Tuesday, November 3, 2015

Mis-en-Scene TAKEN



Mis-en-Scene





Few scenes in my lifetime have had me on the edge of my seat like the scene where Kimmy was taken from her bedroom. There were many creative aspects from this film like the production design, to the music score that made it so dramatic, but it is the cinematography on which I would like to focus.

The Director of Photography was Michel Abramowicz. He has done many other movies, most of which I'm unfamiliar. However, his work here in TAKEN took me on an emotional roller coaster.
It was Michel's job as the DoP to create the look of the film by working with the Director, camera crew and lighting department to achieve this.

Most shots in this scene were all very tight to capture the fear and emotion on the faces of Kimmy and her father Bryan. This was effective because we could tell how scared the characters were compared to if there would have been more long and wide shots the scene would not have been as dramatic. Many of the shots at the beginning of the scene where Amanda, Kimmy's friend was being taken were happening very fast from shot to shot to give a sense of action and intensity. These quick shots continued until Bryan told his daughter to "Calm down. You have to keep it together." and then the shots lasted a few seconds longer until they switched to something else. Color comes into play by cool and warm hues. Kimmy has cool hues and colors around her which I feel express the cold harsh cruelty of the brutal kidnappers and Kimmy's fear of being taken. In contrast, although her dad is probably also afraid, Bryan is staying calm and knows what to do. He is filmed with warm light which I think helps compliment his calm demeanor. In addition, the warm hues show a more positive light how Bryan has a plan and is confident that he will find and kill whoever it is that has taken his daughter.

Within these shots we see many aspects of design along with Gestalt principals that help make the bedroom scene so intense. Contrast is manifest well through the shadows cast onto Kimmy's face as she is looking out the window. Natural light seems to be mostly used at the location where Kimmy was taken which explains why when she goes under the bed it also becomes very dark. Harmony was also key to make this scene flow so nicely together. The shots played off well from one another because when Kimmy was watching her friend be taken, the camera would then cut to her to show her reaction and eventually would follow her when she went under the bed. However when she was taken, the camera no longer followed her and just stayed with her phone under the bed. I thought that was very effective to show how she was now gone and the audience and her father were left without her.

Another example of effective camera work is the law of similarity that was used. The rule of thirds was followed for the most part, but once Bryan sat down the camera was straight on him with his face in the center of the screen. The shots would go back to his daughter and her face was also in the center of the screen. These two separate people had their faces grouped in the center of the screen which is why this technique followed the law of similarity. This seemed to make what was happening much more intense because all of your attention was focused on the expressions of a concerned father and frightened daughter.

Lastly, I just have to say how I love the very last shot of the scene where it focuses on Bryan as he talks to the kidnapper because Bryan slowly stands up and the camera pans up to show how Bryan has a powerful and domineering figure that is ready to start the man hunt and kick some butt to get his daughter back.

All of these elements came together to help make this one of the most dramatic and knuckle tight cinematic moments I have ever witnessed. Because of the well thought out and planned cinematography elements, I feel the DoP combined with the cast and crew completed their tasks very well.

Link to credits of cast and crew


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