The later version of the film used soft music at the beginning which gives the scene an eerie feel. This is also an effective use of music because it makes the audience feel uncomfortable as they watch because they get the impression that something is about to interrupt. In the later version a drum is also used when Pip is being chased by Magwitch. This could be interpreted as Magwitch’s footsteps as he chases Pip or the heartbeat of Magwitch or Pip. The loud drum beats make the audience anxious. There are also high notes played when the boy is running home and this gives an eerie feel to the images. It is effective because it continues the atmosphere which has originally been created. It also manages to keep the audience’s attention as they are wondering what has happened and may not be focusing on the screen and the piercing high notes would bring their attention back as well as continuing the mood.
Overall however, I believe the earlier version directed by Lean to be more dramatic because not only does the sudden change in sounds capture the audience’s attention, but the music used can create an idea in the audience’s mind that the story will be joyful. The transition heightens the emotion and connection the audience feels because their perspective of the film has been changed so dramatically and quickly.
Lean’s version of the film uses a lot of dialogue and this allows for some subtlety of characterisation. The dialogue lets the audience learn about the character’s and as the audience knows more about the characters they become more engrossed in the plot. The later version of the film uses only one bit of speech when they have Pip say “Mummy”. Although it is a striking and poignant moment it does not allow any depth to be added to the characters. Magwitch is simply portrayed as an evil man chasing a little boy while in the Lean version we get to learn a little more about Magwitch and can empathise with him more. The 1946 Lean version incorporates both characterisation and maintaining the audience’s interest (done through dialogue rather than just one dramatic word). Therefore, I would argue it is more effective.
The sound effects used in both films are dramatic and each has moments where the sounds used are more effective than the other film. For example, Lean’s film makes use of trees creaking, wind whistling, a short sharp scream and loud lonely bird calls. These sounds build up the effect of loneliness and solitude surrounding Pip. This is effective because it allows the audience to become emotionally attached to the character which makes it more dramatic when Pip meets Magwitch. On the other hand, the 1999 version of the film makes use of heavy breathing and very loud sudden bird calls. These sound effects are mote dramatic than the other film’s effects because the birds and heavy breathing are very loud and upfront rather than subtle. They really add to the scene and so I believe both the films have equally effective sound effects.
A heavy use of symbolism is evident in both films. In the Lean version some symbolism used includes the book at the beginning. This represents that a story is about to be retold and the pages of the book turning suggest that the audience are being immersed into a story. The book may also be a subtle tribute to Dickens from Lean who acknowledges that the film is based on a novel. In fact, Lean tries to remain faithful to some of Dickens’ descriptions such as the horizontal lines in the sky. The shot of Magwitch’s dirty skin is also an interesting use of symbolism. This is very effective because not only does it introduce us to Magwitch’s circumstances but it also helps develop an alternate side to him. The dirt on his skin not only suggests that he is different underneath but also shows that he has been through a lot. The contrast in colouring between Magwitch’s dark hand and Pip’s pale skin also reiterates how Magwitch is more evil and Pip is vulnerable. It is very effective because it has many purposes and is done very subtly.
There is also symbolism in the later film and an interesting example is the birds flying in the sky. The quick transition from Pip’s face to the flying birds suggests to the audience that something terrible is happening. The timing of the cut suggests that the birds’ caws are covering what would be the boy’s screams. There is also the symbolism in that birds are free and can fly away from trouble while Pip is limited and can not get away so easily. I would argue that there is more important symbolism that has more purposes in the Lean version because there is a tribute to Dickens and it is used to develop the characters and plotline while the later film mainly uses symbolism for dramatic effect only.
One way in which the earlier version is very good is in the use of the camera. One place where it is very effective is when there is a long shot panning behind a tree in a graveyard it is possibly a point of view shot. This not only sets the scene and establishes the background due to the long-shot but also creates the feeling that the audience are hiding and watching the boy. This makes them wonder what will happen to the boy as the audience will not know at this moment whether the character whose view we are taking has good or bad intentions.
There is editing where there is flicking from one shot to another and this builds tension and creates confusion. This is used in the dialogue between Pip and Magwitch to show the urgency of the situation. Between this rapid editing the shots are mainly extreme close ups of Magwitch’s face to create fear and close-ups of Pip so his emotions are very clear to the audience. The 1946 film has a lot of variations in shot however; the 1999 film mainly uses point of view and mid-shots which are interesting because they allow the audience to stay close to what is going on. Yet the variety in the Lean film keeps the audience’s interest engaged.
There would not have been a choice at the time the film was made but because the film is in black and white it is often very striking as the black white and grey seem minimalist but they still strongly contrast. Lean uses the black and white to create stark contrasts in the sky and background to emphasise the eeriness and loneliness of the setting. So although he can not make full use of the colour that the later film can Lean uses the contrasts in symbolism.
Overall, I would say that although both films have very good openings the earlier one has more ways that make it a better introduction to the story as a whole. Generally I feel that the Lean film has shots that allow for more characterisation and development of plot while also making the vital dramatic impact that is imperative to retain the interest of an audience.
