There are close-up shots on teddy bears and bedraggled rabbits, lying on top of rubble that used to be somebody’s house. This evokes concern because they represent the young children who have had their lives wrecked and their possessions lost. Showing children being affected is always a good way to get the audience to feel sympathy.
The scene then goes on to focus on Derek Bentley’s family. His mother is cradling her dead son in her arms and weeping. A close up shot shows her agony. The camera then shows piles of rubble/bricks being lifted away to reveal a disorientated and injured Derek Bentley. He is rocking his head from side to side and bleeding from the skull. Another close up shot is used to show the full extent of his injuries. We feel sympathy here because the director makes it clear that Derek is a very ill, young boy. A high angle shot is used to show his vulnerability.
The scene then switches to show another night time shot, with Derek seven years older. He accompanies two friends who are breaking into and causing destruction in a hut. However, in the establishing shot he appears oblivious to the wrongness of this action. When the occupant of the hut interrupts the boys they all escape apart from Derek. This shows how he is not as quick or alert as his friends and makes us feel sorry for him. The occupant shines a bright torch in his eyes and Derek begins to have an epileptic fit. He takes a step back and slides down against a wall. A close up shot shows his eyes rolling back. This makes us feel extremely sorry for him: he is obviously an ill boy with low intelligence. Mournful music is played and this compounds the effect.
Derek Bentley then went to an Approved School as a consequence of being caught that night. It was decided by the Governor this was not the appropriate place for him. The scene starts with a long shot of Derek sitting alone, looking disturbed and anxious in a dark corridor. This immediately makes the audience feel protective towards an isolated character. The scene then switches to a large hall, with an ongoing meeting between Derek’s dad and the Governor of the Approved School. Derek is being sent home which is “highly unusual.” The Governor who feels Derek is “easy prey to bad elements” because of his low intelligence and thinks Derek cannot be rehabilitated there.
The next scene is Derek several years on from leaving Approved School. He has been living in the same musty room for a year. His sister Iris, of who is very fond and deeply caring of her younger brother jokes, “You could smoke kippers in here!” The director makes it very obvious that the pair are very close. Iris tries to persuade Derek to finally leave his house to buy a popular song he likes – “Wheel of Fortune.” It is going to be their secret, so their parents don’t make a fuss. The brother sister chemistry and the way they laugh when Iris pretends to make his tortoise smoke allows the audience to develop empathy for the family – Iris just wants her brother to be happy despite all his troubles. As an audience we appreciate such decent family values.
Once Derek has been out and purchased the CD, he plays it whilst working on a project in his garden shed. A medium shot is used and we are drawn to Derek because he seems so innocent and vulnerable, almost like a child working on a task.
At this point, Derek seems to be regaining his independence, much to the joy of his family. He takes the dogs out for a walk. Whilst walking near the railway line, Christopher Craig appears and startles Derek. He pins him against a small hut and using a high angle shot, the director encourages the perception that Derek is helpless and we want to be there to defend and help him. Although this encounter doesn’t last long, (Christopher Craig, soon disappears), it has clearly knocked Derek’s already low self confidence.
In conclusion the director successfully makes his audience feel sympathetic to Derek. He is portrayed as lacking self esteem and living in fear of causing trouble or upset. The audience feel pity for this seemingly ill young man. After the opening scenes, the audience will want to keep watching to see how Derek gets along in his life. The director, Peter Medak uses a variety of props, camera angles and music to help us feel sympathetic towards Derek Bentley.
