Educating Rita - Explain how the director uses cinematographic techniques to realise the scenes which are not/only referred to in the text

The use of cinematographic techniques in Educating Rita can be seen in many scenes; one of these is when Rita's sister gets married. This mise-en-scene is not mentioned in the text, but I think that Lewis Gilbert included it as it clearly emphasises the importance of family and having babies in the working-class life. The camera is used in many different ways. There is an establishing shot at the beginning to show the viewer that it has been three or four months since the last scene and that it is now winter. The previous scene was the dinner party scene which was concluded by Rita saying "That's why I'm here and that's why I'm staying!" This represents her determination which strengthens as the film progresses.

The wedding scene is brought in with the diegetic sound of church bells ringing. Rita's sister, Sandra, is surrounded by children and family which is again symbolic and is presented as a traditional wedding with the non-diegetic 'Wedding March' playing. In front of the camera when the wedding photos are being taken, everyone is trying to put on a happy, care-free front, even though there are problems underneath. Rita is sandwiched between her father and Denny. The close-up of her father shows the working class values and their ideas represent exactly what Rita wants to move away from. Her father keeps telling her how proud he is of the fact that her sister is barely married and already four months pregnant. In reply to this Rita say "overflowing with innate sensitivity and charm". Rita's response is very well worded which shows her gradual progress towards the world of education. At the party after the wedding, there is a close-up shot of the newly married couple showing how different Rita and Denny's relationship is to theirs. The camera deliberately, once again, focuses on children, some sneaking sips of alcohol, and others as bridesmaids. This is done to constantly remind us about the significance and value of children in the working-class culture. Lewis Gilbert has created this for a purpose as it has absolutely nothing to do with the text. Gilbert uses a full shot of Denny and Rita dancing alongside the other couples. This shows Denny's comfort in this atmosphere and Rita's sullen face and discomfort at the same time. There is a shot of Rita's father frowning to show that he is not at all happy with Rita's choice to pursue her education. As Denny issues his ultimatum to Rita, the camera moves away from Rita, leaving her an isolated figure. This symbolises that Rita is now drifting away from everyone who she used to consider her own. The end of this mise-en-scene is marked by the wedding cake being seemingly wedged between Rita and the audience; Rita being left amongst the hall of dancing couples. She is there but also not part of it. From Rita's expressions, we can see that she regrets her broken marriage but knows that she has made the right decision.

Another scene which uses cinematographic techniques successfully is the dinner party scene. This is mentioned in Willy Russell's play but in the film it is shown in more detail. This is a significant scene as this shows that Rita is still a half-caste. The camera presents this mise-en-scene as a series of short edits linking Frank's middle-class dinner party scene to the working-class pub scene, and this highlights Rita's two very different worlds and how she is trapped between them. Rita has been to see a Macbeth performance in the theatre which is her first real success in the world of education. This prompts Frank to invite her into the middle-class social environment. In an attempt to fit in with the academics at Frank's house, Rita tries on many different outfits before she decides which one to wear. We see Rita through her reflection in the mirror; we see her as she sees herself and not the real Rita. Rita also tries many different phrases and accents while trying to appear someone from a middle-class background, but to the audience they all seem false. Lewis Gilbert has chosen to incorporate this as he wants people to know that Rita hasn't transformed fully yet; this is a front that she is putting on. Each time she looks in different mirrors, which she also thinks might make her see herself in a different light. Rita is also unsure whether she should smoke or not. Lewis Gilbert has included this mise-en-scene to show that Rita does not know what wine to bring, what to wear or what to say. Rita comes down to the diegetic sound of football scores. Denny is a shown in a long shot in the distance, sitting down, a small, lonely figure, while Rita is standing up. This symbolises Rita's determination, and the fact that at this point in the film it is stronger than Denny's resistance to her education, and that she has made up her mind. The camera focuses on Denny and Rita so that the viewers are able to see that the improvements that Denny made to the house haven't improved their lives. There is a fixed shot as Rita moves, again representing that she is moving away from Denny and the working-class culture.

Lewis Gilbert shows that Rita's journey is going to be a difficult one in lots of different ways. When Rita is calling a taxi, it doesn't stop and at the same time the camera captures her as she gets splashed and her clothes get ruined. When she is on the bus, it misses her stop, and even though she is not finding this easy, she still wants to carry on. In a way, Rita's journey to Frank's house encapsulates her journey of acquiring an education.

When she reaches Frank's house, and looks through at the party, Gilbert uses a point of view shot. This close up of Rita's face shows that she is not ready for this step as the non-diegetic theme tune plays in the background. The high-angle shot used, signifies that Rita is feeling small, unsure and insignificant. The diegetic sounds of the academic middle-class talking shows how different Rita's two worlds are. There is a fixed shot of her running away from Frank's house which shows why she cannot join the middle class at this point. Rita, realising that she has not progressed enough in her education and in confidence, scribbles Frank a note saying 'sorry couldn't come', which could mean that she is no longer able to continue. Rita's journey back is just as difficult; it is still raining and we can hear the diegetic sound of thunder. When she reaches the pub, there is a different kind of diegetic sound as her family and friends sing along to the jukebox. As Rita looked in at the dinner party, she looks in at the pub, and through the cameras close up we can see that she doesn't want to be there either. Through Julie Walters' facial expressions, Rita does not need to say how she is feeling; we can see this through the full shot of Rita and she can't go backwards.

Even though Lewis Gilbert uses only a small number of cinematographic techniques, and not the same ones as the big blockbusters of today, he has used them well to create a successful and effective yet realistic film out of Willy Russell's play, Educating Rita. They help to address and emphasise the issues and problems which Lewis Gilbert feels are important.