Cinema was drastically suffering in the early Post-war era. An economic change relocated families to suburbs and away from big cities, which at the time hosted many movie theaters (Hendershot 73). The movies needed something new and enticing to pull audiences back to their seats. Throughout the 50’s, Hollywood director/producer William Castle not only brought audiences to theaters to see his “B-pictures,” but he left them literally screaming for more. Castle shaped a completely new style of experience. With assistance of an artistic carnival-like manor, he created ultimate gimmick-experiences. William Castle’s most famous and successful gimmick was scaring his audience into the “Coward’s Corner.”
He produced and directed B-pictures with instead of using the money for production, “he took the money off the screen and put into the audience” (The Fearmakers Collection). For his film Macabre (1958), Castle entitled it, “The Scariest Film Ever Made” and forced his audience to take out an insurance policy in case they died of fright (Harris). Another film, The Tingler (1959), he wired theater seats with buzzers, so when the organism, in the film, is released inside a theater, moviegoers received minor shocks, creating pandemonium (Waters 16). Although, it was the gimmick he used in his 1961 horror film Homicidal, that left audience members terrified – but for a completely different reason.
A year after Alfred Hitchcock scared audience members with his “No one admitted after the beginning” gimmick for Psycho (1960), William Castle felt the need to advance the gimmick into something horrifying (The Fearmakers Collection). Castle invented the “Coward’s Corner.” This was basically a booth in the lobby that was manned by a theater employee. In the film, Castle himself appears and informs the audience that it is time for a “Fright Break.” What happened was if an audience member felt too scared to continue watching the picture and wanted their money back, they had to get up in front of the whole audience, follow yellow footprints to a yellow pathway down the aisle and into a hallway, where a nurse would check the victim’s blood pressure. Over loud speakers in the hallway, a voice-recording (possibly Castle’s) would blare, “Watch the chicken! Watch him shiver in Coward’s Corner” (Waters 19)! At the end of the hallway, they were back in the lobby, where they were forced to sign a card stating, “I am a bona fide coward” and stand in the cardboard booth until the end of the film.
The effectiveness of the gimmick succeeded many expectations. For instance, the gimmick alone created fear of being ridiculed, therefore people were afraid to leave, hence, the movie made more money than it gave back (Waters 19). Just imagining terrified individuals holding on for dear life not to leave must have been quite a sight. It truly is humorous in a sadistic way. Audiences flocked from all over just for the gimmick, which in this case, was a challenge to withstand all eighty-seven minutes of the shocking Homicidal (The Fearmakers Collection).
The goal of the gimmick was, like all of Castle’s films, to frighten. His daughter, Terry Castle remembers her father as someone who “loved to scare people” (Harris 90). He accomplished this goal very effectively. Many times, he would stand in the ticket lines for his films to listen in on audience members talk about their expectation in order to prepare further gimmicks (The Fearmakers Collection). There was no predictability with him, because he always remained one step ahead of the audience. Specifically with the “Coward’s Corner,” he treated the audience as if they were lab rats and took joy in watching them squirm to get out of the maze. Fellow audience members also partook in this entertainment. The film became a usual thing, with people attending just to see if others really were scared to the point of humiliation (Waters 19). To the executives, the film made money, but to Castle, the film created fun. This was a real jolt from the usual movie-going experience. No one had seen anything like it.
William Castle strove for films and gimmicks that were new and exciting, something that is extinct in the profit-driven corporate Hollywood of today (Hendershot 73). More importantly, Homicidal included a gimmick that terrified audiences. Maybe today’s moviegoers need a different kind of shock. Cinema itself or its exhibition is not used to shock anymore. In a world filled with DVD’s and Internet access, the gimmick is pretty much extinct. Most audience members are not serious enough to handle the 1950’s intention of a gimmick. Instead of going for the thrill of experience, today’s cinema in America primarily exists to escape this world’s fear of terror. Perhaps it is time for an even more advanced gimmick to really stir up audiences.
Martin Scorsese’s film, Mean Streets (1973), is an excellent illustration how sound enhances action. Around the late sixties, early seventies, film underwent a drastic change. The idea of independently funding, shooting and distributing a film became suddenly more capable for filmmakers. It was Martin Scorsese who, instead of glamorously shooting in a gigantic studio with boundless options, took to the very place where brilliant stories are formulated – the streets. Recreating scenes from his adolescence and filming in the same streets in which those experiences occurred, Scorsese found himself in a realistic film that exemplifies true heart. Mean Streets is about 1970’s contemporary view of gangsters surviving in New York City. The story deals with two longtime friends Charlie and Johnny Boy. Charlie is mature and has life figured out, but Johnny Boy is immature and is clueless about life. One of the themes in the film is showing the essence of how it feels to be young: with the foolish juvenile antics by all characters, but also marking the first commercial film by an adolescent Scorsese. With such a wide range of songs, Scorsese uses music to serve a purpose besides clouding out silence. In particular, Martin Scorsese uses sound to establish location, strengthen realism and to break modes.
In the very first scene of the film, a narrator’s voice delivers a short monologue, and then Charlie (obviously the narrator) wakes up from a deep sleep. Not only does the short monologue open with important information pertaining to the plot, but also just hearing the voice with no picture gives the feeling of actually being asleep in his mind. By using the hard cut of him waking, we’re suddenly in tuned with reality. With the prior shot, the voiceover was the only sound present, compared to the scene with him awake when various sounds are present including car horns and the sound of air being picked up by the microphone. The car horns act as a sound effect, giving the identity of the location (the city). The sound of air being picked up by the microphone gives a realistic mood to the scene, because there is complete silence and then there is muted silence. Complete silence is the absence of sound, however somehow the ears take in air, creating a kind of hissing noise. Muted silence is the artificial act of taking all sounds out completely. The beginning narration given in the black frame includes a muted silence with no other sound but the narration heard, but the waking shot includes complete silence with the noise of air. Charlie pushes the covers up as he stands. The sound of the covers being pushed back is loud and crisp-like. He walks over to a mirror and we hear the sound of an ambulance, giving additional information about the location. As he walks back to his bed, the sound of his feet scraping the carpet is also loud and clear. All of these elements create more of a realistic experience for the audience. The sound of the ambulance rambles on as he gets back in bed. He reclines his head back and just as it comes in contact with the pillow, loud drums are heard, leading into The Ronettes’ “Be My Baby.” The song dominates the scene, leading into the title credits, which are shown on a vintage projection screen, where 8mm film footage is projected. The music is clearly non-diegetic, because no source is visually or orally shown. The projector shows reels of 8mm candid footage of life in the city for the main characters. The combination of the music, which is upbeat and poppy, and the video-within-a-video gives a peaceful feeling. For the very reason used, the “happy” music establishes the feeling of a happy movie, which is later denounced by further scenes with heavy mature content. This idea of manipulating the mode of music existing merely to establish the mood is the signature of the film.
The second scene takes place with all the major characters in a poolhall bar talking with a rival gang. Johnny Boy makes reference to the jukebox being too loud, which establishes a source making the music being played, diegetic. Once the characters begin arguing, “Please Mr. Postman” by The Marvelettes is selected and plays over the yelling voices. The music is turned up louder as the intensity of the feud grows to the point where a fight breaks out. One question purposed is the validity of arguing for the music being diegetic, because the volume increases once the fight breaks out – something that cannot be achieved with a jukebox. However, the source is recognized by a character, signifying the fact they are capable of hearing the music as well, making it diegetic. The sound of punches being thrown to the body is heard as loud “poofs” and the impact of fists to faces are heard as “percks!” One character is chased by two others, as he runs around a pool table knocking various things over. The sound of a stool and poolsticks hitting the ground are also heard loud and clear. There is not a second in the scene where the sound of a punch being thrown is not heard. Johnny Boy is chased to one side, where he picks up a poolstick and breaks it against the wall. The sound of the crack is heard loud and clear. He jumps on the table and swings the sharp poolstick at the gang. The sound of the poolstick being swung is heard loud and clear. The sound literally frightens the audience in fear of being hit. Once the gang has a firm hold on him, Johnny Boy consistently throws punch after punch with the sound becoming louder with the harder he punches. One important fact to recognize is that without the sound effects, there is no possible way for the scene to accomplish what it has with sound. Scorsese mixes the Doo Wop song with violence for a reason. It is ironic for the connotation of the music to signify something, however when you combine the music with something far from that very connotation, a mode is broken. In a way, the use of music shakes up the essence of equilibrium. This technique, which began in films by Kenneth Anger, is mimicked all the time now by filmmakers wanting to use it merely as an effect, without the reasoning behind the action. This technique put Scorsese on the map, and to this day, he still uses it in his films.
Both scenes emphasize the power of sound. The film takes place in the city, which anyone who has ever been to a city knows, has one of the loudest environments in the world. Scorsese takes advantage of this and takes it further adding sound to the smallest of details, making the image more of an experience. When one watches Mean Streets, one is literally in the city with the characters. In Scorsese’s films, sound is a major element. Specifically, the music stands out as a component on its own. Practically every scene includes some form of music being played. The soundtrack has evolved into a tool.
Vittorio De Sica opens the city gates of Rome and invites the audience into a world of pain, sorrow, love and human connection in The Bicycle Thief (1948).This film brought neorealism full circle with a visual representation of life, symbolized through the film’s main strength – mise-en-scene.There are two elements that stand out more than others.First, is the setting, with its powerfully broad statement of isolation?Antonio and Bruno explore a city once filled with hope and aspiration, but now is scarred by the impact of war.By shooting on location in Rome, the audience feels like tourists, walking along the city, and even following Antonio as he becomes engulfed in madness.There are no sets, no backgrounds, nothing fake to distort the truth from the reality of a city in ruins.The city is itself becomes another character, something living, breathing, and even communicating to Antonio.Several scenes have Antonio and Bruno walking through the city framed in long shots.This shows how small, literally and metaphorically, the characters are in the city, not to mention in the world.The city is a mirror, reflecting the struggle and hardship Antonio exhibits as he searches for the bicycle.By looking throughout the city, he is actually searching deep within his soul, therefore the setting provides the audience with an emotional connection with Antonio.
Another important element of mise-en-scene within the film is the staging.There are many examples of this element.One in specific is shown in the scene where Bruno tells Antonio he is hungry and is tired of walking around.Antonio, overwhelmed with sheer frustration, slaps his child.This comes off completely as a shock to Bruno, Antonio and even the audience.This horrific act causes Bruno to walk away from his father.At the same time, Antonio runs after his son and reconciles by taking Bruno out for pizza.At the restaurant, Bruno comes in contact with another child, sitting at another table, filled with multiple plates of food. Upon desiring the life of this other boy, Antonio informs the boy that to eat like him, it would cost a lot of money.Bruno stops eating all of a sudden and places his bread back on the plate.This spontaneous reaction implicates a sadness of rejecting the life he has because he cannot have the one he wants.Bruno insists the boy eat and refrain from thinking about it.Bruno happily continues eating.The scene proposes to illustrate sadness and happiness within the actions displayed by the characters.Bruno is sad for not having more, but then is happy upon realizing what he does in fact have.This is a real human emotion that everyone possesses.And finally, after stealing the bike and being harassed by the mob, Bruno fights through the people to hang onto his father.Once he reaches Antonio, a hand quickly slaps Antonio’s face.He looks down and sees his son.The slap, just like before when he slapped Bruno, serves as a stern wakeup call.The expression on his face alone emits the feeling of sorrow.He not only sees the consequences of his actions, but also realizes that he has become the very nature that brought him into this mess – a thief.
The second scene involves the big shootout between the gang and the police.The scene is edited as follows: shot of Buck and Blanche sleeping in bed.Cut to C.W. sleeping in bed, Bonnie enters and puts a jacket on.Cut to tranquil shot of the outside house.Quick Cut to cop knocking on door.Cut to Buck and Blanche waking up.Quick Cut from behind, watching Blanche struggle to silence Buck.Quick Cut to Buck shocked.Cut to cop walking down to the next room.Quick Cut to Buck getting out of bed.Cut to cop walking around back.Cut to cop cars quietly pulling up.Quick Cut to guns firing.Quick Cut to mirror shattering.Quick Cut to Bonnie and Clyde hiding under the bed.Quick Cut to C.W. grabbing an Uzi.Quick Cut to Clyde leaping over the bed and taking cover under the window.Quick Cut to Buck and Blanche getting things together.Cut to more police cars pulling up.Quick Cut to police officers firing.Quick Cut to house being shot at.Quick Cut to window shattering.Quick Cut to Clyde knocking light bulb out with gun.Quick Cut to C.W. shooting at police.Quick Cut to Clyde knocking out window and firing.Quick Cut to cop firing.Quick Cut to house, with firing occurring from both windows.Quick Cut to police firing from behind cars.Quick Cut to Buck and Blanche still getting ready.Quick Cut to Bonnie taking out another Uzi from the closet.Quick Cut of her changing places with C.W.Quick Cut to C.W. taking a grenade out of a box in the closet.Quick Cut of Bonnie firing.Quick Cut to cop getting shot.Quick Cut to C.W. sneaking out the back window.Quick Cut to Clyde shooting, and then quick cut to Bonnie shooting.Then five consecutive Quick Cuts of cops shooting.Quick Cut to a medium long shot of the firing back and forth.Quick Cut of Clyde running out.Quick Cut to car pulling up.Quick Cut to Clyde shooting and Quick Cut back to the car, which flips over.Quick Cut to Buck and Blanche holding mattress.Quick Cut to cops firing.Quick Cut to C.W. holding grenade.He throws it.Quick Cut to car explosion.Quick Cut to Bonnie and Clyde getting into car.Quick Cut to cops firing.Quick Cut to Buck and Blanche coming out shielded by the mattress.Quick Cut to cops firing.Quick Cut to Buck getting shot in the head.Quick Cut to car coming around.Quick Cut to Bonnie shooting.Quick Cut to continuing shots fired in a different location.Quick Cut of everyone getting in the car.
This scene is pivotal, because many editing techniques are used.They take the idea of montage and push it to the extreme.By using the contrast Quick Cuts, one feels the “collision-effect” while watching this scene.Also, there exists a rhythmic pace from the shots in the beginning with the cop inspecting the grounds, invoking a calm feeling, to the intense feeling of chaos in the shootout shots.Spatial relation is used as well with the crosscutting of Bonnie and Clyde shooting from inside the house, to the cops shooting outside, and even to Buck and Blanche getting ready.Duration is played around with as well, because even though the individual shots are quick, the overall scene is pretty long, making one feels like they are watching a neverending war occur on the battlefield.Editing and story come full circle by marking the first moment where the cops have the advantage.Buck is even shot in the head, creating the death, therefore erupting the mental stability of the group, which handicaps Bonnie and Clyde, eventually bringing them to their demise.
After creating a completely new style of cinema with Citizen Kane (1941), Orson Welles became somewhat of an outsider, or a rebel of the studio lot.Once the studio claimed final cut of his second masterpiece, The Magnificent Amersons (1942), Welles abandoned all hope for success in collaborating with studios.He embarked on adapting Franz Kafka’s novel, The Trial, into a cinematic nightmare.The film includes the same Wellesian style of cinematography included in Kane and Ambersons.Two scenes in particular exhibit a certain majestic quality, hailing themes of the story through the way it is shot.
The first scene includes the protagonist, Joseph K., waking up to find investigators suspiciously entering his room and interrogating him.The scene opens with an incredible four minute single shot, consisting of K. getting out of bed, getting dressed and answering the investigator’s questions.The camera follows K. as he walks from screen right to screen left, panning slowly in an elegant movement.Several times, the camera zooms in to give a feeling of intensity and tilt upwards to capture the Wellsian signature low angle, allowing K. and the investigator seem as if they are towering over the audience.It gives the impression of almost a theatrical quality, like a point of view from an audience watching a play.Another characteristic of the scene includes yet again, another signature trick: deep focus.The camera is set where everything in the background (specifically the investigator) can be as visually coherent as everything in the foreground (K).Of course, this effect’s function is used so that both K. and the investigator can walk all over the room and still remain in focus.Welles uses a wide angle along with the deep focus, giving to the effect of the room appearing short and with much depth.The mixed proportions of the actors and size of the room come together in giving off a claustrophobic feeling – almost a nightmarish quality.
The second scene includes K. chasing after a disabled woman dragging a trunk outside.This scene, also shot in a single uninterrupted four minutes, however is filmed in an extreme long shot, follows the characters by usage of a beautiful tracking shot.The scene being filmed in an extreme long shot, gives emphasis on the grandeur of the towering buildings in the background, but also exhibits perspective of the buildings to emphasize more three-dimensional quality to the image.While the landscape takes much focus, the real subject of the frame is indeed both characters, whom the camera follows as they walk into further open space. The contrast of size also establishes the feeling and appearance of a nightmare.This scene perfectly counters the previous one, where in the first, all characters seem like oversized individuals in a small world, but in the second, they appear like tiny ants, isolated in a vast world.
Martin Scorsese’s film, Mean Streets (1973), is an excellent illustration how sound enhances action. Around the late sixties, early seventies, film underwent a drastic change. The idea of independently funding, shooting and distributing a film became suddenly more capable for filmmakers. It was Martin Scorsese who, instead of glamorously shooting in a gigantic studio with boundless options, took to the very place where brilliant stories are formulated – the streets. Recreating scenes from his adolescence and filming in the same streets in which those experiences occurred, Scorsese found himself in a realistic film that exemplifies true heart. Mean Streets is about 1970’s contemporary view of gangsters surviving in New York City. The story deals with two longtime friends Charlie and Johnny Boy. Charlie is mature and has life figured out, but Johnny Boy is immature and is clueless about life. One of the themes in the film is showing the essence of how it feels to be young: with the foolish juvenile antics by all characters, but also marking the first commercial film by an adolescent Scorsese. With such a wide range of songs, Scorsese uses music to serve a purpose besides clouding out silence. In particular, Martin Scorsese uses sound to establish location, strengthen realism and to break modes.
