Looking at mise-en-scene, cinematography and sound in the film Leon (Luc Besson) 1994.

Focus on how one or more of mise-en-scene, cinematography, editing and and sound create meaning and generate response in a film sequence of no more than seven minutes.

I will be looking at mise-en-scene, cinematography and sound in the film Leon (Luc Besson) 1994

In the opening sequence of Leon, Besson uses a travelling aerial shot of a lake followed by a huge park, which is finally dominated by huge, cosmopolitan skyscrapers. The camera rests here to show the contrast in jungle and urban life. We then enter the urban city, where several travelling shots going through the streets are used giving an apparent sense of setting and location. The added use of non-diagetic sound combined with many beautiful shots of New York’s streets combine to produce a very mysterious atmosphere. This mood is enhanced once we zoom in to the dark open doorway of a small Italian restaurant.

The first image of Leon goes hand-in-hand with the first scene, as we see him only in an extreme close-up of his eyes, which are concealed beneath sunglasses. This image is shrouded in darkness and mystery. We are also shown close ups of Leon’s boss through the reflection of his own sunglasses. This again adds to the mood. At this point in the film, we see neither Leon nor his boss in full view, meaning that the first character conveyed to us in the film is a photograph of a victim. In this shot, the director is trying to establish that Leon is a hitman. However, this is contradicted by the fact that, setting aside all the mystery and dark atmosphere created throughout the opening sequence, Leon is drinking milk. Here, Besson is conveying a sarcastic, almost childlike side to the mysterious figure.

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The sequence continues and the victim is known as the ‘fat bastard’ and his bodyguards are introduced to us with a tracking shot from in front of the subjects. The group of Mafia seems in control until a quiet and hushed burst of uneasy, cold and ghostly music creeps in. Through this the director begins to convey the mood of suspense and an uneasy tension. This music insinuates the entrance of Leon. The ‘fat man’ (the victim) becomes aware of an intruder and remarks to his cronies “somebody’s coming up, someone serious.” This remark is almost comical and has a ‘black comedy’ edge to it, questioning the genre of the film. Following this the camera pans the movement of the lift, giving a dramatic feel of suspense as Leon edges ever closer to the awaiting bodyguards. This is complimented by the continual nervous and eerie music. There is a striking diagetic sound as the music dies down to the sound of the lift door opening, yet once the bodyguards realise that Leon is not in the lift, a sudden burst of panic and fast paced movement erupts. This is emphasised by the loudness and fast paced music. Now the camera becomes more unsteady to convey the bodyguard’s increasingly desperate situation.

The stylish and sophisticated way that Leon assassinates each bodyguard in turn shows his cool, calm and collected manner. His firm, professional movements contrast greatly with the mood of louder, fast paced music surrounding the frightened and panicking bodyguards. The eerie music used throughout this sequence gives a strong impression that the bodyguards are trying to fight something ghost-like, or even supernatural. Leon remains invisible, striking precisely and then vanishing without trace. The scene continues with panning camera shots conveying death and how the victim has been left alone, as the only survivor. Now the eerie music dominates most of the sound and the subjective camera comes into action, probably in the form of a handheld camera. Besson uses this to convey the victim’s frightened and anxious state of mind. This is made clearer to us by the added non-diagetic sound of a fast pumping heartbeat, and his heavy and deep breathing. The victim remains still for a few moments, then the camera begins to gradually zoom in from a long shot right up to a close up of him from behind. The director uses this type of camera movement to show that Leon is right behind him, and slowly approaching him or creeping towards him. The next shot is of a close up of the victim’s face. From here the tension intensifies significantly, as we know Leon must be lurking behind him, yet the victim is fully unaware of this. The intensity is held with the continual eerie music and breathing. The climax is suddenly broken when Leon’s hand clenching a knife sweeps from beneath the shadow and falls underneath the victim’s neck. Both diagetic and non-diagetic sound are cut off and there is a distinctive silence to contrast with the earlier commotion. Leon’s face then appears for the first time from behind the shadow and the two characters remain close framed.

The silence created draws attention to what might happen. The director holds Leon in the shadows to show the power and utter control he has over the victim and add to his dark and mysterious persona. The obvious vulnerability of the victim is enhanced by the static, closed frame shot. Once the victim is told to make a phone call we cut to the victim’s girlfriend who calmly hurries out of the room, and both men look mystified. As a result of this, an implication of humour is added. This results in a drop in the intense suspense of the scene, and the atmosphere is almost calm. However, once Leon is told by his boss to “make him understand, then let him go,” intense and sinister sound effects creep in and the mood transforms entirely, adding tension and trepidation. However, this is only short lived, as Leon only makes the victim say “I understand,” which again adds humour. Leon slips back into the shadows with ghostly and mystified sounds following his exit. These sounds reinforce his sinister and mysterious nature.

Although admittedly some scenes have a comical side to them, Besson’s fast paced action and gruesome images hold the tension and suspense brilliantly. His use of close-ups and camera movements, especially the subjective stance used by the victim, convey the feelings felt by the characters and the way in which they behave. Sound plays a crucial role in the opening sequence because, in my view, it is used to control the level of suspense and intrigue.

Teacher Reviews

Here's what a teacher thought of this essay

Govinda Dickman

7th of Aug 2013

I think this is a very strong analysis of the emotional impact of a well directed action sequence, and the author is beginning to use the technical language of film studies very naturally. All it is lacking is a little reflection on the "deeper meaning" of the scene in general, in the form of some discussion of the very fine moral line that Besson is walking with the way he characterises Leon. Think about it: Is Leon a "good guy" in the traditional sense of this term? If he's not a good guy, why do we like him? This essay reveals some of the ways that Besson pulls off the very difficult trick of making us identify with Leon, and to think of him as a sympathetic and attractive character even though he is basically an emotionally retarded multiple murderer. How can we identify with a murderer while still being able to believe that we are "nice people"? How does Besson help us to do this? Think about how his careful blend of comedy and violence keeps you hooked into the narrative; or the way he presents Leon as "a kind of innocent" and also as "a kind of god"; or the way he makes sure Leon's lethal fury is only ever directed at clearly identified "bad guys" etc. Current grade: The detail and depth of the analysis, and the natural use of the technical language, means this essay merits 3.5 stars.

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