As the scene opens, a quote written in white letters appears on the contrasting black screen. The quote, by Chris Hedges, reads “The rush of battle if often a potent and lethal addiction, for war is a drug.” Most of the quote then fades away and only the ominous warning “war is a drug” is left remaining. The scene then cuts to what appears to be a point of view shot quickly moving through rocky and sandy terrain. As it moves, we almost become part of the setting, exploring the unknown as we are unable to see which way we are headed. We soon realize that the point of view shot comes from a moving robot, as the scene cuts to several camera angles following the machine. As we follow the robot, people running come into the frame. The camera begins to follow them using a technique of quick zooming in and out; mimicking the quick eye movement of what could be the bystanders. Through the use of high angle shots, we are able to better see the seemingly chaotic surroundings. There are people screaming, fighting, running. It is a sight of chaos and desperation, apparent through the expressions of those in the scene. As the army tanks begin to appear, a swish pan shot is used in order to move from one focus point to the next, greater emphasizing the idea that we in fact are bystanders. Throughout the scene, rapid shots composed of quick zooming are apparent. Suddenly, everything becomes quiet and all we hear are the soldiers talking. Medium close-up shots are used in order to depict their concentration and decision making as they stare what seems to be a bomb through the screen. We also continue seeing point of view shots from the robot, further increasing the intensity we feel because of the proximity of the bomb to us. As the suited up soldier begins to move towards the bomb, we experience his point of view through the headset. The cameras used are obviously handheld cameras, many times the shots being humanly shaky. As the soldier is walking back, one of the other soldiers spots an Iraqui holding a phone. The camera begins to move rapidly from one angle to another, creating concern and dramatic effects. There is a close up shot of the man pressing the numbers, immediately followed by the explosion of the bomb. Interestingly enough, the explosion shot is done in slow motion. We are able to see the detail of the rocks rising, the rust of the car moving, and the soldier falling to his death.
In my opinion, Katherine Bigelow completely changes the form and essence of the movie when she changes the setting to the grocery store. To begin with, we do not experience intense point of view shots as we did before. Instead, most of the shots are done through pretty steady cameras; they do not appear to be shaky or handheld. In a way, the intensity and chaos of the war are no longer experienced because of the way through which this scene is shot. When the main character is standing in the aisle staring at the cereal, we do not in any way whatsoever experience the swish pan zooming in and out shots done before. Instead, the camera focuses on him staring at the wide variety of cereal, one long continuous shot. In my opinion, the form in which this movie is shot has a tremendous effect on the depiction and creation of intensity and chaotic elements essential to the successful portrayal of war and its components.
While the introductory scene to The Hurt Locker is characterized by quick 3-4 second shots to bring the viewer into a sense of mayhem and uncertainty, there is a scene later in the movie which embodies the exact opposite.
ReplyDeleteAfter going through routine bomb testing, the EOD team is on their way back to the base when they stop to help a team of British mercenaries who have a flat tire. The EOD team and this group of elite killers are then engaged in a sniper battle from a fairly long distance (at least ~300 yards away). The chaos and constant sounds of panic that characterize the opening scene are markedly absent now. After one man is shot, everyone immediately takes cover. You can hear their footsteps as they are running and there are no sounds of panic or worry from the men, instead they find blockades and assume their positions as they’ve been trained to do. This type of calm and efficient movement is in stark contrast to Kathryn Bigelow’s first scene. You know these men care that they’ve lost 3 soldiers, but the looming silence that Bigelow employs in this scene let the viewer know that there is still a job to be done. The editors in this film utilize a cutaway in characterizing Eldridge. While Sanborn and James are patiently and stoically lying where someone has already been sniped (a shot we spend a fair amount of time looking at), the camera cuts to Eldridge who is a sniffle away from cowering in cover from the action. Also, we are given an eye-line shot as the group takes cover and the 2 man sniper team looks towards the enemy. We then see the structure where the enemy snipers are perched. This is used to give the viewer the complete picture, in that they are able to see both sides of the battle – something a film can do which real life cannot.