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.