The 1999 version has a lengthy amount of time when Pip is wondering around the room looking at certain objects, building up mystery and tension, which Jarrold misses out and skips from Pip entering straight to his conversation with Miss Havisham. This “added” section has a mixture of medium close ups, close ups and extreme close ups, but all the way through the shots are positioned a bit higher than Pip so it gives the audience the idea that somebody has a watchful eye on him, and this, to a certain extent, is almost creepy, certainly builds up mystery and also borderlines on scary. For example, when Pip is walking past the dummies the camera is high up so it is as though the viewers are looking through Miss Havisham’s eyes. The other main camera uses are when Pip sees Miss Havisham in the mirror, she looks virtually ghost like and it is almost scary, but just before she appears, its looks again as though he is being watched, and as Miss Havisham waves her arm to tell Pip to play, there is a close up of her arm to show her dominance and shortly after a close up of Pip’s face to show the confused reaction. This section of the scene is very clever camera work by Jarrold, and really does freak the audience out.
Both films use shot types, framing, camera angles, lens movement and editing differently, but there a number of specific differences between the two. When the two films join back up, there are many different camera uses and consequences of such. In the 1946 version, there is a long shot as Pip walks up to Miss Havisham and a medium close up as they talk to one-another and as Pip advances further, the camera moves in an arc to keep him and Miss Havisham on the picture at the same time. When they are closer, it allows an even closer shot than before of their faces and therefore portrays both expressions and the reactions to each others expressions individually. An addition to this version of “Great Expectations” is how the camera zooms in on a cobweb covered bible to show the lost faith of Miss Havisham, and explain to the audience that something terrible has happened earlier in her life to make her do so. A two shot of Miss Havisham and Pip is on screen, and, as Estella joins the camera “slides” horizontally to follow her in. As Estella whispers in Miss Havisham’s ear there is a two shot to portray Miss Havisham’s expression. When Miss Havisham asks Pip his opinion of Estella he is made to whisper it in her ear but as he does so there is a medium close up showing all three expressions at the same time, i.e. Pip’s horror as Miss Havisham tells Estella what he has just said and Estella’s delight of hearing such approving words. As Pip approaches the gate to go home, there is another fade in to show more time has passed by. This can be compared with the 1999 version which has a much briefer conversation between Pip and Miss Havisham as much time is spent when Pip walks around, but, when Pip is whispering about Estella, the camera zooms in on Estella’s face to show her reaction after being praised by Pip. Finally, when Pip and Miss Havisham are talking, there is a two shot of them to show each reaction as each person says something.
There is only one similarity between the two films in the musical techniques which occurs when Miss Havisham asks to “see some play”, when both films have a small crescendo and both use many notes in a short time which really makes an impact. There is a large build up in questioning, as if to ask, “What is your fancy?” Making this moment in the film very suspicious where Miss Havisham could either be a complete psychopath with a sick bordering on perverted mind or just an over-interested old woman.
Both films use music to build suspense but the 1946 version uses considerably more music than Jarrold, however, the music Jarrold does use is very effective. As Pip enters the room in Lean’s version, there is an enormous crescendo on the brass and strings which gets louder as the door opens and more of the room is revealed and only quietens when Miss Havisham talks, and increases further until you actually see Miss Havisham, when it comes to an abrupt halt, this music builds tension and really “gets the viewer going” because nobody has any idea of what is lying behind the door. There is total silence as Pip and Miss Havisham talk, making the scene spooky and totally unpredictable. As Miss Havisham puts her hand on her heart and makes the viewer feel sympathetic towards her, there is some sad, depressing music on the strings and a small trill (alarm sound) to increase this potential sadness. A very delicate, melodic piece of music is played on the woodwind until the end which creates a sense of confusion and slight bewilderment.
This is in contrast with Jarrold’s 1999 version where a quiet, magical, mysterious piece is played using a piano which emphasises the questioning aurora of the room, i.e. the room used to be so beautiful and involved in the happiest day of a life and now it is almost discarded and uncared for. As the camera shows the purposely stopped clocks, a cymbal is hit gently to emphasise them and this noise is weird which is a perfect match with the clocks. As Pip opens the jewellery box, the music completely stops which makes the viewer expect Miss Havisham to appear at that point but Jarrold keeps us in suspense, and keeps us hanging on the end of our seats for a little longer. From the point of Pip entering to him opening the box, there is a constant drone in the background which makes the viewer think another person is present besides Pip; this coincides brilliantly with the high camera shots mentioned in the last paragraph. When Pip is looking in the mirror, there is a roll on the kettle drums to create a sweeping sound as Miss Havisham appears. A very ghost like noise, for a very ghost like person. The notes on the piano get quicker at this stage, as does Pip’s heart rate and leaves us with the question, “Is Miss Havisham going to shout?”
Lean and Jarrold use a few visual effect similarities with almost identical characteristics. The main similarity in both extracts is that lots of shadow is used to create corners that can’t be seen and cast shadows that add to mystery and makes the viewer question what is hiding behind the cover of darkness.
The 1946 version takes a much darker, silhouetted approach, to bring out Pip’s pathetic appearance in comparison to the room. Lean creates a silhouette of Pip as he enters, from dark to light as he walks into the room, showing Pip as a patronised young boy, lost in a huge and scary room, again, Pip looks patronised by his silhouette, at this point the spotlight focuses on Miss Havisham, portraying her as the main part of the room, and then jumps to Pip’s face as he starts talking. As Estella enters, she walks into the spotlight. When the card game appears on screen, the spotlight focuses on Miss Havisham even though she doesn’t speak; this is done for three reasons. Firstly, to show Miss Havisham’s expression when Pip is being insulted. Secondly, to prove that Miss Havisham is still the most important person in the room even when she has no participation in the main activity (the card game) and the light draws the viewer’s attention to this. And finally, it adds to the dominance of Estella and Pip, that she is that much greater she must be the focal point.
This is in contrast with Jarrold’s ideas, which predominantly has brighter lights and a lighter atmosphere, however, the amount of shadow he does use is very effective. Jarrold begins by putting a spotlight on the door before Pip enters, this is simply to point the door out to the audience, and show it is the entrance. The room’s interior is quite dark and lit only by candles; this creates a vast amount of tension, which is added to by Pip’s position in a dark shadowed area. Pip creates long shadows, making the whole process of fumbling around the room a lot scarier, elongated, twisted shadows build up creepiness and mystery. When Pip sees Miss Havisham, full light is on both of their faces to show both reactions at once. When a long shot shows Miss Havisham and Pip fully, Pip is stood in her shadow which shows power over Pip and makes a very daunting image of control. Pip’s face is only half lit up which again creates tension as we don’t totally know what facial expressions Pip is making. When Miss Havisham tells Estella what Pip said about her, the spotlight zooms onto Pip showing his mortified and embarrassed expression and how he reacts when he realises he has been used. Estella is shown in the dark during this as she is not involved in the conversation.
I think both extracts build up mystery, tension, confusion and audience questioning superbly. Both have used their independent filming techniques to create as good an interpretation of the book as possible and although both are very different, both get the important points across well. Each scene has portrayed each character as they should be, i.e. over-confident, snobbish Estella, unconfident Pip and powerful, intimidating Miss Havisham. The rooms appeared totally different, Jarrold’s interpretation was much more glamorous and pretty at one point and Lean’s was dull and old, and, I agree more with Jarrold, the room, like Miss Havisham, was beautiful at some point but is now messy and discarded, and Jarrold shows this perfectly. Miss Havisham appeared much stricter in Lean’s version, and I have to say I don’t agree and think Jarrold’s Miss Havisham was better played. Although very different filming techniques were used, both portrayed all the necessary emotions very well.
Both directors use totally different approaches in all aspects, but it is necessary to look a little deeper into the reasons for using each option. Although Jarrold uses a lighter approach to shadow techniques and his silhouettes aren’t as bold, the effects put across to the viewer are very strong and portray the correct atmosphere for Pip’s belittlement. The music used by Jarrold is minimal compared to Lean’s interpretation but the delicate tune is more of a background noise that increases tension to a greater amount than a full orchestral approach, it just sits in the back of the audience’s mind and is almost spooky.
