The Outsiders - How effectively does the director create an atmosphere of tension, fear and drama in the scene in the park?
The Outsiders - How effectively does the director create an atmosphere of tension, fear and drama in the scene in the park?
Set in the 1960's 'The Outsiders' by Francis Ford Coppola is a story about two rival gangs, the Socials (upper class - rich boys, expensive cars) and the Greasers (lower class - leather jackets, greased hair). This is a tense and dramatic scene set in Manhattan in an urban playground, late at night where the plays protagonists Ponyboy and Johnny (Greasers) are situated after Ponyboy has run away from home. Previously that evening they had been socialising with a couple of the Soc.'s girlfriends, the Soc.'s found out and have come after Ponyboy and Johnny.
As Ponyboy and Johnny enter the park, you see them walk by out of the frame, then there is a pause and you see the lights from a blue Mustang as it crawls into sight, it's the Soc.'s. While this is happening there is eerie sinister music playing under the growl of the car's engine. This is a very effective beginning to the scene as it is quite tense and mysterious for you have the Mustang portrayed as a predator, growling, crawling into the park, camouflaged by the darkness of the night, all you can see is its eyes - the headlights. Coppola makes out the set to be an 'urban jungle', the Greasers (the prey) don't know what is lurking round the corner or where the danger is where as the Soc.'s (the predator) generates this fear and has the upper hand. This scene shows the promise of action and drama, which captivates the audience, we know that something is about to happen but the boys are completely oblivious to this danger. The camera then cuts to a close up of the two boys feet as they are walking, which helps to show that they are unaware of the glare of the cars lights that can be seen through their legs in the background, the Mustang is searching for them.
By now Ponyboy and Johnny have entered the playground and have mounted the climbing frame, the camera is positioned at a high angle shot over Ponnyboy's shoulder so that you can see things as he is. This is when the boys notice the car as it approaches and parks in front of them; they feel threatened and vulnerable as the Soc.'s are invading their territory. The Soc.'s climb out of the Mustang, staggering as they do so. There is then a series of close-ups, the Soc.'s hands with flasks and rings, Johnny's hand on his pocketknife and on ...
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By now Ponyboy and Johnny have entered the playground and have mounted the climbing frame, the camera is positioned at a high angle shot over Ponnyboy's shoulder so that you can see things as he is. This is when the boys notice the car as it approaches and parks in front of them; they feel threatened and vulnerable as the Soc.'s are invading their territory. The Soc.'s climb out of the Mustang, staggering as they do so. There is then a series of close-ups, the Soc.'s hands with flasks and rings, Johnny's hand on his pocketknife and on the faces of the Soc.'s, Johnny and Ponyboy. The close-up of the Soc.'s flasks and rings shows that they are drunk; they may be easily provoked and have no control over their actions. When we observe the shot of Johnny you can see he has a scar on his cheek where he was caught by a ring in a fight, this is like a symbol - Johnny is scared as he links these rings with violence. Then there is the close-up of Johnny's pocket, his trousers are ripped and dirty - showing he has been in scraps before, and his hand has flown straight to his side where his pocketknife is. If there is a fight the knife may be needed, not necessarily to hurt but it maybe used threateningly. The atmosphere during these few minutes is very strained and this shows that if there is a fight the knife will almost certainly be brought into it. Finally, there is the close-up of all the boys' faces; this makes everything seem more dramatic as the camera is cutting from face to face while the boys are eyeballing each other. Seeing all these frames will help to captivate the audience as it builds up a certain anxiety, the two rival gangs, drink, a knife and a dark deserted park, all that is needed is the signal for things to set off.
Bob (one of the Soc.'s) then insults Ponyboy and Johnny when he says, "Do you know what Greasers are? White trash with . . . . . " By saying this Bob is daring Ponyboy to reply as metaphorically Bob is asking them to fight, if they return the insult they are accepting the proposition, the boys jump of the climbing frame and Ponyboy hesitates before saying, "You know what Soc.'s are? White trash with
Mustangs and mansions!" He then spits before the Soc.'s feet. This signifies the start of the fight and as Ponnyboy and Johnny break into a run there is a sudden change in the pace of music as it becomes faster and more intense. At the same time you are watching a tilted frame focused on the park fountain round which the boys are chasing one another. Together this helps the audience feel the sense of threat and danger escalating as the music is drumming, like a heartbeat, and while they're running round the fountain, so to are you as this is the effect of the tilted camera angle.
There is a lot of pandemonium as the Soc.'s catch up with the boys and they struggle with each other. Eventually Johnny is struck and left on the ground while Ponyboy wrestles against the Soc.'s as they gather round him at the fountain. During this dispute the camera shots used have been very erratic, and when you view the frame of Johnny lying on the floor the director uses a low angle shot, both these sets of shots help to accumulate the feeling of involvement in the scene, the sense of their emotions, vulnerability, fear, anxiousness. Throughout this scene camera angles are used as a tool to involve the audience in the drama taking place, in the boys lives.
By now the Soc.'s have started to duck Ponyboy's upper body underneath the fountain water, there is then a close-up of Johnny's pocket knife being flicked open and you see the moonlight shine on its blade. This is a dramatic frame, young susceptible Johnny lying on the ground with this cold steel weapon, the audience knows he is scared for his friend and wants to help him, but the question is will he? This is what makes the scene more gripping.
Following on from this are shots of Ponyboy above and underneath the water. There is lots of chaos and disorder, the Soc.'s are enjoying this and there are many excited boisterous voices as they pour alcohol over Ponyboy while he is being dunked. The camera cuts to a shot of Ponyboy under water, his shouts are but gargles and the music and background noise is muffled so that you are truly following him underwater. As he is pulled back up the noise comes rushing back and the pounding of the music is heard while he continues struggling before being submerged again, this is repeated, heightening the drama. Johnny is then seen staggering towards the fountain, the camera cuts back to Ponyboy drowning underwater and the music reaches its climax as a pool of dark red envelops the frame. These last few shots are the most dramatic as the director has left the audience in suspense, the sea of red suggests blood - did Ponyboy drown? Was someone stabbed?
We are still at the fountain when the next frame appears. It is dark but gradually gets lighter and from a birds eye view you see three figures lying still on the ground. Everything is still; it is like the aftermath of war. There is a close-up of Ponyboys face upside down, he begins to sit up and the camera follows from his viewpoint, this creates a sense of reality, he is looking at Johnny and as he sits up the frame of Johnny is turned the right way up. Johnny is holding the knife. This is a good opening as everything is calm and eerie and even though we haven't been told what happened the night before we are allowed to make assumptions from the third body lying on the floor.
There is a low level shot of the dead body as you see Ponyboy being sick in the background - they are in a children's park after having killed someone. Reality kicks in along with the state of shock and horror. As they speak to each other their voices croak, the dead body is right next to them so that wherever they look they are always reminded. There is the sound of a train and a dog barking in the background, another reality jolt, they are in a neighbour hood and they will be found out and arrested if they don't get away. Their reactions to the murder makes the atmosphere more intense as they are worried and aware of the danger that now surrounds them, this leaves the audience feeling anxious.
The director of this scene created a good atmosphere of tension, fear and drama as the scene was cleverly directed as at all times. The director made it seem as if you were being involved in the drama by using the effect of different camera angles, so that you were looking at things and experiencing things from their point of view. Also the lighting and music helped to heighten the drama and fear factor. For instance the dark setting used along with the moonlight was effective as it highlighted Johnny's blade and the boys faces causing shadows, making shots more sinister. Also the music (which ran along most of the scene) helped to narrate the scene as it would grow bolder and more urgent and exciting during tense parts and more calm (yet still eerie) during calmer frames. I think the scene was successful and included a lot of drama and apprehension.
