Tom Robinson’s trial is one of the most famous scenes from ‘To Kill a Mockingbird’ and forms the centrepiece of the film. It is especially poignant in that it's filmed in black-and-white instead of colour, which was the norm for Hollywood films at that time. The choice by director Robert Mulligan to go monochrome not only makes the cinematography a treat for the eyes, but it makes a subtle statement on the issue of racism within the story. Though things seem black and white, there are numerous shades of grey that have to be taken into account to reveal the whole picture. Nothing is purely black and white.
The scene opens with people anxiously hurrying into the courthouse, with the camera focusing on the three children – Jem, Scout and Dill. This is to show their vulnerability amongst the crowds and also that they seem out of place as they are the only children. Once inside they meet the black Reverend Sykes who leads them up to the ‘coloured’ balcony as there are no other seats left. This is deeply symbolic as his posture is one of care and consideration which is contrasted sharply with the courts treatment of Tom Robinson later on.
Next comes a long shot just before the trial is about to start. Everybody is scurrying to their seats as labouring folk intermingle with the suited in the desperation to find a seat in the sweltering courtroom. In the centre of this shot is Atticus; calmly watching, waiting for the trial to begin. He is dressed in a gleaming white three piece suite. Not even the unbearable humidity can steal an inch of composure from him. The fact that he is dressed like this depicts his true dedication, professionalism and defiance to compromise, no matter what conditions he is faced with.
The next shot pans the scene and is then followed by a close up of the black congregation in the gallery. This close up shot suggests intimacy between them despite the stark and deliberate contrast between the black adults and three white children. It is made obvious they are at ease amongst each other and the way they interact suggests warmth between them. Immediately after this we see Tom Robinson being led to his seat. The backs of the jury are evident here to give the impression of his vulnerability under their intense scrutiny. He has been chained and looks bemused and bewildered.
Following this is an over the shoulder shot of the black gallery above Atticus and Tom. This is significant as it shows the black gallery are clearly focused on Atticus – he is their representative, their only hope. Many of the camera angles used for Atticus are low angle shots. This fact seems important for two reasons. First, we see Atticus the same way the children would seem him. In other words we are forced to look up at him in the same way Scout and Jem would. Second, the angle enhances the sense of stability we feel from Atticus and helps support the fundamental strength of his ideas.
As the jury rises Atticus is the focus of our attention, quickly followed by a close up of Jem. This is a very powerful and intimate shot showing both father and son and the profound effect the verdict will have on both of them. This is followed by an over the shoulder shot of Bob Ewell being questioned by the prosecution. The importance of this shot is that it draws attention to the dialogue, the most crucial aspect at the moment. In this show we also see the relaxed posture of the judge as he slouches in his chair giving the impression he is disinterested and has made his mind up already.
Mise-en-scene is a theatrical term relating to everything that appears before the camera, such as the setting, costume, make-up, the use of figure, movement and expression. Subtle changes in these arrangements can alter the way the viewer sees and perceives the different characters and their actions.
This is evident when we compare how the characters are dressed. Compared to the perfectly groomed Atticus we can see Bob Ewell dressed in sweat-stained overalls, no different than how he would dress for work on the farm. However, his daughter Mayella appears to be much cleaner, as Scout picks up on. She notices that Mayella’s skin looks naturally clean compared to her Fathers, which appears much redder from an attempt to remove the layers of protective dirt the night before. Mayella is dressed in a frilly dress and is wearing a ribbon in her stringy hair. She is also clutching a straw hat in her hands as she tentatively makes her way down the aisle. Her voice is timid and she appears almost too fragile and scared that she can hardly manage to speak. This whole image reflects a very feminine and innocent character, not the well-built, self-sufficient woman who is responsible for most of the labouring work at her home.
That the trial scene creates such an atmosphere is testimony to the director’s skill, because there is no real suspense; even Atticus knows it is a foregone conclusion yet he still listens attentively, an air of incredulity about him. No matter what evidence is presented at the trial, the racist jury would never, under any circumstances, acquit a black man accused of raping a white woman. The reader knows that Tom Robinson will be found guilty, so Mulligan locates the tension and suspense elsewhere - in Atticus' slow but steady dismantling of the prosecution's case. Jem, still clinging to his youthful illusions about life working according to concepts of fairness, doesn't understand that his father's brilliant efforts will be in vain. He believes that the irrefutable implications of the evidence will clinch the case for Atticus. When Jem says, “We've got him,” after Bob Ewell is shown to be left-handed, the viewer knows better. Yet despite this the viewer still eagerly anticipates the upcoming verdict and the profound effects it will have on everyone in the courtroom.
