The Intricacies of Mise en Scene
Mise en scene is that magical term we filmmakers toss around as if it’s the secret sauce in our cinematic recipes. It’s about the arrangement and movement of selected objects within the frame. But what purpose does it serve? Often, people will tell you it’s all about expressing the meaning of what's happening on screen. However, limiting it to just that is like saying a steak is just a piece of meat—technically true, but it misses the whole experience.
Older and Newer Applications
Take the final scene in A Husband for Anna, for example. De Santis puts his hero and heroine on either side of a metal gate. It's as if the gate is screaming, "They’re split up, they'll never be happy, it’s all over!" A unique, heart-wrenching moment is reduced to a cliché. The audience hits their head on the ceiling of the director’s so-called thought, but many enjoy this knock. It's clear, it's exciting, and it doesn’t require any deep thinking. But feeding the audience this kind of simplistic symbolism can lead to a kind of intellectual degeneration.
Now, remember the scene in Pulp Fiction where Vincent Vega and Mia Wallace are in Jack Rabbit Slim’s? The retro setting, the costumes, their dance—everything is perfectly orchestrated to reflect their quirky, complex characters. The mise en scene here goes beyond the obvious, exploring who these people are. A perfect blend of character psychology and visual storytelling. Every detail is used to further draw us into their world.
With the surge in minimalist cinema, filmmakers like Kelly Reichardt, in movies such as First Cow and Wendy and Lucy, use sparse settings and minimalistic details to focus on character-driven stories. In First Cow, the quiet, pastoral settings speak volumes about the simplicity and hardship of frontier life, bringing an almost tactile sense of the characters' world to the screen.
The mise en scene in Alfonso Cuarón’s Roma is a symphony of visual storytelling. Cuarón uses long takes and meticulously crafted scenes to immerse us in the life of Cleo, the domestic worker. The chaos of family life, the political unrest, and the personal moments of sorrow and joy are all depicted with a careful eye for detail. 1970s Mexico setting is vividly brought to life.
Speaking of character-driven mise en scene, let’s not forget Francis Ford Coppola’s The Godfather. When Michael Corleone closes the door on his wife, Kay, he erects a barrier between his family life and his mafia life. His internal struggle and the dynamics of their relationship portrayed through a simple yet powerful visual metaphor.
In Literature
In the final episode of Dostoevsky’s The Idiot. Prince Myshkin walks into a room with Rogozhin, and through the doorway, the murdered Nastasya Fillipovna is lying, already decomposing as Rogozhin points out. The two men sit so close their knees are touching in the middle of an enormous room. Picture it: the horror, the intimacy, the palpable tension. Here, the mise en scene is born out of the psychological state of the characters, making it a unique statement of their complex relationship.
This is what a director should aim for—building a mise en scene from the psychological state of the characters, the mood of the situation, and the raw, observed truth of the moment. Only then does the mise en scene achieve a multifaceted significance that mirrors actual truth.
Consider Wong Kar-wai’s In the Mood for Love. The use of cramped spaces and narrow hallways depicts the constrained emotions and hidden desires of the characters. Every visual element, from the colors to the compositions, works in harmony to reflect the unspoken feelings and subtle interactions between the protagonists. The film’s mise en scene transforms the ordinary into a poetic exploration of longing and restraint.
Technical Aspects
Moving beyond specific examples, let’s consider the technical aspects that contribute to a successful mise en scene. Lighting, for instance, plays a crucial role. The use of chiaroscuro lighting in noir films creates a contrast that mirrors the moral ambiguities of the genre. In more contemporary terms, think about how Roger Deakins uses natural light to create a sense of realism in films like 1917 and Sicario. Lighting can shape the mood, define characters, and even influence the narrative’s direction.
Then there’s the matter of color. Directors like Wes Anderson and Pedro Almodóvar are renowned for their distinctive color palettes. These choices are never arbitrary; they serve to deepen the viewer’s understanding of the story and its characters. Anderson’s symmetrical compositions and pastel colors create whimsical, almost storybook-like worlds. Almodóvar’s vibrant hues reflect the emotional intensity and cultural richness of his Spanish settings.
And what about the spatial dynamics within a frame? The positioning of characters and objects can convey power dynamics, emotional distances, and social contexts. For instance, in Stanley Kubrick’s The Shining, the vast, empty spaces of the Overlook Hotel amplify the sense of isolation and madness consuming Jack Torrance. Contrast this with the claustrophobic spaces in Bong Joon-ho’s Parasite, which highlight the social stratification and tension between the families.
Lessons Learned
Go beyond the obvious. Don’t just use objects or settings to express the surface meaning. Explore the psychological states of your characters and let that drive your mise en scene.
Avoid clichés. Stay clear of overused symbols and setups. Make every scene unique to your story and your characters.
Draw from real life. The most compelling mise en scene often comes from a keen observation of real-life dynamics and interactions.
Focus on authenticity. Strive for scenes that reflect the multifaceted truth of the situation, rather than a simplified, one-dimensional representation.
Whether you're inspired by the haunting intimacy in The Idiot, the visual poetry of In the Mood for Love, or the powerful metaphors in The Godfather, remember that every element within the frame should serve a purpose, enriching the story you wish to tell.