mise-en-scene

"The windows were closed and the sunshine coming in through the venetian blinds showed up the dust in the air."

The recurring Venetian blinds lighting technique is a well crafted use of mise-en-scene in Double Indemnity. This classic film noir tactic is used multiple times. The best use of this tactic is the scene where Walter and Phyllis are both planning to kill each other. Only Walter's shadow is projected on the wall, while Phyllis waits on the chair sitting on top of her gun. The Venetian blinds separate the two characters before Mrs, Detriechson's demise. 

The next use of mise-en-scene I analyzed was the differences and similarities between the first time we meet the two femme fatales'. In both shots there is build up and a revealing of the two characters but it is done in two different ways. In Double Indemnity Mrs. Dietrichson is shown with a high-angle shot where she is wearing next to nothing. The significance of this technique is that Walter is left vulnerable at the bottom of the staircase. In L.A. Confidential, as Bud White walks across the liquor store the shot pans over Lynn wearing her black robe. When Lynn's face is revealed Bud White is caught off guard by her looks and is also left very vulnerable. The last difference between the two shots is that Lynn is wearing an excess amount of clothes while Mrs. Dietrichson is wearing a revealing towel. Although the two shots achieve the same result, they are portrayed very differently.

The last cinematography nod I give to double indemnity is the use of contrast between light and darkness. The silhouette of these two characters gives the audience a feeling of mystery and the unknown. In this specific picture the lighting technique is called chiaroscuro lighting. The use of shadows is also very prevalent in the film which achieves the same effect of mystery and the unknown.

The Dark Side

There are many images in this passage that portray foregrounding and back grounding but the one that exemplifies it the best is the frame where Harvey is sitting behind his dad, while his dad is asleep. In the foreground of the shot we see Harvey's father holding a Jewish scripture in his lap very much asleep. In the background of the shot, Harvey sits with his hands crossed, with a disappointed look on his face. The placement of these two characters in the frame portrays the way Harvey feels. He feels in the dark and pushed to the back. The lighting in this shot also helps deliver this point. Harvey's background is only darkness showing him "in the dark".

The next shot I found exemplified both foregrounding, back grounding and excellent lighting, is the shot where Harvey is preparing for battle royal with his classmates. There are three divisions of this frame. The first is closest to us and it shows a kid with a 2 by 4 in his left hand clenching it ready to strike Harvey. The second and middle division of this frame is a full shot of Harvey from his knee's up. He has an angry look on his face and both of his fists are clenched. His face is the only one shown out of seven people in this frame. The third division of the shot is in the background where 5 African American boys are waiting to pound Harvey. There faces are not shown to put more emphasis on Harvey's face. Lighting is also key in this shot because the boys in the background are completely black while Harvey is very clear and in the light. This lighting technique is very effective because it shifts the audiences’ focus toward Harvey.

The final frame I reviewed was the close-up of Harvey's mother looking down on Harvey. I liked this frame because with the position of Harvey's mother's face above Harvey, it is easier for the audience to see how much authority Harvey's mom has over him. I also liked this frame because it immediately follows a long frame of basically the same situation. When the close-up occurs it draws more attention to the situation.