6.00 - 7.43 (The killing of Beaumont)
The killing of Beaumont starts with one of the main characters sat in the car, a generic thriller convention, it is a confined space, slightly claustrophobic spaces with no escape if it is locked. It is a close up shot of him in the car. The character looks at his gun and polishes it a bit as if it is his child, saved his whole life for that moment. There is a ray of light shining off his face, probably non-ambient lighting unless a well-positioned street light. There is no music just the sound of him twiddling his gun about. It is a close up shot of him in the car.
It cuts to a shot of the front of a car with the headlights beaming, another generic thriller convention. As the car turns in the road the light bounces off it and shines into the lense of the camera. The car races off down the road which we think is the vanishing point. However while this is happening tghe camera is panning out from the low angle shot of the car, to a high angle long shot of a small park. In a way it is also like a tracking shot of the car as it follows it around as it travels. As the shot becomes a high angle long shot, the car enters the park, in it is has a love level lighted building, which it is not clear as to what it is. The car pulls up beside it and the killing takes place.
The killing of Beaumont starts with one of the main characters sat in the car, a generic thriller convention, it is a confined space, slightly claustrophobic spaces with no escape if it is locked. It is a close up shot of him in the car. The character looks at his gun and polishes it a bit as if it is his child, saved his whole life for that moment. There is a ray of light shining off his face, probably non-ambient lighting unless a well-positioned street light. There is no music just the sound of him twiddling his gun about. It is a close up shot of him in the car.
It cuts to a shot of the front of a car with the headlights beaming, another generic thriller convention. As the car turns in the road the light bounces off it and shines into the lense of the camera. The car races off down the road which we think is the vanishing point. However while this is happening tghe camera is panning out from the low angle shot of the car, to a high angle long shot of a small park. In a way it is also like a tracking shot of the car as it follows it around as it travels. As the shot becomes a high angle long shot, the car enters the park, in it is has a love level lighted building, which it is not clear as to what it is. The car pulls up beside it and the killing takes place.
The camera does not zoom into this scene, it leaves it to the audience's imagination as to what really went on in that car in the amount of time it took them to drive round to the park and what motivated the man to kill him.
Even when the man gets out of the car to kill the guy in the trunk, he still leaves his headlights on, this could represent the man in the trunks life, and as the car drives off you see the red lights fade out into the distance, eventually they disappear alltogether possibly representing Beaumont's life disappearing too.
You needed to focus on the question which was how the camera angles and movement indicate Ordell's character when he murders Beaumont in the boot of the car. The lighting, location (industrial waste land or disused car park) are generic, but the long shot of the killing is interesting and gives a clue to Ordell's mindset.
ReplyDeleteTry to focus on primary aspects of mise-en-scene and avoid getting caught up with describing action.