PUNCH DRUNK LOVE
Directed by: Paul Thomas Anderson
Prepared By: Group Catwomen
Ayse Kasapoglu
Asli Leman Unlu
Fulya Mutaf
Begum Keles
Tugce Telli
INTRODUCTION
"" is above all a portrait of a personality type. P.T. Anderson utilizes many techniques to synchronize the experience of the protagonist, Barry, and the viewing audience, in order to effectively immerse the viewer in the universe Punch Drunk Love inhabits. Barry Egan has been damaged, perhaps beyond repair, by what he sees as the depredations of his domineering sisters. It drives him crazy when people nose into his business. He cannot stand to be trifled with. His world is entered by alarming omens and situations that baffle him. The character is vividly seen and the film sympathizes with him in his extremity.
Music was an important mise en scene element through out this film. Music in this film plays two main roles: representing Barry Egan's crippling,sometimes violent, anxiety and
I.SCENE
First scene starts with fade in to show the contrast between the large area and the small desk which is located in the corner of the large empty area. A wide angle lens is emphasizing Barry’s smallness in it. Limited light emphasizes on Barry, and the limited light and limited colour will be important during the movie to show the abstract meanings. The first sound of the movie is heard by the Barry’s phone conversion with the Healthy Choice's representative to take advantage of the loophole in the promotion campaign of the firm. The phone calls are important during the movie which show the isolated Barry from the community and show the way of communication with people. He expresses himself clearly via telephone then contacting with face to face. The shade of blue on the warehouse wall and on the suit Barry wears are nearly same colour. Concept of the colour is an important mise en scene fort his movie, that is why some basic colour is used during the whole movie. While he is on the phone he hears something.
When he hangs up he picks up his thermos and walks across the room to understand the reason of the sound. The camera follows him into what seems like complete blackness while he is walking from the corner of the room to the door. Then the abrupt, rackety sound of the large metal door opening upward fills the soundtrack, and we see the dirty blue haze of a Los Angeles dawn. Barry shuffles outside and the camera swoops around his head, making sure to capture the tranquil ambiance of the morning atmosphere, and looks in the direction Barry's looking. The parking lot is out of focus, but after a few beats, the focus pulls back and we see everything that Barry sees. He looks down a long alley, which leads to a main road. It introduces the audience to its unorthodox presentation of its maladroit main character, startling noises, quirky humor, suggestive lighting, alternately static and sweeping camerawork, and complete spatial reorientation. Barry is then shown at the mouth of the driveway, looking out at the road. The color of his surroundings has become dull and darker than they first appeared. The street is deserted, and the camera’s perspective is now assumed to be Barry''s. As the ambient noise dies down, the audience now views the street from the protagonist''s point of view, fixed on two cars approaching from the distant left corner of the screen. Suddenly, one flips without warning, loudly tumbling closer to the viewer as the camera follows it down the street. The accident, a taxi immediately pulls up to the driveway, leaving a harmonium. Stunned and confused, Barry walks up to it and examines it for some time. Once more, the ambient noise fades away, and he is shown in an extreme longshot from the other side of the street. Suddenly, a truck noisily passes by, prompting Barry to quickly pick up the Harmonium and run to his office.
