Django Unchained: That You Can Believe!

Django Unchained (2012) was Quentin Tarantino's first venture into the "Spaghetti Western" genre. In this slave era drama, we see Django (Jamie Foxx) attempt to free his wife Broomhilda (Kerry Washington) from the plantation known as "Candyland". With the help of Dr. King Schultz (Christoph Waltz), they try and fool Calvin Candie (Leonardo DiCaprio) into agreeing to let them purchase broomhilda along with a fighter used in Mandingo fighting. This culminates in Calvin being informed of the ruse via his slave Stephen (Samuel L Jackson). What follows is a tense scene in which we can observe interesting and subtle uses of mise en scène.

Dinner is served

Like the films we have discussed prior to this one, Tarantino once again employs "authentic locations"(65) and periodically correct props and costumes to help flesh out his world. The table set pieces and cutlery show just how much attention has been paid to maintaining this period atmosphere. The low lighting illuminates the shot just enough for characters to be visible, but kept low enough to give the feel of candle light. These table settings are also examples of "private mise en scène"(64) as their lavishness is true to what would be expected for a wealthy slave trader would utilize to decorate his home.

Another example of an "instrument prop"(72) is shown with Candie hammer, however more interesting to note is Tarantino's attempt to turn a person into a prop. With Calvin's ownership of Broomhilda made very apparent, she becomes a "metaphorical prop"(72) being utilized for an "unexpected purpose" as a bargaining chip. This transformation from actor to prop helps to offer understanding of the situation and the era in which the movie is set. Slaves were seen as property, not far removed from tools. Broomhilda is seen as an asset by Calvin, something he can utilize to get his way in the "negotiations".

One very interesting choice is the use of real blood in the final take of the scene. In slamming his hand down on the table, Calvin smashes his hand through a glass. This was not scripted and Leonardo DiCaprio chose to continue on. With real blood flowing from his hand, Leonardo chose to use this to prove his ownership of Broomhilda by smearing it all over her face. While being a fantastic testament to Leonardo's class as an actor, it is also a device which aids once again in illustrating the control he has and reiterating the time period. His control as a white man and a slaver in this era is so absolute he can smear blood all over her face with no repercussions.  This brings an end to the Mise en Scène spotlight for this month, be sure to check to see who is under the spotlight next month!

Kill Bill: You Didn't Think It Would Be That Easy Would You?

Kill Bill (2003) was Tarantino's first foray into the Kung Fu style of action movie with his telling of the revenge of "The Bride" (Uma Thurman). Having awoken from a four year coma to find her baby is gone, The Bride seeks vengeance on the members of the Deadly Viper Assassination Squad lead by the mysterious "Bill", a past lover. Her quest for vengeance leads her to Okinawa, Japan. A far cry from Tarantino's typical American settings. Having found O'Ren Ishii (Lucy Liu) a large scale fight breaks out between The Bride and Ishii's "Crazy 88" gang. In this fight we can see subtle instances of mise en scène.

The Bride, surrounded

 Tarantino utilizes interesting attire on the Crazy 88 gang members, choosing to have wear Masquerade masks. While not typical of the Kung Fu Genre, the matching attire aids in showing cohesion and conformity with the ranks of the gang, adding to their believability. When they surround an example of blocking, described by Corrigan as "the arrangement of actors in relation to each other within the physical space of a mise en scène"(76). This arrangement of gang member is used to exaggerate the size of the group and the apparent hopelessness of the situation. Visually stacking the deck against our heroine.

A "sight" for sore eyes

Kill Bill seeks to visualize an "authentic location" through the use of "cultural props". These, as Corrigan elaborates, "carry meanings associated with their place in a particular society". That would intern make Tarantino's choice to use life like Katanas and axes one that would help lend cultural authenticity to his mise en scène. Also to lend authenticity to genre he is working within, Tarantino utilizes a black and white lightning filter, as if in homage to classic Kung Fu films of the past.

"Prop Creation"

The Tarantino staple of fake blood is rampant in this scene, helping the audience visualise the gore. Also throughout the fight we can see the interesting "creation" of "props". This would be the use of fake prosthetics after the bride amputates limbs with her sword. While adding to the atmosphere of the fight, showing the destruction and devastation The Bride is creating, it also serves another purpose. The body and limb count lends authenticity to story and subsequent world building around the Bride. The savage nature and skill level involved with these kills is in line with what the story is trying to illustrate, The Bride is a trained assassin and her actions reciprocate this point. With these examples of mise en scène apparent in Tarantino's classics, the fourth and final mise en scène spotlight will be placed upon a more recent entry in the Tarantino film collection: Django Unchained.

Pulp Fiction: This Is A Tasty Burger!

Next is the cult classic Pulp Fiction (dir. Quentin Tarantino 1994). This neo noir film filled with black comedy is highly stylized and features a very non linear storyline. In the pivotal apartment scene we see hitmen Jules Winnfield (Samuel L. Jackson) and Vincent Vega (John Travolta) on the way to retrieve a briefcase for their boss Marsellus Wallace. What transpires is a tense interrogation broken up with Jules' hamburger conversation followed by the now infamous bible verse speech ending in the assassination of the apartment dwellers.

Big Kahuna Burger

"Say what again"

 Tarantino utilizes mise en scène in this passage to flesh out his world in similar ways to Reservoir Dogs (1992). The suits and guns are again, periodically correct. This attention to detail is a staple of Tarantino films, as they are the best way to create "authentic locations"(64). However in tandem with this we see Tarantino utilize what Corrigan describes as "private mise en scène". Described as "how a person arranges and decorates a room"(64), this feature is utilized through showing mess and clutter to illustrate a natural apartment environment.  The hamburger, while used as a narrative device for Jules to raise the tension is also indicative of a young flat environment. The use of a real apartment set and natural lighting only help in fleshing out this world. With Corrigan confirming sets as some of "the most fundamental features of mise en scène" (70), it is understandable that Tarantino would focus in on this feature of the film.

Vincent Vega and the briefcase

Tarantino uses the briefcase Jules and Vincent come to retrieve as a "metaphorical prop". Corrigan elaborates on this idea as "objects reinvented or employed for an unexpected, even magical purpose"(72). With conflicting reports and without it being stated within the film the briefcase contents have remained unknown. While some have claim it is Marsellus' soul, or just a sum of money illuminated, it can only be truely identified as an object of desire for Marsellus Wallace. This prop helps to add an element of mystique and mystery to Tarantino's world as everything up to this point has been within the realm of the realistic. This is interesting due to the bible passage that directly follows Vincent opening the briefcase. That would attribute religious connotations to the briefcase. Directly following the bible passage we can see Jules and Vincent utilize their guns as "instrumental props" (72) as bullet casings fly from the gun, further adding to the realism and authenticity of the scene.

Through Tarantino's utilization of mise en scène we are afforded a richer understanding of the world he is building and in our next instalment we will be investigating how he uses these functions to create a world in stark contrast to his neo noir films. Next up is Kill Bill.

Reservoir Dogs: Stuck In The Middle With You

We start at the beginning of Tarantino's directing career. Reservoir Dogs (1992) is dialogue heavy heist movie that sets the stage for the rest of Tarantino's films. This neo noir classic and cult hit was centered around events following a botched diamond heist. This film features all the Tarantino staples: violence, crime, pop culture references and profanity. Starring Harvey Keitel, Michael Madsen, Steve Buscemi, Chris Penn, Lawrence Tierney and Tim Roth, this film was the beginning of Tarantino's critical and commercial success.

The pivotal and chilling scene in this movie is the torture scene. In this scene we see Mr Blonde (Michael Madsen) "interrogating" a cop captured during the heist escape.

Straight Razor in action

The classic 1966 Cadillac Coupe DeVille

During this scene we can observe interesting uses of mise en scène to help foster understanding of the environment and characters. Corrigan identifies a "film's material world" as "actual objects and people set in authentic locations" (65). In the pursuit of this authenticity, Tarantino uses contextual and periodically correct props and costume. This is a feature used heavily by Tarantino in many of his films. In Reservoir Dogs however, it is used to lend authenticity to the time and position of the characters and set. The straight razor, suits, radio and retro automobile are all indicative of the 70's culture he wishes to emulate. These objects help to foster the film's 'scenic realism'. This realism also assists in fleshing out the set choice. The use of a warehouse flush with natural lighting and interesting decor is all strategic. 

Note the Shrink wrapped car in the background

Notably, shrink wrapped cars and furniture help to illustrate an understanding of the situation. Shrink wrap being used as a way of keeping blood off valuables. Tarantino uses these example of mise en scène to illustrate the heist feel of the movie. The warehouse set is what you would expect from a professional heist crew, making it an "authentic location"(65). 

The torture continues...

Tarantino's use of props extends to the gasoline can as well, and it's use as an "instrumental prop". Corrigan describes these props as "objects displayed and used according to their functions". Macabre as it may be, using gasoline to burn someone alive would be using it according to it's function. However we don't get to see the periodically correct Zippo Lighter ignite it as Mr Orange (Tim Roth) shoots Mr Blonde. Just like the straight razor and the lighter, all of the props are correct for their time period. This attention to detail is what helps Tarantino illustrate deep, believable worlds and stories. With this in mind we continue onward to our next film in this series: Pulp Fiction.