This feature film is also
an adaptation of the same-named novel by Thomas Hardy that follows
the story of Bathsheba, who inherited an estate and farm, whom falls
in love with three different men in a complicated setting. The film
explores the nature of men and women within the era, alongside the
nature of power and influence by blurring traditional class
boundaries. In essence, this has quintessential period drama and is a
marvel of beautiful film making and casting. The story has received
several screen interpretations and this most recent adaptation was
directed by Thomas Vinterberg.
Camera Shots
- Long Singular
The single shot of an
actor can be used in many ways to establish a connection with the
viewer, to establish the setting and to establish the emotional mood.
Strikingly, Vinterberg seems to formulate his singular shots usually
from a distance – allowing the viewer to see how well or poorly the
characters fits into their surroundings. These type of shots seem to
appear the most within nature and are often of our stories
protagonist, Bathsheba. This means that the audience begins to build
a relationship with the character because she becomes our paramount
of attention within such shots. Not to mention these long singular
shots display the costumes within their full aspects which is
important within the period drama as it establishes time frame and
the social nature of the film successfully.
- Mid-Singular Shot
Mid-singular shots have a
similar effect to long singular shots, to establish setting and
character relations, but this type of shot works with a slightly
different dynamic. By minimizing distraction, or enhancement, of
background and costume – the viewer can focus purely on the actors
face and torso which makes our connection slightly stronger and
slightly more magnified. Furthermore, especially as this is a
romantic story, these types of shots can create a larger sense of
lust and longing due to our focus on the actor’s eyes and facial
expressions. Once again, by using these shots, Vinterberg is
conforming to a key theme of the period drama: that character lead
drama and affiliation with characters is paramount.
- Close-Singular Shot
In continuation
of what is stated above, the close-singular shot is used to create a
report with the audience but to a slightly different effect. By being
so close, the viewer is confronted with the raw emotion of the
character. The angle of the camera, of course, plays a contribution
to this. To expand simply:
- Filming from the side creates more intrigue than it does affiliation because the viewer is left wondering 'Who are they looking at?' or, more aptly with romantic period dramas, 'Who are they admiring?'
- Filming from the front causes the viewer to connect and understand the emotions fo the character as we, most likely, feel as if they are looking at us which makes us feel more relevant to the piece of work.
- Establishing Shots
Perhaps these are the most important
types of shots that appear within any type of film, but especially
within the period drama. In context to 'Far From The Madding Crowd',
I found it notable that the establishing shots usually had movement
and action within them. Within other period dramas, it is usually
conventional to have rather still shots but this film makes sure that
something is happening within the establishing shots. That is, of
course, assuming that the scene to follow has a relevant amount of
cast. This type of moving establishing shots, whether these be of
nature or scenery, are useful in creating an immediate intrigue and
transition – for the viewer to instantly follow and engage with.
- The 2 Shot
It would seem that the
editing of scenes within period dramas orbits around the 2 shot. The
two shot's success relies on things such as proxemics, eye contact
and the background. I have learnt from this film that the 2 shot, in
general whether it be long or close up, does something unique within
the medium: it forces us to view the couple in relation to one
another and in context to their surroundings. The problem with close
ups, over-the-shoulders and singular shots is that we don't view the
subjects or couple together. By viewing the couple together we
are able to see everything all at once which gives us unique moments
of pure drama and pure traditional romance. In scenes where the
audience is very much supposed to 'root' for a certain couple, this
type of camera angle and shooting style is paramount.
- The Silhouetted 2 Shot
Once again, the silhouetted
2 shot is vital when creating a good period drama. In so many ways,
the nature of the angle allows a springboard of proxemics and the
nature of the scene. Seemingly, Vinterberg uses this type of shot
without breaking of editing to emphasise the organic nature of the
emotions within the scene. This style of shot, whether it be like the
first or second, are incredibly effective at creating a realistic
feel within a scene because it is as if we are literally looking at
them, like we would with our own minds. Bearing in mind that romantic
realism is at the forefront of the period itself and thus the period
drama.
Sound
●
In similarity to my other
studies, this period drama uses a related approach to the nature of
composing the soundtrack to the film. This main similarity being that
there is a leading consciousness of era/period appropriate
instrumental styles – these mainly being lead by string instruments
and pianos. However, this doesn't mean that there is one constant
running style (like waltz or folk) running through the film. In terms
of the period drama, 'Far From The Madding Crowd' uses a vast
variation of styles and nuances to create a real sense of journey and
process within the piece. There
is, of course, a leading sense that emotions are at the forefront of
the composition of the soundtrack. Considering that the music of the
scene, subconsciously, seems to dictate the emotions within the
scene, it is important that the music works in synergy with the
footage and raw emotions of the section. This film has a successful
soundtrack because it seems to do so with ease.
●
Furthermore, there is an incredibly
flourishing fusion of digetic and non-digetic sound. Importantly,
the styles change accordingly to the setting to the scene and this
means that there is an interesting crossover of ensemble-based
singing working with studio-fabricated accompaniment. For example,
within a scene that has church choir singing, there feels to be a
natural progression from raw acoustic vocal arrangements to a full
arrangements with an orchestra behind. Of course, there is a danger
of this type of decision causing confusion within the viewer, but
this film seems to make such decisions seamlessly whilst enhancing
our emotional engagement to the medium. A key example where this type
of sound editing is displayed in this clip:
●
This
doesn't mean, though, that there is constant music accompaniment from
start to finish. Like all good period dramas, there are key moments
of pure silence, apart from dialogue, to deepen the atmosphere of the
scene and to allow the viewer to focus purely on the character-based
drama.
●
Finally, this film used background
noise successfully to heighten the realism of the piece. When a film
orbits around continuity editing (more will be said below), there is
an importance of continuos background noise that is coherent with
the setting. Just like how the music should denote the emotions of
the scene, the background noise should also denote the emotions of
the scene. For example, sheep shrieking in a thunderstorm is more
appropriate than sheep eating grass in a thunderstorm.
Editing
●
Chiefly, continuity editing
(invisible editing) is the leading style of editing – if not the
only editing style – used within the film. Meaning, that the cuts
used are purposely smooth and ceaseless to ensure total immersion
within the piece. Within 'Far From The Madding Crowd', this primarily
involves the combination/sequencing of typical shots like
over-the-shoulders to close ups to group shots within the same time
frame and with incredibly similar nuances and mise-en-scene to create
a sense of naturally unbroken drama. This involves choices like:
●
The shot-reverse-shot. In many
films, including the other period dramas I have watched, the
shot-reverse-shot is typically used to show characters reactions and
to build a sense of recognition within the viewer. Though this film
uses this editing technique to do this successfully, it also uses
this technique to explore the romantic entanglements within the film.
By using close ups of our female protagonist (Carey Mulligan) in
sequence of two other male suitors within the same room, the viewers
gains a sense of seriousness and situation. Allowing such tension
into the presentation of the story, through editing, means that there
seems to be an increasing awareness of Bathsheba's tribulation within
the narrative, making the viewer more engaged – which all good film
makers should aim for.
●
Like 'Becoming Jane', this film also
doesn't flinch away from lengthier shots (time wise) – these
moments mainly being between two characters as a two shot. This
technique is referred to as having a master shot. The effect of this
type of untouched footage is that the movement, or tracking of the
camera, is allowed to be appreciated in-full. Also, it means that
there is more time to really take-in all the aspects of the shots
used which, could, make the viewer feel more emerged into the work as
they have accepted and processed that certain environment more.
●
In terms of transitions, this film
mainly just used the traditional dissolve or fade at the end of a
scene. These mainly being at the end of scenes that feel like they
have ended, once again taking there time to progress properly.
Although, at certain moments of building tension or drama, like
during the climatic storm, the scene simply did a straight cut to
blackness and silence.
Mise-en-Scene
●
Interestingly, the costumes within
this film feel slightly different to the other two period dramas. At
a risk of being vague, they feel more modern or contemporary than the
typical period drama. These comments mainly being aimed at Carey
Mulligan's wardrobe because the dresses were incredibly well-fitted
and caused silhouettes that seemed to mock modern fashion tendencies
such as mid-cut neck lines, straight dresses and minimal embroidery.
In saying this, though, the costumes of course were in-keeping with
the eras fashion tendencies also.
●
Along the same lines, many of the
shots within the film seem to be built around the stories protagonist
– Bathsheba. Whether these shots be long shots, group shots or
mid-long shots – they seem to always have Carey within a
significant third. For example:
The
overall mise-en-scene of this being that the viewer is subconsciously
being constantly being reminded that Bathsheba is the stories key
character and that all of our emotional involvement should be, first
and foremost, engaged with Bathsheba.
●
Also, many of the shots used are
incredibly naturally light and rural. As the film is set in a farming
manor house, there are naturally many outside shots and whole scenes
outside. This means that the film has a traditionally stereotypical
Romantic feel which enhances the theme of naturally relationship and
connections blossoming within such a tranquil environment.
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