00:25 - 00:00:27 |
This mid shot used shows the peasant's costume: dark clothing, presumably black. Just after the shot shown above, the peasant runs off in search of his destination to cause more terror.
5
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| 00:00:27 - 00:00:35 |
In this space, a battering ram is smashed into a huge pair of wooden double doors. This shows the viewer that the mob is well-planned and outfitted, and maybe have known their 'enemy' long enough to know what they need to do. As the gates burst open, there is a POV shot from a peasant's eyes, and a line of text reading 'Transylvania 1887'. This text immediately shows the viewer why the film is in black and white in low key lighting. And then there's the place name. Transylvania is an area in Romania, and is historically said to be home of the vampire Count Dracula and the scientist Victor Frankenstein.
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| 00:00:35 - 00:00:40 |
Scene location changes to castle interior
6
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| 00:00:46 - 00:00:47 |
The extreme close up shot of the eyes is a very effective shot. It shows the character's emotions, in this case, shocked, and also what gender they are. Close ups of eyes can be used in different ways, like building tension of shocking the viewer, like this shot does. The eyes are surrounded by bandages, which shows something about the character. Everyone knows the story of Frankenstein, and with the film set in Transylvania, it kind of gives it away; he looks unnatural.
7
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| 00:00:47 - 00:00:48 |
If you can't work out what's shown in the image, it's a hand. It is shown straight after the extreme close up of the eyes, and has a similar texture. Also, the hand is struggling to get free, but is strapped down. This ties together with the wide-eyes the last image shows, and so this character must be confused and trapped.The hand looks unnatural, just like the eyes. It is kind of 'zombie-ish' and so hints to the viewer that the creature is not really alive.
8
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| 00:00:48 - 00:00:50 |
Another extreme close up. The close shots of this character show that the character is trying to be shown in small; sections instead of a whole, which builds tension by making the viewer think 'well who is it then!?' The creature screams loudly, going hand-in-hand with the wide-eyes and struggling hand by saying the character is in a very uncomfortable position.
9
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| 00:00:50 - 00:00:57 |
Nearly a minute into the film, the viewer is shown another character. Many of the information of the character is kept away, just like with the creature, and so for now we'll have to go off small parts. Take the lab coat. Stereotypically and functionally used by scientists and other professions like that. We can assume, along with the erquipment in the room, he is a scientist. Now looking at the rest of the setting, the viewer can see the equipment the scientist has at his disposal, and shows that he is specific and significant. This character is in a castle-like environment, and so now the viewer is told who the mob is angry at: the scientist. The character turns around and repeats the two words 'It's alive!' three times. This shows the viewers that he has successfully bought something back to life, or granted something life. He looks kind of surprised in himself, which is kind of stereotypical of scientists in thriller film because they always seems to doubt themselves. Then shot answers many questions, and is a key moment.
10
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| 00:00:57 - 00:01:02 |
The scientist just finds out about the approaching mob. As you can see in the photograph above, he looks shocked. Worried. The reaction shot used shows the viewers that, maybe, he wasn't expecting them to stand up to him.
Scene location changes to exterior
11
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| 00:01:02 - 00:01:04 |
I am pretty sure this is meant to be a POV shot from the scientist's window, looking down at the enormous mass of angry peasants. This shot is used to show the viewers exactly what he is looking at and why his reaction was how it was, although the viewer knew what was happening before the character. This is known as dramatic irony.
12
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| 00:01:04 - 00:01:06 |
The shot used here can be one or both of these two things; a POV shot and mid shot. The shot it self is mid, as it shows around half of the characters' bodies, but the way the camera is positioned and the placement og it suggests a kind of point of view of the gate, as it fends off the attackers. This ties in with the scientist bringing that creature to life, as the gate is given a personality.
13
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| 00:01:06 - 00:01:08 |
This over the shoulder shot depicts a kind of POV shot because we can clearly see the shiluette in the left window that he's looking at. After this shot there's a crane shot of the mob and stops at the leader, and he points towards the window and shouts 'There he is!' This shows that the scientist has definitely done something to wrong these people, and they want him for it.
14
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| 00:01:08 - 00:01:09 |
Shortly after his shouting 'There he is!' the mob leader yells the order 'Hit it again!', and this is portrayed in a close up shot of him face. This shows the high determination they have to get to the scientist. This character alone is everything bad, showing that the scientist may be a good guy. His blackened eyes show intense anger, and so it appears he is trying to kill the scientist. The rotting teeth here may suggest that he is lower class, and also, villains tend to not take care of themselves, whereas the heroes do. His uncut, untidy hair also may suggest his status, proving him to be lower down like working class. It also shows that he takes little care of his well-being, which is something heroes tend to do so shows he's a villain.
15
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| 00:01:09 - 00:01:11 |
This is another shot representing the gate's point of view. Looking carefully at the tip of the ram, you may notice that the log isn't straight, which means they must have sharpened it for extra power. This shows the viewers that the mob is well-planned and thorough, which says the scientist must have been annoying them for a while as they've got this piece of equipment; nobody has a random sharpened log in their back garden, so they must have made it for a specific purpose. The whole opening to this film is, in spite the fact it was made in 2004, in black and white. This shows the historical feel to it, and makes the viewers know instantly that the Count Dracula/Frankenstein tales are put into reality here. Films are generally scarier when in black and white, and this is no horror, but the thrill in this is improved by the black and white.
16
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| 00:01:11 - 00:01:13 |
If you can't make out the picture above, it is an overhead shot of the angry mob smashing another gate with their makeshift battering ram. The volume of noise in the shots of the mob and the times is flicks back to it show what's happening and if the scientist will escape them, they're definitely trying to kill him. It shows the pursuit by flicking between the scientist and the mob.
Scene location changes to castle interior
17
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| 00:01:13 - 00:01:14 |
This next reaction shot is similar to the one in picture ten. It shows the scientist's mood, fear and shock. This is because it appear to the viewers that he knows what he's done, and now they're coming to take his life for it. Also, notice the sweat on his brow? That is probably not out of heat, it's nighttime. It is probably from stress or panic, and he is looking down at the approaching horde.
18
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| 00:01:14 - 00:01:15 |
This cut follows on from the scientist's reaction shot, and he steps back from the window. Notice how he stays facing the glass, as if he's trying to keep an eye on them because if his back is turned, anything can happen. One minute and fifteen seconds in, the scientist turns around and bumps into a new character.
19
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| 00:01:15 - 00:01:28 |
As soon as the scientist sees the new character, he immediately tries to get away. The fact that the character is just stood there shows he is not a part of the mob, and he doesn't appear entirely hostile at this point. One minute and twenty-one seconds in, the identity of this new comer is told with the scientist's quote of 'Count, it's only you' shortly after the count shouts 'Success!' which is strengthened by a flash of lightning on his face. This two shot depicts the newcomer as a higher class, because he is positioned taller and is calmer, the other showing fright towards him. The count is calm, and speaks in the Romanian/Transylvanian accent that we're all familiar with, has sleek black hair. The count is dressed in black, a convention of a thriller film. The features of the character all point to one thing; Count Dracula, a vampire. The audience who haven't heard of the legends of Count Dracula may not realise who it is, but the clothing still suggests he is a powerful villainous character. The word 'Success!' leads the viewers to understand that maybe the scientist has finally got it to work, which links back to him being surprised when the creature comes alive. When the count says 'I was beginning to lose faith, Victor' this has two meanings. One, the scientist's name is shown; Victor, which fits the Frankenstein books. And two, that the count has had the scientist on the mission to get the creature alive for some time, and maybe the scientist isn't a bad guy but the count is, and is making him do these things because Victor is the only one with enough power to do so.
20
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| 00:01:28 - 00:01:39 |
There is a large space between the count and Victor, which may show that Victor is afraid of him, and that's why he's backed against a table with the fear of god in him. The count, however, is not even slightly bothered by the mob outside and isn't even looking at Victor, which suggests maybe Victor is not even a slight threat to him. As the count comes closer to the camera, a pedestal shot is used, raising up to the count's face as he says 'Pity your moment of triumph has been spoiled by a little thing like grave robbery.' Now we know what Victor, the scientist, has done; robbed graves, which suggests that the creature is made from separate parts of human remains. No wonder the mob are after him, that's disgusting. The count doesn't sound serious about him saying 'Pity...' because there is no emotion shown, which also ties back to vampires. He does, however, seem bery interested in what Victory is doing.
21
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| 00:01:39 - 00:01:53 |
Here the viewers see the scientist Victor running to collect a few items, saying he must escape. The count is standing at the window, not moving. The direction Victor runs in almost directly away from the count, so this shows that the count has higher authority. The scientist has finally buckled under the pressure of the mob and so is panicking about them getting to him. The thriller convention of high tension is kept in play, as everything the character's say, do or see is important. Also, we still don't know the count's real identity, unless you've guessed already. The end of the cut shows the count appearing on the bridge in the blink of an eye, showing that he's powerful and unnatural.
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| 00:01:50 |
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| 00:01:51 |
The two photographs above are part of cut 21, but are significant. The count's true colours are shown here, him definitely not being human. The creature is only shown for a frame or two, but reveals the shocking truth behind the count. When I paused the film, the creature was actually quite frightening; I didn't imagine it to be so vivid for only been shown for a fraction of a second. This is a jump scare, a loud flash of lightening and a scary image. This is a convention of thriller films, as it gives the viewer a thrilling moment.
22
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| 00:01:53 - 00:01:57 |
The scientist Victor is running around gathering his supplies, and is talking. He says 'I'll take him away. Far away, where nobody will ever find him.' This shows the scientist having pride about his 'work' although being horrible, and may also show Victor's fatherly side, meaning he isn't really the bad guy here, just a scientist doing what he's told. Victor refers to the creature as a 'he', showing that it has a personality, or at least it does to Victor.
23
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| 00:01:57 - 00:02:00 |
Another reaction shot. This one is used when the count is walking behind him, when Victor is rummaging through a container finding his valuables and equipment he wants to take away. The count answers what he said before about taking the creature far away with 'Oh, no, Victor.' Then Victor turns around with a look of horror on his face, which is where this photograph is taken. This then releases the question why does the count want the creature, and what does he want it for? Clearly nothing good.
24
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| 00:02:00 - 00:02:01 |
In this shot, the viewers are told the real reason why the count is there. He wants the creature. This is put across by the count saying 'The time has come for me to take command of him', which says he is going to take him away himself. He is definitely the villain here. The way he says '...take command...' shows that he thinks of the creature as a tool or soldier, rather than a living thing. The high amount of vocabulary the count uses is typical of upper class people, and so the count appears this way, proving his authority over the lower class people, such as the scientist.
The end of the two minutes
