Having said that, he does add in some things to increase the creepy atmosphere for the viewer. An example of this is his inclusion of the gibbet, which Pip runs past on his way to the churchyard. These increase the suspense for the viewer, as they will then be led to believe that there is going to be something to do with a criminal, and wondering what this will mean for Pip, as he runs past them. This is partly inspired by a later part of the novel, when Pip is fantasising about the gibbet, after stealing from Mrs Joe.
One other point to note is that Lean begins the main action of his film in the marshes, contrary to the beginning of Dickens’ text, which begins in the churchyard. This ensures that the viewer knows from the outset that the film is set, at least at the beginning, in a very remote area. Making the film seem more isolated also adds to the eerie atmosphere. By beginning in the marshes, Lean also shows through this, how Dickens makes the marshes seen symbolic to Pip, demonstrating the solitude of his childhood, which Lean does by increasing the importance of the marshes, as they are the first scenery the viewer sees.
Lean does not actually begin his version of the film with the marshes directly after the credits, but begins with a narrator reading from the beginning of the novel. The narrator is quite old and reads directly from Dickens’ text, in the first person, so one assumes that he is an older Pip. Lean does this so that the reader can understand more of Pip’s background, so that the opening scene is less confusing and they can have an idea of the character behind the terrified boy. This again could show that he is trying to be true to the novel, as it shows that it is in first person, and also gives the impression of an older Pip relating back events, which is the same impression given throughout the novel.
Also showing similarity to the novel, both directors cast young boys to play the part of Pip. However, it could be said that Jarrold, in his choice of actor, characterizes Pip better than Lean. In Lean’s version Pip has neat, blonde hair in a bob and seems to be wearing some sort of school uniform. He is also very well spoken, for example, he says, “Heaven strike me dead if I don’t!” and constantly refers to the convict as “sir”. Though this is taken from the novel, it doesn’t appear to show Pip’s character as an adopted son of a blacksmith well and does not allow the reader to interact with the character of Pip, his worries, fears and boyish attitude. Lean probably does this as he is worried about altering the novel, and wants to be as close to Dickens’ original as possible.
On the other hand, Jarrold influences Pip’s character to the viewer much more. His Pip looks a lot messier; he has long and untidy hair and is wearing dirtier clothes. His fear of the convict is demonstrated more clearly too, when he says “Mummy, Mummy!” This characterisation of Pip appears to fit the image of a ‘village lad’, soon to be apprenticed to a blacksmith, much better, and allows the viewer to understand Pip’s character and his place in society through the actor, whereas with Lean the inclusion of the narrator and more dialogue do this rather than Pip’s characterisation.
Also used to show characterisation and atmosphere are the camera techniques of both directors, which contrast to each other greatly. David Lean’s version is very static, with little camera movement, whereas Julian Jarrold’s version is completely the opposite, containing a lot of camera movement. In three minutes and fifty-five seconds, there are twenty-six changes in camera shot in Lean’s edition, and Jarrold’s version, which is only one minute and twenty seconds long, contains thirty-four changes in camera shot! Lean uses this to influence the viewer’s response as the viewer has more time to think about what is going on in each shot, thus they can understand more of the plot. Jarrold’s frequent camera movement makes the film more exciting to the viewer, because it suggests a build up of pace and character’s anxiety.
Additionally, close-ups can build up excitement and pace, and the amount of camera shots used by each director is worth looking at. Lean uses very few close-up shots, with mostly medium shots being used, such as the medium shot of both characters when the convict turns Pip upside-down. Using a medium shot here means that the reader can definitely see what the convict is doing to Pip, so the viewer can have no doubts as to what is going on, illustrating again how Lean wants the viewer to understand the storyline.
On the other hand, Jarrold uses a lot of close-ups, for example of Pip when he is hidden behind the grave. This makes Pip’s emotions clearer by showing his face, as well as making him seem more vulnerable and insignificant.
Associated with the amount of close-ups are other camera techniques, such as panning, tracking and zooming. Both directors use tracking of Pip, especially when he is running through the marshes or fields at the beginning of the section. This is obviously necessary, as he is running, so the camera would have to keep up with him, so the viewer knows what is happening. Jarrold uses some zooming effects too, for instance on Pip when he is running during the opening stages of the section. This makes the viewer more excited, as it likens the viewers to a predator, closing in on its prey, so the viewer can use this to feel more a part of the film.
As well as contrasting camera techniques, both directors have very contrasting paces. The pace of Jarrold’s version is extremely quick whereas Lean’s is quite the opposite. This is certainly shown in the lengths of both versions: to cover the same basic storyline, David Lean’s version is three minutes and forty-five seconds long, whereas Jarrold’s is only one minute and twenty seconds long! The steadiness of Lean’s pace means that the viewer knows and understands exactly what is going on.
On the other hand, Jarrold’s rapid camera movement and short version both lead to a very rapid pace. A specific example of this is when Pip is running and the camera is tracking him; it moves so fast that it is almost blurred. Such speed makes the viewer’s heart race; it makes the film much more exhilarating and full of suspense.
Additionally, a technique used by Jarrold to good effect to increase apprehension is at the very end of the extract, when it suddenly becomes a lot calmer, except for the fact that lots of geese suddenly fly off, making a lot of noise. The geese flying off after cutting suddenly from a different scene, which included a man towering over a small boy crying, “Mummy!” suggests that they were scared off, which makes the viewer think something terrible has happened to Pip, holding them in suspense until the next scene. This is a technique used in many films, to spare the viewer from seeing the gruesome attack, so the viewer subconsciously believes this to be what has happened in this film. However, this could be said to be misleading, as nothing of the kind actually happens, so Jarrold could be said to be misleading his audience, though it could be a double-bluff, meaning that he is purposely misleading his audience to increase suspense.
To make the viewer feel more involved with the film and to increase suspense, another interesting technique of Jarrold is his use of camera shots from his characters’ perspectives. When in the graveyard, Jarrold interchanges between the direct views of Pip and the convict. It means that the viewer can be aware of exactly what the two characters are thinking and doing, for example, it is possible to see precisely how the convict finds Pip. It also makes the convict look bigger and scarier, as the viewer sees him from Pip’s perspective, a low-angled shot. This means the viewer shares in Pip’s fear, as they see him through the eyes of a terrified small child, rather than as an onlooker, to whom the convict may not look as scary.
The view from the convict also influences the reader. It appears to pan rather randomly in odd directions, almost like amateur footage shot with a mobile telephone. This makes the convict seem more vulnerable, as it suggests that he is not fully aware of his surroundings, showing the viewer the desperation he has to find something, making the viewer feel a little bit sorry for the convict.
In conjunction with the views from the characters’ perspectives, Jarrold uses a sound effect that is worthy of note, which is the amplification of the breathing of Pip and the convict. This makes Pip sound more frightened, as one tends to breathe faster and heavier when one is afraid. It also aids the effectiveness of the views from the characters’ perspectives, as it makes it even easier for the viewer to convince themselves that they are the character, so it is easier to feel, with Pip, his terror.
Sound effects are another of the few things used by Lean to create an atmosphere for the viewer. He uses the effects of a creaking tree and a very loud, howling wind, which adds to the scary feel, because one associates wind with cold, and cold with ghosts and terror. However, some of Lean’s effects, such as the creaking of the tree, are much too loud and over the top, making it sound crude and removing its authenticity. This could be put down to the lack of technology at the time, though.
Along with these sound effects, Lean uses musical effects, though music is used to greater effect to demonstrate the plot than to increase any atmosphere The music in the opening credits is very grand and majestic, which sounds similar to music composed at the time Great Expectations is set, so the viewer knows when as well as where the film will be set, therefore it makes it easier for the viewer to make sense of the plot. The music gradually fades out to silence, which remains for the whole of the section. This means that the viewer is not distracted from the dialogue and can fully react to the plot. It could also be used as an eerie silence, used to build up suspense as silence can be linked to fear.
While Lean doesn’t use music to create much atmosphere, Jarrold’s use of music is much to the contrary. It starts very quiet, with an eerie feel, but builds up steadily, increasing suspense throughout the scene. A well-used musical effect in Jarrold’s version is the use of music to resemble a loud and very slow heartbeat. It sounds very much like it is a heartbeat in slow-motion, which makes the entire section of the film which it is played in seem to be in slow-motion. This makes it more exciting for the viewer as it adds to the chase feel, because the heart beats louder when one is running or scared. It also makes it more exciting as the heart is related to blood and death.
In conclusion, both directors have very different techniques to influence the viewer. There are many reasons for this. One of them is the technological advances that have happened between 1945 and 1999, so sound effects and camera techniques have become more effective. As well as this, over fifty-four years of cinematography, viewers have ‘greater expectations’ of how exciting and impacting the opening of a film should be, so Jarrold must use techniques to match the demands of his viewers.
Coinciding with this is the idea that directors are less concerned about changing novels in screen adaptations these days. In Lean’s version, the film was almost true word for word to the dialogue of the novel, whereas Jarrold hardly uses the novel at all in the opening section. In my opinion, it is a good thing that great books like Great Expectations are being made available to more people through films but directors must keep the balance right, to make sure they do not ‘dumb down’ the novel, as this can remove the novel’s value as a classic piece of literature.
In summary, David Lean and Julian Jarrold have very different versions to the opening of the film of Great Expectations. David Lean wants the viewer to understand the plot fully, which he does by including a lot of dialogue, keeping true to the novel, having a steady pace and not much camera movement, whereas Jarrold is the opposite; he uses almost no dialogue, a fast pace and a lot of camera movement amongst other things, to allow the viewer to experience the scary, tense and exciting atmosphere.
