Film Micro Analysis:

Greeting and salutations!

By understanding the micro features found within the medium of film (including Short films) I have decided to write a micro analysis regarding a distinguished scene from one of my favourite scenes; 'The Silence of the Lambs'.

Mirco-features are a series of codes and conventions that are found within the moving image based medium of film. These include; Mese-en-scene, editing, camera, and sound. All of these aspects are used to establish an atmosphere, as well as present the intentions and relationships between characters- for this particular analyses I shall be concentrating primarily on Mese-en-Scene, sound, and camera. The scene that I have selected embodies these micro features, applying dark lighting, eerie music, and an oppressive menacing character being seen through Anthony Hopkins’s performance.

The scene begins with soft digetic music of a classical piano symphony (Barenboim - Bach Goldberg Variations – Aria) being played from a retro-style tape recorder. This immediately establishes Lectors cold calculating persona, as well as perhaps misleading audience members into thinking that the film offers a calm and tranquil tone, of which it does its opposite. As the camera continues its tilted pan across Hannibal’s desk, the viewer sees a sketch of Clarice (Jodi Foster) pictured in a cemetery, cradling a lamb. Not only does this relate to the actual title of the film ‘lambs’, but also hints at Hannibal’s ungraspable attentiveness and fascination with both his pray, and how death is always a result of this- this being seen through the initial signs of tombstones connoting death. The tracking shot continues, until moving up to reveal Lector’s silhouette placed against a Curtin. Here, the director highlights Lectors menacing broodiness, this making the audience feel intimidated by such an imposing presence.

The scene follows a mid-shot capturing two American guards, the director having placed the camera behind the bars that confine Hannibal. This is done to stress the danger and threat that Hannibal possess, as well as conveying the police officers are seen as the protagonists. This is achieved through mese-en-scene as their black uniforms are clearly illuminated against the white walls of the room, conveying, at first, how the police officers withhold a sense of authority and power. This is further seen through the close-ups of the police officers set of keys and their batons, further conveying their ruthlessness and apparent dominance.  One of the officers remarks on the dinner he is about to serve Lector ‘Lamb chops... extra rare’. The use of this diagetic dialog not only alludes to the title once more, but may foreshadow the tragic fate that awaits the two officers, the pieces of animal flesh about to be served being dead and bloodied.

A close-sup shot reveals Lectors face, this being the first time it seen within the clip. As the eyes bore in toward the camera, allowing viewers to feel a further sense of intimidation, Lector produces a small metal rod from within his mouth. Here, the audience is now in further knowledge, in comparison of the other two characters- this being effective as it helps to gravitate suspense. Furthermore, as Lector reveals himself from the curtain, he greets the officers with the dialog ‘good evening gentlemen’. This, at once contradicts as to what the officers had previously said about Lector, calling him a ‘son-of-a-bitch’. This allows the viewer to be conscious of Lectors good manners, once again allowing the audience to be mislead into a false sense of security, as maybe they may doubt Hannibal being entirely evil. This is further emphasised by how Lector wears complete white, whereas the officers were complete black, ironically connoting opposite moralities to one another.

Additionally, the clip continues; as Hannibal is chained to the bars of his cell, as the officers enter the cell carrying the food- all of this previously having been done in one take, creating a relaxed calm atmosphere. However, this abruptly changes with the sudden zoom of the police officer suddenly being handcuffed. At this point, the relaxing music from the recorder changes, only to be replaced with a non-digetic dramatic piece, fast in rhythm, connoting the climax of the scene. As the attack commences between the now enraged Hannibal and the two officers, the majority of the remaining clip is distributed through quick jump cuts. This helps to create a frantic tone that suits the dangerous rushed situation. A series of P.OV shots are also seen, through the eyes of both Hannibal and a police officer, as Hannibal is about to eat him, the audience feeling both petrified and  uncomfortable at the jerky personalized experience.

 The fight scene concludes with Hannibal relishing in his dealing with the remaining living officer tied to the bars, by slowly beating him to death with his own baton. The camera zooms on the smiling Hannibal, illustrating the madness that surrounds this character, small bloodstains are flung unto his white shirt. This may be seen as a metaphorical image of the sins he is committing, and how they penetrate the first established impression that the character of Hannibal maybe not being so bad, as he is perceived to be.

Finally, the clip ends with a titled Ariel shot, panning outwards as the blood-stained Hannibal stands eerily beside the recorder, returning to his classical music. This encapsulates the demented essence of the character, as well as allowing how psychotic Lector is to enjoy music, after his brutal murders, only moments ago.