Film Analysis.

Film Analysis- Shutter Island.

1. The first scene shows a ship emerging gradually and eerily from a fog of vast mist. The lighting is low lit and murky, with a colour pallet typically associated with a neo-noir thriller such as Shutter Island. Already, this opening scene is foreshadowing that everything is not as it seems and the storyline (like the ship) will emerge and unravel from the unknown and will eventually become clear to the audience. This sense of build up is very commonly used in psychological thrillers. 

2. The next scene shows a man (who we cannot see the face of, adding another component of mystery to the plot) vomiting in a toilet. We do no see any vomit, but the sound of wretching implies so. The lighting again is low-lit, except from a small section of bright light above the man's head, perhaps indicating his important as a main character to the story. 

3. The next shot is a close up of the man's now revealed face. He looks troubled and unwell, with no element of happiness on his expression. The lighting only illuminates half of his face, leaving the other side in the shadows. The trace of chiaroscuro used here is typical in psychological thrillers and demonstrates the character is troubled and losing himself- it could relate to a dual personality also.  However, it is not used dramatically as to reveal to much early on in the plot. This backed up by the character's dialog "pull yourself together Teddy" which also establishes the character's identity to the audience. The only other sounds heard are the the deep rumbles of the ship, sounding off like siren and adding to the murkiness of the scene.

4.The next scene shows 'Teddy' reassuring himself it's "just water, just a lot of water," whilst looking out of the porthole onto the sea. This suggests to the audience that Teddy is seasick and could've had a bad experience with water, but how we cannot be sure. The cinematography in this scene shows another close up shot of Teddy, with the only lighting on his face almost reflecting off the sea, making him seem lost and alone.

5.The editing of the scene slightly quickens pace as Teddy goes straight from vomiting again to washing his hands. The shot pans up from a sink of running water (iconography appearing often i

n thrillers such as Psycho) to Teddy's almost startled and disturbed face- here he is clearly in distressed, and looks psychologically tormented. He even breaks the fourth wall by directly looking at the audience, giving the illusion that he addressing them when he is in fact addressing himself.

6. The scene cuts to a full length body shot of presumably Teddy, except the shot is blurry and only in focus on what seems to be handcuffs. Again, tortuous objects such as handcuffs appear frequently in the thriller genre- it adds to the already disturbed and troubled atmosphere and mentality of Teddy previously seen. 

7.Teddy walks across the room. He crosses two dim, yellow lamps. They seem to be the most vibrant objects in the scene and are disturbing against the otherwise melancholy grading mise en scene.

8.He emerges, still looking troubled, outside, looking onwards

8.His gaze then matches with the view of another man, standing with his back to Teddy on the deck. His identity is yet to be revealed to the audience, building up more mystery and suspense. A metal fence, like prison bars, comes between him and Teddy, as if Teddy, for some reason, cannot reach him in some way, further foreshadowing what may come. 

9.Teddy walks towards the man. We now see his identity, and he seems to be in much better health then Teddy, standing upright and looking down on Teddy as Teddy wretches again. His red tie is the most vibrant thing in the scene. He seems to be the character in the position of power (particularly in terms of health) until he asks Teddy "Are you okay boss?" showing it is in fact Teddy who is in a position of authority.

10.This scene shows Teddy and his partner standing on a boat engaging in conversation. The mise en scene displayed shows a murky, dark setting at sea. There is nothing that particularly stands out in the scene as being vibrant or having any conations to joy or happiness. This implies that the use of grey/ blue pallet could perhaps mean little of the storyline is revealed to the audience, leaving an element of mystery open.

11. The cinematography used here shows Teddy in cool toned clothes. He looks pale and sick and is a huge juxtaposition to his partner, who seems visually full of life and wears warm toned colours. Teddy may be the most powerful character, but there seems to be a hidden element about his partner that visually makes him stand out as in a higher position. 

12. The two character continue to engage in casual conversation, until his partner asks if he is married. Teddy simply replies with "I was." Adding more mystery to the character's being.

13. The shot immediately changes to a different location and music emerges in the scene. It is the sound of what seems to be classical music, but it sounds dated and sad. The lighting now seems to be highly saturated and lime green, surreal and highly contrasting the scene before it. It allows the audience to interpret the new scene as a flashback, a type of editing used frequently in psychological thrillers as characters look back to happier times.

14. The next scene seems to confirm that Teddy is looking back at better times, as a woman enters the scene, laughing as she places a tie on her husband. This personality of Teddy, looking and seeming healthy and happy, is a huge juxtaposition to the Teddy the audience were first introduced to, showing he was not always troubled but perhaps past events have made him so.

15. The film cuts to different shots, first of the woman standing on her tiptoes reaching to her husband, making her seem innocent and childlike, as if she looks up to him as a protective, loving figure. She is wearing vibrant red nail polish, representing love or romance, but also danger, suggesting foreshadowing. The shot then cuts to a record player, seemingly where the music we hear is coming from. 

16. The woman leans lovingly on Teddy's shoulder. She is beautiful and again, completely contrasting to the Teddy we are first introduced to. She smiles and a freeze frame is used, emphasising the important of the girl and suggesting she is a focal point throughout the film. The shot cuts to the grey sea once more, suggesting the memory, and happiness, has ended.

17. "She died" is Teddy's reply, establishing to the audience the important of this woman to Teddy and a reason for his tormented appearance and current state.

18.  Teddy then discusses how his wife died in a house fire. His partner not long after then offers him a cigarette after Teddy looses his, following to a close up shot of Teddy inhaling the cigarette and blowing out smoke. This seems ironically important in the scene, as Teddy asks for cigarettes straight after stating "it was the smoke that got her, now that's important." Smoke is also another aspect of iconography included in other thrillers such as Fight Club- the character smoking often does it as a coping mechanism.

19. The next shot is a full length shot of the characters talking. The setting remains grey and quite monochrome. The dialog seems to be around an investigation in a mental hospital, which seems to set up the setting of the film in a place very fitting to its genre, as well as foreshadowing the plot to the audience.

20. The scene cuts to an island, shadowy and scary in the fog. It is unsettling, especially paired with the non-diegetic music looming in over the top, gradually building up extra suspense and fear.

21. The music grows louder and more prominent as the boat looms into the dock. It alerts the audience that the closer we get to the island, the closer Teddy is to danger and despair, and this is not an easy going or safe place.

22. In the next shot, the two main characters are followed closely and outnumbered by a large amount of what seem to be prison guards. However, a close up shot of Teddy's US Marshall badge suggests he is still in the position of the highest authority.

23. The music grows even more prominent, as a selection of shots show the guards holding guns staring directly to the audience, showing that were are looking at the scene from Teddy's point of view. Teddy seems unsettled and troubled by this, which creates a  sense of uneasiness for the audience also. 

24. Teddy comments on his uneasiness to the guard, who reply they have a reason to be on edge ("right now Marshall? We all are.") This introduces the main body of the plot to the audience, and foreshadows what is yet to come.