Opening 3 Minutes of The Strangers

The Strangers

http://www.youtube.com/watch?v=MnLRdAuzeP0&feature=PlayList&p=38B1CF084BF91DD2&playnext=1&playnext_from=PL&index=50

The film begins with flashing lights for a few seconds. This confuses the audience automatically and creates an uncomfortable feeling for the eyes. This is straight away a hint, that the film about to be watched will not be a relaxing one. As the lights flash, different letters seem more evident yet it is still impossible to work out what they are to spell out. In the end the combine to present the “Rogue Pictures”.
The title for "Intreped Pictures" is then shown, again with typical horror film conventions immeadietly setting up the mood of the film. the logo is based around the colour red which is easily recognised as a negative colour as is heavily associated with blood and violence. The lighting conforms the negative portrayel as the yellow not only contrasts greatly with the red and black but it is also a sign of danger and fear.
The flashing then begins again every couple of seconds and the opening credits begin, which are in a dark orange. This is untraditional as typically the credits to a film with a large link to violence would be a red colour, but the orange is traditionally used for a happy bright tone. However this “twist” can subconsciously set the viewer up for discomfort and confusion from the offset. The writing starts off small and although the size never changes hugely it subtly grows before fading out. This change is subtle so the viewer does not usually immediately pick up on it, however makes the subtitles seem unsteady which can reflect the whole theme of the novel.
The subtitles then become pieces of information, setting up the whole film and its story. Still with the same affects, however a male voice over begins to read to read the text. The voice of the male is deep, which is a typical convention of voice over’s in horror films as males are generally seen as stronger as and more powerful than females. This also makes men more fearful to an audience and the serious tone in the male’s voice creates anticipation for the viewer. The effects of doing this and giving the viewer useful information that directly ties with the plot of the film makes it seem a lot more personal. As the information is shown there is high pitched background noise, that sounds sharp and if listened to closely enough almost sounds like echoes of screams and human interaction. However all of this sound virtually stops as the information suddenly personally addresses the characters in the film. This is the first time the viewer is made aware of them as targets and characters in the story about to be told. By subtly quietening the extra-diagetic music the voice becomes clearer and we are made aware that this particular piece of information is vital to the rest of the film and is in fact what it is based around.
The flashing then re-starts and we hear nothing but the sound of an engine starting up and this is the first sound we hear that comes directly from the story. As the flashing ends the camera is tracking alongside some large bright white houses. White is usually used as a sign of innocence creating a sinister feel to the scene right from the start. The whole house is not in shot, only the front door height of each building and as the camera tracks along side them, combined with the sound of the motor we get a view as though we’re inside a car of some sort looking outwards. The flashing then continues for a few seconds before the camera goes back to another view of the house, however slightly differently. The buildings this time are still white and bright however the frame is wider and we get the chance to see that the sky is blue and the day seems warm and bright. This is not a typical generic convention of horror films and is a direct contrast the extra-diagetic music which seems sinister. This shot continues for a few seconds before switching back to the flashing for a couple of seconds.
At this stage the viewer feels confused as they are yet to establish where the events of the movie are going to occur. The camera is then again on housing, this time a more cream colour, this is less innocent than the original white and the house seems a lot more isolated unlike the other shots where the housing were directly next to one another. The flashing then continues for a few seconds before the next shot which is again another isolated house, again a cream colour but with a lot more dark shades over it. This shot is also a lot darker than the previous shots and it is made evident that the sun is setting behind the housing. The flashing the continues before yet another shot of a house, still with the sun setting yet this time a lot darker due to the lack of sun and shading around it. The building is this time also small in the frame and with no neighbouring houses helps the realisation for the viewer that with each building becoming closer to dark they are also more alone. The flashing continues until the camera is on yet another building, this time a wide shot. The sky is almost dark and the house is shown as being in the middle of a field with no neighbours what so ever. Due to this technique it becomes clear to the viewer that they are making a journey and the final destination will be at nightfall. Not only does the theme of darkness play on the fear of the unknown and unseen the scene also plays on the fear of being alone, as it seems in times of danger the viewer may feel helpless not only to themselves but to the characters. The flashing then continues in another short burst, before the next shot which is a lot more unclear. Although it is again housing this time the scene is virtually pitch black and the few street lights create a sense of UN comfort in comparison to the previous buildings.
The flashing begins again, however this time we immediately hear the beginning of a phone call with emergency services and heavy breathing. The first diagetic speech in the film being “911 what’s you’re emergency” automatically informs us that a tragedy has occurred. The respondent is breathing heavily and is distressed and scared, with the response “there are people here”, we immediately think that we are listening to the victim during their time of crisis.
The flashing then stops, although the telephone conversation continues we see a close up of a cars windscreen smashed and scratched up. The hole in the front of it however is oddly heart shaped and through it we see two figures standing far away with nothing around them. The two figures are the only things in shot and the setting of fields shows how wherever the scene is, it’s pretty isolated with no other signs of life around. As the caller informs us his name is “Jordan” we become more aware that we are not listening to the original victim. The lighting is bright again, showing us that the night has passed and the events currently taking place are as a result of what has already happened and also makes the viewer questioning what it is that has actually happened.
It becomes clear who the caller is as the shot becomes a wide shot from inside a hallway. We again see the too figures, this time closer and clearer and we are informed that they are two school boys. Inside the hallway is dark which is a contrast to the light outside, setting up the inside of the house to be sinister and dangerous or to have had sinister and dangerous events occur within it. Both boys are both dressed in white uniforms which not only makes them appear innocent to but young and naive. The door is already left open and we see them entering from the outside, their body language fearful and unsuspecting. This is the first real indication that they are passers by and the phone call being made is by someone who was not involved. The distressed tone in their voice shows whatever it is they’re viewing is distressing and obviously quite brutal.
As the enter the building both become shadowed in dark which leaves the viewer nervous of what it is they are going to find. The shot is low angle, which could be interpreted as making the pair seem heroic but also gives us the impression of being low to the ground as if things have been knocked around and are lying on the floor giving us the definite feel of a disturbance.
The camera shot is then a close up of a running record player. The record player being running feels creepy and shows signs of resent activity. However there is no longer sound playing from it, making us feel uncomfortable with the houses’ silence. The player is red and black, the red hinting blood. In the meantime the voice is still speaking in a distressed tone, revealing more and more information.
The camera frame is then a close up of a ring box and petals on the floor. This and the player are typically romantic objects and are a contrast the tone of the scene. However the petals are also dark red and again hint and blood and violence. As the distressed voice actually states “there’s blood on the walls” the camera frame no longer hints to blood and is of a close up of a kitchen knife covered in blood. The outside edges of the shot are darker and the centre almost lighter so are eyes are directly drawn to the weapon. The petal sat just next to it is a complete contrast and shows how the sinister the events that have occurred are and how they seen to have happened to ordinary every day people. The romantic symbols are also an indication that the victims may be a young couple who were in love.
The next frame is a shot of a large amount of blood splattered all over a wall. The redness of the blood is a disparity to the cream walls which is usually a colour that shows innocence. In the right hand side of the shot we can also see photo frames still hanging on the wall although the lighting is very dark, making the viewer directly link the victims of this tragedy as to being normal everyday people with lives and family. This not only makes the onlooker emphasise with the victims but also uncomfortable and on edge.
The next frame is of a large gun lying on a kitchen table, the background is just an average kitchen but blurred so our attention is straight away fixed to the gun. It seems unusual that such a sinister object is lying so casually in the middle of a household but also helps the viewer link with the blood splatter on the wall seen previously. All objects seem to make up a part of the story that is yet to be uncovered and leaves the viewer eagerly anticipating the events that occurred in this building.
The flashing then begins again as we hear the callers final lines “there’s blood everywhere”, still sounding disturbed and distraught before the final title is displayed. This again is in orange, which seems all the more disturbing to the viewer as they are quick to relate it with blood now and the flashing helps us relate to being damaged and battered.
The affects of showing the viewer the ending of the story makes them already intrigued to find out how this disturbance and all the destruction and damage viewed occurred. Although the viewer is shown the ending they are carefully not shown the conclusion so still curious to find out the results of what has happened to lead up to that scene.