Creating an atmosphere of tension Essay Example for Free

Creating an atmosphere of tension Essay Compare the opening scenes of two film versions of Great Expectations and review how effective they are in creating an atmosphere of tension.  The widely known book Great Expectations by Charles Dickens has many film adaptations, but during this essay I will be concentrating on two particular versions, the 1945 version, directed by David Lean and the 1997 version, directed by Julian Jarrold. During this essay I will be reviewing how effective each of these openings are and comparing them. Camera Angles are clearly the most important factor at creating an atmosphere of tension in the opening of this film. For an audience of today the camera angles and shots, from the later version directed by Julian Jarrold is much more effective at creating tension, as the short, snappy changes between shots such as jump shot to the grave yard, close up on the convicts feet, jump shot, Pips face, jump shot, close up on the convicts feet again etc. This fast action keeps the audience engaged and they always have something to be looking at. Also Julian Jarrold cleverly uses sea gulls for two of the shots, to show that maybe something scary, that cant be shown on screen is happening and also can be compared to Pip trapped by the convict unlike the free, flying birds. This provokes the audience to wonder what might be happening and want to carry on watching to find out. However David Lean doesnt make much use of the Camera angles, and in effect his opening of the film isnt as interesting or engaging. In total David Lean uses about 10 different shots which compared to Julian Jarrold is nothing. But both directors use a similar shot during the opening, David Lean uses a long shot and Julian Jarrold uses a long shot, zooming in on Pip while on the marshes to show the setting of the film and to show how small and vulnerable Pip is. As well as the camera angles and shots the music and sound effects accompanying them play an important role at creating tension. In the opening credits of the earlier version, directed by David Lean, the music accompanying the credits convinces the audience with its happy, jolly, music that the film is going to be exactly how the music sounds, happy, jolly etc. but the actual opening of this film version is the total opposite, portraying a dark miserable opening to the film. Whereas Julian Jarrold in the later version, opens the scene with one long note of eerie, mystical music to set the atmosphere of the film. He also changes the speed in which the music is played, slowing it down in places to suit what may be happening the film. At the start of David Leans version he uses the older Pip to narrate from the book Great Expectations, which is lighted by a spot light, this isnt very effective as it tell the audience that Pip is still alive at the end, leaving some of the suspense out of the scene. David Lean uses a number of sound effects such as bird noises to make the marshes sound wild and tries to create tension by using the creaking of trees and rattling of chains on the convict. As the technology was not as well advanced in 1945 as it is today the sound effects are obviously not as good as the 1997 and this can make the film seem inadequate compared to Julian Jarrolds version. Similar to David Lean, Julian Jarrold uses a wide range of sound effects to show the wildness and desolate marshes, but he also uses sounds such as foot steps and heavy breathing which interrupts the music at times. Although David Lean contradicts the film with the music, he uses the weather effectively to set the atmosphere, using strong wind, that whistles in the vast open marshes, to show how desolate they are. In the later version, Julian Jarrold doesnt use the weather to set the mood, he uses clear blue skies, but he uses the sky to show the time changes, for example, when Pip is running home the sun is setting, to show that it is evening. Both directors have used similar sets for the marshes, flat, desolate areas to convey how small and alone Pip is. David Lean uses quite an open area for the graveyard which isnt that effective. Julian Jarrold however uses a long grassy field which is very enclosed where Pip is being chased toward the graveyard by the convict, which suggests Pip is being hunted like a wild animal. He uses this enclosed space to relate to todays audience. Both directors have chosen to light Pips face, as a sign of good and keep the convicts face dark, as a sign of evil. A c lassic thing that most directors tend to use. Both directors for the cast of the convict have ventured down similar paths. Using well built, ugly, bald and strong man for the role of the convict, that towers over Pip to show how small and venerable he is. The convict wear dark, dirty and ripped cotton clothing, to show that he has had a rough journey and has chains and an iron on his leg to show that he is a escaped convict. On the contrary the directors have chosen almost opposite actors for Pip. David Lean chose a blonde haired, blue eyed baby faced, neat and innocent looking boy, giving the impression he is a polite well behaved boy and Julian Jarrold chose a brown haired boy, with longish messy hair, brown eyes and a rough, rugged, cheeky look about him, to suit todays audience and meet their expectations of a boy of that age, so its easier for them to relate to the film. David Leans Pip wears a scarf, shirt, waist coast and slightly short trousers showing that he is poor and Julian Jarrolds Pip wears short trousers and a sh irt, which is very dirty and ripped. David Lean chooses to stay very close to the script in the book and the script is almost the exact writings from the book. But Julian Jarrold however decided to use none of the script and let the actions speak for themselves, in the whole of the opening only one word is said, which is MUMMY which is said by Pip.  In conclusion both films are effective at creating an atmosphere or tension for each of the targeted audiences. As the version directed by David Lean was made in 1945, people had different interests, so that particular version shown to an audience today may not be that effective as the later version directed by Julian Jarrold.