Mise-en-scene analysis of The Graduate
In our class, the following clip was analyzed briefly as an example of mise-en-scene and visual storytelling-
[youtube http://www.youtube.com/watch?v=-3lKbMBab18]I have not watched the whole film, which is why I thought analyzing a scene from this movie would be interesting. How much of the scene and what visual cues will I be able to pick up without knowing the plot? The only thing about this clip that I know is that the male character is Benjamin, who is being seduced by the older Mrs. Robinson. This is my first time analyzing a scene, and I felt at a loss for things to look for or say- until I found some questions courtesy of this site that will help me to analyze the mise-en-scene in this scene. I divided the scene into groups of related shots and analyzed them as follows:
1. 0:00~0:05
The sequence opens with a deep-focus medium full shot of Benjamin in what seems to be Mrs. Robinson’s home. The deep focus draws a large picture of the situation- it reveals the harsh lighting just outside the window, the overall color scheme and styling of the room. We see Benjamin in relation to this environment- lost and somehow trapped. The harsh bottom lighting on the tall plants outside the window, along with the shadows on the wall denote Benjamin’s entrapment within Mrs.Robinson’s home, and this is further suggested by the large color blocks of black flanking either side of him. Mrs. Robinson is clearly in control of the environment here- Benjamin (and we as viewers) can’t do much more than flinch at the sudden music Mrs. Robinson (outside the frame) turns on. The music sets the tone for the rest of the clip- even before Mrs. Robinson makes it clear, the music insinuates Mrs. Robinson’s intentions.
2. 0:05~0:53
Having established the overall atmosphere in the first shot, the scene utilizes camera angles and framing to illustrate the relationship between Benjamin and Mrs. Robinson. In the beginning of the shot, Mrs. Robinson dominates the eye of the viewer; once again, she is in command of the scene. She is placed at a higher position in the frame than Benjamin, and the camera is at eye-level with Benjamin. Benjamin (and the viewers) literally look up at Mrs. Robinson through this shot. During the dialogue, the camera cuts back and forth between Mrs. Robinson and Benjamin; they are in separate frames, volleying the conversation back and forth. It is only when Benjamin realizes what Mrs. Robinson is insinuating that the camera switches into a close shot of Benjamin’s reaction. This is followed by Benjamin literally walking out of the frame as he says, “I think I should be going.” Benjamin and Mrs. Robinson are now at the same height as he challenges Mrs. Robinson, which leads nicely into the next group of shots as Benjamin becomes increasingly agitated.
3. 0:54~1:20
Throughout the whole clip, the lighting around Benjamin created stark shadows against his outline, visually disconnecting him from his surroundings. As Benjamin realizes what Mrs. Robinson is asking, he distances himself from Mrs. Robinson, and these shadows around his outline envelop him completely. The camera follows him as he walks from left to right, his shadowy head remaining in the frame at all times. Visually the viewers get a sense that Benjamin is trying to make sense out of this situation, and is literally wavering between the choices he can make.
4. 1:20~1:24
Mrs. Robinson has Benjamin under her leg (literally). This frame composition makes obvious the power relationship between the two, as well as the probable outcome of this conversation.
5. 1:24~1:28
Even before we see Benjamin’s face (for the first time after seeing his reaction to Mrs. Robinson’s proposition), we get a close shot of a laughing Mrs. Robinson- this is her victory shot. We know she has succeeded, and this is further supported in the next shot, with Benjamin at the same level as Mrs. Robinson in one frame. The frame composition echoes that of 0:54~1:20; except in this shot, it is the back of Mrs. Robinson’s head that we see instead of Benjamin’s. By doing this, not only are the viewers given a shot of Benjamin’s reaction, but they are also informed that Benjamin is now at a place where shot compositions can be interchanged between himself and Mrs Robinson- they are now equals.
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