The Use of Mise-en-Scene in The Limey: An Analysis of Wilson's Encounter with Thugs - Prof, Papers of Contemporary Literature

Download The Use of Mise-en-Scene in The Limey: An Analysis of Wilson's Encounter with Thugs - Prof and more Papers Contemporary Literature in PDF only on Docsity! October 15, 2008 CMLT214-0102 First Paper-The Limey “You tell him I’m coming!!!” Three burly, tall, muscular thugs are seen dragging a limp, grey-haired Wilson (Terrence Stamp) out of a building, then tossing him like a rag doll onto the ground. “You come down here again, Pop, and we’ll kill you,” Warns the macho thug to Wilson, still clutching his side on the ground, he throws out a couple more insults then retreats back into the building. This seems like a common sympathetic scene in The Limey directed by Steven Soderbergh, where the old guy lays to die after being beat up by meathead bodyguards. However, taking away from the fact that Terrence Stamp is a spectacular actor, through the use of simple framing, natural in lighting, and the placement of props, the seemingly sad scene is transformed into a scene which entails of overcoming evil and defiance. The first shot is a frontal shot that shows the three thugs dragging Wilson out of the building. The lighting is very bright, probably mid-day and the building is almost providing a frame for the scene. In this shot the thugs’ body language are shown as very confident with long strides, and quick movements. Wilson’s body language is less than perfect; his whole body is in view of the lens with his hands moving like rag dolls and his legs being almost left behind by the hastiness of the thugs dragging him. The next shot is mainly of Wilson; the camera is directed down and shows the power of the thugs who threw Wilson down on the ground. This type of shot, when shot from above shows how far a drop it is to the ground and viewers can only imagine how hard the fall must have hurt. The lighting is bright enough to see the anguish on Wilson’s face. When the thugs’ are shown, the lighting is bright enough outside that it shows the haughtiness of them, comfortably yelling threats. One of the best shots is next with the main thug dropping F- bombs left and right and threatening him, the three thugs’ turnaround and start walking back into the building. The camera is framing the entrance of the building and out from the bottom comes Wilson standing up. His back is to the camera and he looks big and intimidating, he pulls out a gun from his pants and without the slightest hesitation he walks into the building for revenge. This is all done with one shot, no close ups or zooming in. As Wilson gets further away from the camera his figure gets smaller and he walks straight into the building ignoring the subtle threats. There are two huge trucks parked in the building, these two trucks seem to serve as two huge watch dogs which scare away those who aren’t supposed to be there. The two trucks subtly try to scare others away but Wilson walks straight into the building, and the darkness. Outside the building it is light, and once going through the entrance the camera shows a pitch black area on the right where the thugs and later Wilson disappear into. The lighting can stand for different things, some being the confidence level of characters. When outside, the thugs’ are confident and cocky, the lighting serves as there buddy system. Upon retreating inside, Wilson follows them into the darkness, where the thugs’ can be seen how they really are, scared and helpless. The type of lighting allows the characters a sense of either security or unconsciously tells viewers how the character’s persona actually is. With the camera shot remaining in the exact same place where Wilson stood back up, it allows the viewers to see everything that would be happening if they were outside and it also allows the viewers to see what they would hear had they been in the exact spot where Wilson was standing. This type of shot is very productive and pleasing