The Diving Bell and the Butterfly

OVERALL LOOK:

In the film The Diving Bell and the Butterfly, directed by Julian Schnabel, the cinematographer, Janusz Kamiński, does an outstanding job creating the experience for the audience to the view the movie through the mind and eye(s) of Jean-Dominique Bauby. Jean-Dominique Bauby, Jean-Do as referred by his friends, suffers from locked-in syndrome, (almost fully paralyzed-- only communicating by blinking through his left eye), as a result of a massive stroke. Through this film, Kamiński won several awards including "best cinematography" in Satellite Awards, Boston Society of Film Critics, and Los Angeles Critics Association, in addition to nominations for "best cinematography" for the 80th Academy and 33rd César Awards-- and it is obvious why. 

The professional way Kamiński shifts from close-ups and blurry images or realistically makes it seem like the audience is Jean-Do by bringing the audience through his sight and voice, accurately portrays the artwork of a great cinematographer. The use of long takes while in the hospital setting, long angle camera shots and close-ups when in contact with other persons, and tilts and pans of the camera to vividly exemplify Jean-Do's POV, contributes not only to the overall look of the film but also the emotion of the film. As a viewer, I also felt "locked-in" because I was able to see what Jean-Do was seeing and hear what Jean-Do was saying but because the hospital staff and his visitors were not able to accurately communicate with him, their responses of repetition, slow-talk, and sad facial expressions also made me feel helpless.

IMAGES:

Most of the film is shot through Jean-Do's point of view-- his left eye;therefore, many of the images reflect his action and dialogue. However, through film-clips of imagination and memory the audience is able to experience Jean Do's story and emotions, rather than only experience his current life. Jean-Do says that the two things that aren't paralyzed are his imagination and memory. For example, during scenes of his imagination we are take into a shot of glacier chunks falling apart and another image of a deep sea diver; therefore, exemplifying his helplessness... uselessness and failure. In addition, the story builds up to the last scene of his film where he acquired his stroke-- a memory -- these images create the idea that Jean-Do's happy, active spirit is still present through his disability.

SHOT LENGTHS:

Because the main objective of the film is shot through the eye(s) of Jean-Do, many of the shots are long shots. The use of long shots helps demonstrate the pain that Jean-Do is going through. For example, because Jean-Do is unable to respond but is fully aware of his surroundings anything less than a long shot would not be able to fully capture the frustration that many of the characters are experiencing. However when looking back at past memories or shifting to imagination, the shot lengths are shorter, showcasing the idea that Jean-Do is able to switch from reality to imagination and memory, but only for a brief moment.

SHOT TYPES:

Much of the film uses Extreme Close-Ups (ECUs) because of the point-of-view through Jean Do's eye. The use of ECUs helps create the idea that the audience is seeing exactly what Jean Do is seeing. However, the shots ECUs, they also go in and out of focus, showing the difficulty Jean Do has (such as focusing) because of his locked-in syndrome. While conversing with the doctors and therapists at the hospital, they are shot as ECUs in order for the audience to feel like they are locked in like Jean Do as well as switch from blurry to clear images to clearly demonstrate the frustration and much needed patience of Jean Do.

CAMERA ANGLES:

Because The Diving Bell and the Butterfly is primarily told through Jean Do's point of view, much of the camera angles are low angle shots. The use of low angle shots in the film shows Jean Do's feeling of inferiority and superiority/importance of the hospital staff and visitors.


However, in this film still of Jean Do's memory of driving while still healthy and successful, he is seen at a high angle, demonstrating that he was once a powerful figure. 


COMPOSITION:

Due to the unstable atmosphere and point of view being Jean Do throughout most of the film, the elements within the frame are arranged in a less "painterly" composition and do not reflect the rule of thirds. However, when seen through an outsider's point of view or when revisiting memories, the compositions are balanced in a way the conforms to the rule of thirds.


CAMERA MOVEMENT:

Although much of the camera movement is not stable, somewhat resembling a homemade documentary, it helps to portray the insight of Jean Do's point of view. For instance, the unstable camera movement exemplifies Jean Do's difficulty of sight and the his new unstable lifestyle. In addition, there is also usage of tilts and pans during the film, which exemplify Jean Do's different point of view of the world after his stroke. Before his accident, when showing memories, the camera is slow moving and includes panoramic camera movement, demonstrating the anticipation leading up to his accident and appreciation he had for the world he once "lived" in. However, the movie starts to become more stable as Jean Do learns to live with his condition and begins to learn that his life still exists. For example, at the beginning of the film much of the doctors and therapists move in and out of the frame but as time progresses Jean Do is more focused as well as, determined to continue to succeed in his life.

CINEMATOGRAPHY STYLE:

I believe that throughout the whole film the cinematography calls attention to itself. Kamiński does an excellent job balancing his untraditional style that others may feel are too out of their comfort zone. For example, the blurry images still create balance although they are not in traditional cinematic clarity. In addition, this film still of the inside of Jean Do's eye calls attention to the audience because it is not a familiar image or normal view; however, the image itself is very intricate and realistic.  These intentional uses of different cinematic styles portrays the director and cinematographer's success in helping to uniquely portray a first person narrative. 

What's the point of insurance?

          Imagine falling in love with someone and doing anything you can to be with that person. But after devising a cover up for the murder of her husband you and her committed in order to be together, you find out she never really loved you back… and she tried to kill you—a true Film Noir. Director, Errol Morris, describes great noir films as films about fall guys,

 “a person who finds himself caught in a net, the more he struggles, the deeper and deeper he becomes intertwined in a nightmare.”

 In Double Indemnity, directed by Billy Wilder, Walter Neff (Fred MacMurray), an insurance representative, digs himself into an insurance fraud and murder scheme in order to be with Phyllis Dieterchson (Barbara Stanwyck), a woman he fell in love with and the wife of one of his company’s customers. As Mr. Neff falls deeper and deeper into mischevious situations in order to be with Mrs. Dieterchson, the ending reveals Mrs. Dieterchson as a selfish woman who never really loved Mr. Neff and devised plans for her own well being. Director Errol Morris also states,

 “The Great Noir poses the question, Why me? Why is this happening to me? In the very dark answer that it provides, almost unacceptable, for no reason… no reason at all.” 

After working with one another for 11 years, Walter Neff and Barton Keyes (Edward G. Robinson), develop a close-knit relationship and a trusted bond. After investigating the death of Mr. Dieterchson, Keyes, the manager of the insurance company, states that Mr. Neff would never have anything to do with the murder because not only did he believe that Mr. Neff and Mrs. Dieterchson not have a relationship, but he also states that because they knew each other for so long, it wasn't Mr. Neff’s persona to commit a devious crime; therefore, exemplifying the idea that there is no explanation for why Mr. Neff was caught in this type of situation and just had bad luck. 

"The classic femme fatale, to me, is a woman that's getting the man into bed and then into trouble... that's the kind of character that people never forget. They love to hate. They often refer to my eyes as bedroom eyes and that doesn't fit for the "goody-goody" wife or nice girlfriend that's tending the home," Maries Windsor, actress. 

Film noir did not only go against traditional Hollywood happy endings, but it also contradicted the modest image of a woman by creating the femme fatale. 

In Double Indemnity, Phyllis Dieterchson portrays the typical femme fatale by first seducing Walter Neff (getting the man into bed), then convincing him to take part in both a murder and an insurance fraud (getting the man into trouble). When Mr. Neff and Mrs. Dieterchson first met, Mrs. Dieterchson is seen at an upward angle, wearing only a towel, and Mr. Neff, wearing a business suit, is shot at a downward angle; thus, providing visual dominance as described by Janey Place in the documentary, Film Noir. When Mrs. Dieterchson came down the stairs to talk to Mr. Neff, Mrs. Dieterchson was wearing a tight dress and carried a seductive voice. Days later, Mrs. Dieterchson came to Mr. Neff’s apartment by herself and told Mr. Neff that she loved him and wanted to kill her husband; therefore proving to be an assertive female figure. At the end of the film with the result of Mrs. Dieterchson’s fake love for Mr. Neff and attempt to kill him as well as Lola Dieterchson's, Mr. Dieterchson’s daughter, speculations of Mrs. Dieterchson's devious intentions, viewers find her to be a selfish, conniving, seductive woman—characteristics of a traditional femme fatale.

Double Indemnity represents a circular structure, beginning with the start of Walter Neff's story, along with the use of direct address narration (except not addressed to the audience but addressed to the insurance manager, Barton Keyes) and flashbacks, ending the film with the end of Mr. Neff's story. 

"Yes, I killed him [Mr. Dieterchson]. I killed him for money and I killed him for a woman. I didn't get the money and I didn't get the woman. Pretty isn't it? " Walter Neff

Double Indemnity includes heavy shadows, slashes of light (created by slatted venetian blinds), fog and rain, staircases, and dark interiors-- elements of a classic film noir. At the beginning of the film, there is a silhouette of a man in crutches (later identified as Mr. Dieterchson), suggesting a troubled situation to happen in the film. Furthermore, within the first eight minutes of the film, when Mr. Neff walks into the Dieterchson's living room, the scene includes dust and slashes of light; thus, setting up a mysterious atmosphere. In addition, the use of staircases  (Dieterchson household and Insurance company building) poses a dominant environment as well as a feeling of urgency due to the upward view and panoramic angles. The dark interior, fog, and rain as well as the urban Los Angeles location creates a dark mood and foreshadows the plot... predicting some type of crime to occur. 

With "film noir" translating to black film, "neo noir" translates to new black, meaning neo-noir films contain the dark element but with color photography and modern twists. Although many may believe that color photograph may not have much of an effect on a film, color can change the mood of the film from mysterious to exhilarating or deep and dark to bright and lively. 

“… it was really about something I was seeing in a lot of my friends, which was this desire to hit the big score very quickly. and that’s really the story for the central character… he just sort of is impatient and things are just not going as well, as pleasurably, as centrally as he would like. and a woman comes into his life that seems to open the door for him. where he can have all the things he wants, immediately,” Larence Kasden (writer and director). 

In relation to Double Indemnity, Quentin Tarantino's film, Pulp Fiction, an example of a neo-noir film, also takes place in urban Los Angeles as well as involves a suggestive woman and a recessive man. What makes Pulp Fiction a neo-noir film is it's bad guy vibe but with it's upbeat music and adventurous tasks, creating a more modern atmosphere. For example, rather than taking the woman on a traditional romantic dinner date, Mia Wallace (Uma Thurman) takes Vincent Vaga (John Travolta) on a groovy night out at a hip diner for dancing. In addition, the three stories of Pulp Fiction all include plots involving crime; therefore, reminiscing the classic film noir. Furthermore, Mia Wallace clearly appears as the femme fatale by taking charge when Vincent Vaga visits her home and taking him to a diner and seducing him and exemplifying a dangerous female figure by wearing skimpy clothing and taking drugs. The use of color pictures in Pulp Fiction makes the film more realistic and lively. In traditional film noir, black and white creates a sense of mystery and darkness; although "neo-noir" films also includes these elements, the use of color adds more adventure as well as more emotion to the film.