Shutter Island, (Scorsese, 2010)
Genre
The sub-genre of the film ‘Shutter Island’ is not
directly referenced in the opening, however, the distinction between the
flashbacks and reality connote how a psychological mind-set may be experienced
later on during the film. The freeze frame of the wife at the end of the
montage also implies that she will be a very important character during the
film. This is the same as in ‘Amityville horrors’ as the background is
introduced before many main characters are shown.
The
audiences expectations of this sub-genre are familiarised throughout the
opening through aspects such as sea-sickness, which appears to be have an
impact of Teddy’s ability to function which connotes the confusion in his brain
which is reinforced with stereotypical features such as a colourful flashback
implying a sickly or ill vibe.
Although no
titles are present in the opening sequence, an interesting interpretation of
the genre is shows with the spinning vinyl in the rosy flashback. This gives a
great clue to the atrocities of the genre as after a while of research, it was
established that the record was written by Ernesto Nazareth, and the record is
called Odean. This is important as Nazareth was institutionalised because of a
mental instability due to the death of his wife and daughter, he too tried to
escape from the premises, which gives a huge insight into the evolution of the
story. This is so significant as the title of the record is one of the only
texts the audience is shown in the opening sequence.
Film Language
Camerawork is used extremely effectively in the
opening of ‘Shutter Island’, an establishing shot of the boat on a misty sea is
used to show the isolated location and uncomfortable conditions. When we are
first introduced to teddy, there is high key lighting ejected onto the left
hand side of his face, whereas, the right side stays dark, this high intensity
of light connotes an, again, unpleasant atmosphere. This atmosphere is
reinforced on the deck of the boat. On deck, the colours are predominantly
monochrome, fitting in with the weather as it is miserable and windy. An
over-the-shoulder shot of Chuck and Teddy’s conversation is used. This is
accompanied with a blurry background conveying flat space and isolation. During
the conversation, the camera tilts with the waves, provoking a feeling of
seasickness connecting with the uneasy physical emotions of the characters.
Another over-the-shoulder shot is used in the mirror of Teddy to show 2 men.
This is done to connote a personality split. This is directly contrasted
however, by the breaking of the fourth rule with a close up, Teddy speaks
almost directly to the audience as he tells the reflection in the mirror to
‘come on’. Following this, Teddy turns and leaves the room. A zoom and pan
movement is used that reacts with foreground and background shifting the focus
of the itchy atmosphere of the cabin. On deck again, Teddy is given a POV shot
introducing us to his partner Chuck. Chuck is faced away from the shot, and given
the golden ratio, which does not allow the audience to identify if he is a
helper, or an enemy. In addition to this, Teddy is framed behind bars implying
one of the two characters are ‘prisoners’.
Sound is used creatively in the opening sequence of
‘Shutter Island’ to anchor the images. At the beginning, a low orchestral score
is combined with ambient and what sounds like a steamship horn, this connoted a
mysterious and tensioned feeling created in the opening shot. In addition to
this, the contrast between reality and flashbacks is helped with the choice of
soundtracks. While ‘reality’ has a simple orchestral score’, the flashback is
complimented with a soundtrack that could be identified as a melancholy woman’s
voice, connoting the importance of the female character in the montage. The
freeze-frame of the woman, is also accompanied with the sound of crashing waves
implying the importance of the connection between the two.
Editing is used proactively throughout the opening
sequence to convey meaning. Initially the grading in the cabin is low keyed
lighting to connote an uncomfortable atmosphere, where the cutting rate seems
to be slow, around 6 seconds, which connotes the pain of the ‘sea-sickness’ is
being prolonged. However, the cutting rate changed when the flashback begins.
This again helps the associate the difference between the two scenarios. The cutting rate of the flashback is much
faster than ‘reality’, showing how the montage only represents snippets of
remembrance and a rushed fantasy. This fantasy is slowed almost to a halt when
the ‘woman’ takes the audience’s attention, this is done by pausing on a
freeze-frame. This freeze frame, emphasising the focal point as well as the
female character’s significance in the plot.
Mise-en-scene is used throughout this sequence to
covey meaning. Many colour sets are used in the opening of ‘Shutter Island’,
one being the monochrome colours experienced on the deck of the boat, such as
the grey hat Chuck wears, and the black/grey suit Teddy wears with the white
suit and dark tie. This is in contrast to the colours used in the ‘flashback’
montage, as there is a blue and green rule in the scene, made up of mixed
colour temperatures which persist to create an ‘ill’ or ‘surreal’ effect’. This
flashbacks ‘non-existence’ is also reinforced by certain characteristics of
Teddy. In reality, there is a plaster on his forehead, however, in the
flashback, the plaster is situated in exactly the same place, and this implies
that the scene is in fact just a figure of his imagination as the time frame
does not make sense, this in turn, therefore, connotes insanity, a key ideology
of the film. The location is also very intense and vague; however, this is
aided by the dark colours and the framing on deck. The framing on deck consists
of medium close ups and close ups, this adds to the mysterious tension and the
audience cannot get a grasp of the specific location or where they’re heading.
Narrative
The plot outline of the opening comes across very
vague, medium shots and close ups are used uninterruptedly in the ‘deck’ scene,
with the exception of one establishing shot of the ship at the very beginning.
This is done to create tension as it appears the two main protagonists are
uneasy and uncomfortable, at this stage it is still debatable where the ship is
heading until they land ashore, which connotes mystery and secrecy adding to
the tense atmosphere. There three main characters features in the opening
sequence, are Teddy, Chuck, and Teddy’s wife in the flashback. The cutting rate
of the flashback is much faster than ‘reality’, showing how the montage only
represents snippets of remembrance and a rushed fantasy, also connoting a
noticeable change in the openings structure. This fantasy is slowed almost to a
halt when the ‘woman’, (Teddy’s wife, and the third important character) takes
the audience’s attention; this is done by pausing on a freeze-frame. This
freeze frame, emphasising the focal point as well as the female character’s
significance in the plot. In position to the narrative, the audience are given
insights into Teddy’s life or fantasy, with the flashback of his wife, as well
as a very subtle hint as to how the story will eventually unfold. The record
you can see but not here in the flashback is written by Ernesto Nazareth, who
was institutionalised because of mental instability due to the death of his
wife and daughter which gives a huge insight as to how the story may pan out,
which also creates an enigma as to who the wife is. This rosy atmosphere of the
flashback is one of the main themes of the opening, however, this is contrasted
by the bleak atmosphere of the ship, and both situations are represented as
uncomfortable but for different reasons which may, again give an insight into
Teddy’s unstable mind-set. As an audience, nonetheless, we hardly know Teddy.
This doesn’t therefore give us much of an initiative as to whether he is a
protagonist or an antagonist, creating tension; the same is applied as to when
he is initially introduced to his partner, Chuck. When the audience first meets
Chuck, he is positioned facing away from the camera in a ‘lurky’ stance with
his hands in his pockets. This again gives the audience little interpretation as
to whether he is in fact a hero or a villain. This is worrying for the audience
as Teddy is in a very vulnerable situation due to sea-sickness. When the two
engage in conversation, tension is maintained by many close and medium shots
which do not allow the audience to grasp a sense of location or direction. As a
result it is suspicious and the audience do not know where they are being
taken.
Genre connotations and Representation
In this
sequence, social groups such as the middle class man, romantics and professions
such as detectives are explored. This is achieved as the middle class by the
interpretation of the main protagonist, Teddy, wearing a suit, this implies the
man has a respectable job as he can afford multiple suits, the one in the
flashback of his colourful, ‘sickly’ themed tie, and then his monochrome,
smarter more formal and real suit. The romanticised and heterosexual side of
the protagonist is reinforced in a conventional way. He is shown in a montage
of a memory in which he dances with his partner in a traditional, romantic way.
This implies certain characteristics about the protagonist is straight, middle
class, and ‘normal’. This also presents the romantic ‘love life’ as an ideology
as it is apparent that in flashback, Teddy is happy, in contrast to the
uncomfortable vibe which is present in the present.
Many values and beliefs are reinforced as well as
anti-stereotypes in this opening sequence. Usually, a relationship is seen as
closely knit and loving. This is reinforced by the female character dressing
Teddy in a romantic way as if she is trying to make him look presentable as it
is evident he has an important day ahead of him. This loving charm present is
relevant as it reinforces the ideology of love between the partners. As the
film continues it becomes clear that Teddy, the assumed protagonist is a killer
and demented. This then leads to the conclusion that the killer is represented
in a very anti-stereotypical way. Conventionally, in horror movies, killers are
represented as possessed or disturbed. This is not apparent in Teddy’s
situation as he is shown as loving and caring and not scorn. He is seen again
as ‘normal’, even when engaging in conversation with his college Chuck. This
again is anti-stereotypical in the fact that the protagonist clearly has an
emotional side and can function normally. Most unconventionally it seems Teddy
is in fact not a ‘threat to society, but actually the opposite as it is implied
that Teddy actually has quite an influential role in society as he is a
detective.
