Think about the film's mise-en-scene. Choose one scene in the film and discuss all aspects of the mise-en-scene (costumes, set, lighting, props, framing) and its relation to the scene and the film as a whole. Use at least 2 hearty paragraphs for your discussion. Your discussion should include insights into the intent of the filmmaker as well as copious evidence from within the frame.
And please post your favorite line from the film.
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ReplyDeleteIn this scene, the opening shot is a long shot of David and Susan stumbling through the woods, looking for Baby. This is just after encountering Major Applegate and Mr. Gogarty, who were also hunting for Baby and ended up running into the wild leopard instead. In this scene, Susan is wearing a light, frilly dress to symbolize her femininity and her naive innocence, while David is wearing a dark suit, representative of his masculinity and attempt to appear professional, even though everything has gone down hill for him on account of Susan, who falls into him moments later and sends them both tumbling down the hill into the straw. The woods, filled with tangled underbrush and looking like any other part of the woods, represent David's state of mind and the situation they're in, hopelessly lost and confused about how they got there and how they are going to get out.
ReplyDeleteFor the most part, there is no direct light on the actors coming from the front. Much of the light is either from the back, sides, or top, which casts the scene in neither low-key lighting nor high-key lighting. Trees cast shadows sideways upon the actors to create the effect where the light outlines the actors' figures, but the shadows do not obscure their faces. One significant instance of high-key lighting, however, is on Susan's face when David asks her to leave. This serves to highlight her innocence, and leads into David's seeming change of heart in the next few shots that ensue when he helps her after she trips over a branch. It is important to note that these two-shots encompass both characters in a medium shot from their side profiles as they face each other. I chose this scene because I interpreted it as a possible turning point in David and Susan's relationship in the movie. David seems to be giving in and starts to appreciate Susan's crazy sense of adventure, and the scene concludes with them almost kissing.
My favorite line (and the lines leading up to it):
"These aren't my clothes."
"Well, where are your clothes?"
"I've lost my clothes."
"But why are you wearing THESE clothes?"
"Because I just went GAY all of a sudden!"
In one scene from Bringing Up Baby, David and Susan find themselves in jail being constantly questioned by the Constable who is making an effort to find out the truth about what’s going on. The jailhouse setting doesn’t really suit the lovely Katharine Hepburn and the handsome Cary Grant who are wearing quite fine and luxurious clothing. The jail itself is grungy; the walls are made of unclean brick. The viewer can see the small and uncomfortable prison beds in the background of the frame. Yet, here are these people, one in an expensive suit and the other in a stunning gown. The point to be made is that Susan is so quirky that she can manage to find herself in any imaginable situation and drag poor David Huxley along with her.
ReplyDeleteThe outfits of the characters, specifically Susan, range on the darker side of things. These garments contrast with the rest of the frame which has lighter and grey tones. This provides the opportunity to emphasize the faces of the characters and to easily see their facial expressions. These facial expressions provide the foundation of this frivolous screwball comedy; the reactions to dialogue or to an incident are what make the film so funny, which is why the lighting is used in this way.
My favorite little series of lines in the film are as follows:
“There you see, it’s a circle.”
“Well, of course it is, do you think it would roll if it were square?”
In the scene where Susan gets rid of David's clothes which he needs after the shower, the mise en scene is crucial to not only the scene but also to the meaning of the film as its own entity. First off, the costumes play a major role on the mood of the scene. Susan herself is cast in a white robe, adding meaning onto the setting as well since it illustrates the feeling of being "at home", comfortable, and relaxed. David's costume on the other hand, with a lack of his own clothes, consists of wearing one of Susan's old girlish robes that he has no choice but to wear. This demonstrates a comedic aspect onto the scene and plays along perfectly with the lightheartedness of the movie seeing as though it is a screwball comedy after all. The director's intent in this costume choice of David's is to entertain the viewer thoroughly and make them laugh or feel some type of humorous emotion. David's costume also serves as a symbol for his masculinity or rather lack thereof in this scene where he is portrayed in a more feminine matter. Although this costume serves mostly for a humourous purpose, it is important to acknowledge how it has a deeper meaning as it demonstrates the idea of castration anxiety. Susan has caused his manliness to be in a sense "castrated" through her actions and thus in a manner this costume demonstrates David, a male, in a more vulnerable manner in which he may not be the dominant superior due to his gender.
ReplyDeleteThe setting and props also serves the purpose of illustrating how David feels out of place in a way as the room is decorated in a feminine matter with flowers, ruffles, vanities, and other girlish props, further going along with this "castration anxiety". It fits into the narrative seeing as though David did not quite want to join Susan in her journey to Connecticut in the first place. All the frilly extra decoratives serve the purpose of also characterizing Susan and demonstrates the juxtaposition between her character and David's character as well. Susan is much more feminine, adventurous, and wild whereas David is the complete opposite. He is masculine, professional, and safe in manners where Susan is risky. The costume (girly robe), setting and feminine props signify how with all the time David is spending with Susan. her femininity and personality is rubbing off on him. It is also used for a humorous intent of course as the audience finds it amusing how David's masculinity is "stripped off" as represented through his choice of clothing and state of setting.
My favorite line is:
"Because I've just went gay all of a sudden"
In this scene, David is back at work and Susan comes to bring him the bone. During the height of the scene, Susan and David are both high on platforms on opposite sides of the Brontosaurus, each suspended a different way, however. Whereas David is on solid platforming made for standing on, Susan is on a significantly less sturdy ladder. This accumulates in the climax of the scene, with Susan rocking back and forth on the ladder until jumping onto the Brontosaurus to avoid falling, only for the Brontosaurus to collapse under her as David saves her.
ReplyDeleteThis scene serves as a visual representation of their relationship throughout the movie. David, raised above Susan's childish level of foolishness spends the whole time concerned with both her and the bone. But it's unclear whether he's actually chasing Susan after a while or only the money for the museum, as at certain points he shows actual compassion for her. However, due to Susan's inability to act mature, he always ends up refocusing on the money/bone. However, at the climax of their relationship, she climbs up to his level both physically and metaphorically honing up to her faults in a normal manner and apologizing. It's at this point that she thinks it's over, and is ready to leave, similar to the rocking of the ladder. But just as David sees this and accepts her, when she throws herself at his attempt to help he pulls her over and they knock over the Brontosaurus in the process, representing how in the end he's able to rescue her from her own ditziness, and leaves his past behind (and wrecked) to do so.
Favorite Line:
"I know why you're following me! You're a fixation!"
Bringing Up Baby is a 1938 screwball comedy film that was directed by Howard Hanks. The first scene of the film opens up with an establishing shot of a large building. The next shot fades into a close up of a sign that reads “Stuyvesant Museum of Natural History”. After that, the third shot fades into a wide angled view of this museum’s dinosaur bone exhibit with a brontosaurus skeleton and scaffolding in the background. These first three shots help to establish that the location this scene takes place in is a science museum.
ReplyDeleteThe next shot is a medium shot of two workers talking to each other that tilts up to reveal another worker sitting on the scaffolding staring at the skeleton. It then cuts to a wide angle of this other worker that dollies into a close up of whom we find out is the main character David Huxley. Huxley is wearing a collared shirt with a tie, glasses and a lab coat. On top of that, we see that he his holding a prop which is one of the bones from the brontosaurus. This is a good example of the Kuleshov effect, as the wide angled shot of the skeleton and the close up of Huxley in a lab coat makes the viewer assume that he is important and works there.
All of the actors in this scene are lit with high-key lighting which not only helps to establish the tone of the scene, but of the whole film. Also, other elements of mise-en-scene in this scene play a very important role in creating verisimilitude. The location and set of this scene established that these characters were inside of a museum. This paired with the costumes and the props of the scene helped to sell the idea that David Huxley was a paleontologist that worked at this museum, thus making the actor’s role more believable to the viewer.
My favorite line from this film:
“Let's play a game”
“What”
“Watch, I’ll put my hands over my eyes and then you go away. And when I count to ten and take my hand down you will be gone!”
"1...."
In the final scene of the film, the recent series of misadventures has caused David to lose both his marriage to Alice and the funding for his museum, as well as a great deal of his scientific integrity. The scene itself opens with Alice, perpetually stuck up in her prim dark dress, chastising David for his actions and finally leaving him. It's shown, though not commented upon, that even though David has returned to the same scientific outfit he began in, his glasses are noticeable absent-a hint that the whole experience really has changed him, possibly for the better. The same can be said for Susan, who in turn is dressed in a darker and slightly more conservative dress than normal, also indicating her own change from the experience.
ReplyDeleteWhen Susan walks in, David reacts by scrambling up an elevated platform next to the brontosaurus. Susan responds by climbing a more unstable ladder on the other side, and as they humorously discuss their feelings for one another they are divided by the brontosaurus on their own separate platforms. This whole scenario could symbolically sum up the entirety of their relationship over the experience. David places himself on a secure platform much like he was secure in the stability of his life even if he wasn't fully content. Susan is on a much more rickety ladder, in that she doesn't have much stability in her life and her whims generally rock her from one direction in the other. The brontosaurus skeleton between them-the same one David was obsessed with for the entire movie- is indicative of David's responsibilities getting in the way of what relationship they could have. Then as Susan becomes more and more excited her own ladder becomes more and more unstable, until she and David are forced to reconcile, breaking the skeleton in the process. Susan may have destroyed David's old life with her presence, but at least he can start anew with her.
"Get away Susan!"
"Nooo I won't leave you I love you!"
"WHAT"
This is Ates by the way, in case my name change didn't work
DeleteIn Howard Hawks' 1938 screwball ball comedy, "Bringing Up Baby", the scene where everyone who was in jail and the two leopard keepers who came to look for their wild leopard showed a lot of contrast between the costumes they wore. Mainly because the film is in black and white, the contrast and the lightning are some of the first aspects of the film that I noticed. In the beginning of the scene, one leopard keeper, the one who was talking to the sheriff, was wearing a black hat, while the other was wearing a white hat. These hats also contrasted with their outfits because the one with the black hat also had a black shirt, but with a white sweater over it; and the sheriff he was talking to was mainly in all black. The lighting of the film seemed pretty even.
ReplyDeleteOne thing that I thought was pretty interesting was how all the people who weren't talking were placed within the frame. In the beginning of the scene when the sheriff and leopard keepers were talking, everyone that the sheriff had locked up was in the background, but not the distant background; they were pretty close to the people talking and the frame was completely covered with people in a way that you could see all of their faces. The reason why there are so many people in the frame, is to give the audience a visual representation of how cramped it is in that room. You could make assumptions about how cramped it is solely based on the amount of people you saw walk in, but Hawks really want the audience feel the 'cramped-ness' and 'uncomfortable-ness' of the scene.
"Anyway, David, when they find out who we are they'll let us out."
"When they find out who you are they'll pad the cell."
In the "dinner with a loon" scene where David, Susan, Aunt Elizabeth, and Major Applegate have dinner together, set design and costume have a major influence on the scene.
ReplyDeleteAunt Elizabeth's dining room is intricately decorated, a true showing of her wealth. There are cupboards and shelves of china all around the room, and the table is decorated with candles and a centerpiece. The silverware and glasses look to be very expensive, along with the salt and pepper shakers in front of Aunt Elizabeth. Everybody at the table is dressed well, even David, who is never really shown dressed up. This shows the true wealth of Aunt Elizabeth and also shows her influence on the other characters
This scene is a very funny one, as David struggles to fit in and have a normal discussion with Major Applegate with the thought of a loose jaguar on Aunt Elizabeth's estate on his mind. The fact that David is dressed up also adds some comedy to the scene, as David is obviously not the fancy type.
"How can all these things happen to just one person?"
The scene I picked was the scene in which Susan’s dress rips. Susan is up to her usual antics, pulling David into a situation he did not want to be in. Except this time it is more public and potentially embarrassing. David and Susan stand on the stairs, both at the same height for a moment. It is clear Susan is in control of the situation and their relationship as she stands above him. It is shot as a closeup, no one but the two in the shot. For a moment it is all about them and no one else. Set directly outside the crowded room David’s stress at acting out of the social norm is at an all time high though. And with the lighting very bright and without shadows there is less anxiety about the situation and more of a lighthearted comedy. They are both dressed nicely, Susan in a fancy dress with accessories to highlight her bizarre personality. While David is dressed traditionally to uphold his professional appearance. Symbolically both of their outfits are ripped. As fashion is a clear indicator of status and belonging the fact they both were stripped of that conformity was symbolic of their relationship. From the beginning they were in it together, even if david was unaware of his willingness to do so at the time. Both giving up their pride and social positions when together.
ReplyDeleteAfter Susan’s dress rips she is backed against the wall by David while at a wide open shot. Although we can’t see past the wall it gives the sense they have no options but to face the crowd that can be seen on the left, stuck between a rock and a hard place just like David was in that situation. Although they are not on the stairs anymore david constantly is fidgeting and bending down, giving off the appearance he is no taller than Susan and therefore maintains the effect of him not being in control of the situation like he typically should have been. Finally the scene ends at the height of david’s embarrassment as he walks Susan outside to avoid her embarrassment but therefore boost his. Showing early on in the film that the two have a closer relationship than explicitly said.
David: “Susan, you’ve got to get out of this apartment”
Susan: “David I can’t. I have a lease.”
In the scene where both David's jacket and Susan's dress are accidentally torn, the elegant and formal set contrasts with their comical wardrobe malfunction. The restaurant set itself is spacious, with high ceilings and elaborate archways serving as doorways. The main room in the restaurant is filled with circular tables and white armchairs where the wealthy patrons are accommodated. The characters are lit using high key lighting, eliminating any shadows from their faces so we are able to clearly see their reaction to the unprecedented and humiliating situation. They are also frequently shot in a closed frame, including the shot where David tried to corner Susan against the wall to stop her from walking away in a ripped dress. At this point in the scene, they have realized that their ridiculous appearances do not fit in with the fancy surroundings, and they want to escape without humiliating themselves any further.
ReplyDeleteThe design and colors of the characters' costumes also contribute to the overall feel of the scene. Along with the props and set design, the costumes of most of the characters in the restaurant are very luxurious and indicative of their wealth. All of the men are seen in immaculate white dress shirts and a dark suit, topped off with a bowtie. On the other hand, the women stand out in their regal dresses and carefully styled hair. Susan in particular wears a silvery dress that contrasts sharply against David's dark suit. This may represent the differences in their personality, with Susan being very outspoken and confident, whereas David does what he is told and follows the status quo. Of course, their costumes do not remain in perfect condition for long, when both characters manage to tear the other's costume in the space of about thirty seconds. The moment when their clothing is ripped changes the entire mood of the scene, because they suddenly feel out of place, like this mistake had cost them their dignity. They don't want to look foolish with their torn clothing, but they end up looking equally ridiculous leaving the restaurant trying to hide the rips. The purpose of David's top hat in this scene is also a little unorthodox, given that instead of wearing it, he is reduced to using it to cover the tear in Susan's skirt. However, this mishap is just the beginning of a long series of absurd events that breaks down the main characters' composure.
Susan: "Anyway, David, when they find out who we are they'll let us out."
David: "When they find out who you are they'll pad the cell."
I chose the scene where Susan leaves David alone in the shower without clothes to put him in a very uncomfortable position and to force him to stay longer with her. The Mise-En-Scene of this scene adds humor and makes this scene more dramatic. It effects the work as aa whole by exaggerating events to show how far Susan will go to get what she wants, David and even though she want the acts to be out of love , they are selfishly done. This scene also shows how David is falling into these ridiculous traps out of his love for Susan, even though he may not realize it yet. We begin watching Susan sitting on the bed outside of the bathroom David is showering in. She is in a white robe feeling very comfortable and satisfied with how she has yet again tricked him into spending time with her. She opens the box of the antique bone and David frantically opens the Bathroom door to try and convince her to put the bone down. This bone is incredibly important to him and it is just another thing that Susan uses absentmindedly to keep David with her as she leaves it laying in an open box on the bed. She exits the room leaving David clothes-less to go take a shower wanting him to have to wait which adds to the humor because of course David grabs a fluffy Bathrobe to follow her out and find clothes. This is when we are formally introduced to Susan's aunt the donor for David's museum. He unrealistically, but comically opens the door and lets her enter. Of course he does not know who she is and begins to act insane due to his frustration. We see behind him an elegant staircase and a nice bar. This signifies the money Susan's family holds and kind of helps us to understand that Susan's aunt, the house they are in, is very wealthy which sets us up to know she is Mrs. Random the huge donor. This sets up and anxious but humorous tone for the audience because we know this, but David doesn't so he does not compose himself in a correct manner as a "Zoologist" should. This shows how his unknown love for Susan makes him behave in was he wouldn't normally behave in, but cannot stay away from her no matter how insane the circumstance. He closes this scene with a jump in the air saying my favorite line "Because I've just went gay all of a sudden!"
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