Mise En Scene- A review of Wes Anderson's "Moonrise Kingdom" and the classic Hitchcock thriller "Strangers on a Train"

Mise en scene is a technique used by filmmakers to create an aesthetically pleasing shot. Literally, the phrase "Mise-en-scene," is French for "placing on stage," and the 5 elements of mise en scene (Setting, Human Figure, Lighting, Composition, Movement/Placement) must be in check to create a balanced image onscreen. Many directors use what is called the "rule of thirds," to keep the elements of mise en scene balanced by dividing the frame into 9 equal squares, like a tic-tac-toe board. By placing items the background and coordinating human figure and movement/placement based on the standard of the rule of thirds, a balanced and often symmetrical image is created. 

Undoubtedly, the master of mise en scene in today's film scene is director Wes Anderson. With his extremely distinct, symmetrical style, he creates a world inside his films that feels very natural. It almost makes the viewer feel oddly comfortable while watching. The most recent Wes Anderson film that I have watched is his 2012 production, "Moonrise Kingdom". This movie is no different than any of Anderson's other films; it is still shot in his distinctive style. So, we'll jump right in...

From the first shots of the movie, I noticed the flawless symmetry. The first scene of the movie introduces some of the characters: the members of the Bishop family. This scene introduces the Bishops in a way that is totally unique, because their names are not used until the end of the scene and there is no dialogue. The scene is narrated by a record, playing a recording describing the different parts of an orchestra, and as each perfectly composed image of a different member of the family fills the screen, a different part of the orchestra plays, already giving a feeling of the characters' personalities. The shots used in this scene practically define the Composition element of mise en scene. All of the images composed throughout the entire film fit the rule of thirds seamlessly, and make the viewer feel comfortable. Its almost like a perfect, symmetrical universe exists on this magical "New Penzance Island," until about 5 minutes into the film. The first scene has ended, and the new scene introduces a narrator-esque character, who seems to know a lot about the events that will transpire in the next 3 days... Anyway, this guy jumps on your screen and the whole world explodes, because this guy breaks the rules! You see, Anderson places this character in areas that don't fit in with the rule of thirds, making the viewer feel suddenly uncomfortable. I believe that he does this for a reason, possible to represent for the viewer the fact that this character doesn't really belong there. After all, he does know the future. Moving on to the element of Lighting, the very next scene showcases just that. This film uses very natural lighting, contributing again to that comfortable feeling that the viewer gets, and the introduction of the Khaki Scouts and Scout Master Ward at Camp Ivanhoe is a perfect example. The lighting gives the image the prime feeling of a warm summer morning, a feeling that would not have been achieved by using any other lighting but a natural, sunlight-esque lighting. You get the idea, the film makes you feel comfortable, big deal, right? But... yeah, big deal. This isn't a feat easily tackled; think of all of the movies that you've seen that attempted the same thing, but some other aspect (maybe one of the other elements of mise en scene) was just out of whack and really turned you off, I'm sure you can think of something. No, this is a genius film composed by a genius director who, in this most basic art-form that film is, thrives by taking every small detail into account and recognizing how it affects the rest of the image. Take the Human Figure for example; there is a scene later in the movie where Sam and Suzy, the young lovers of the film, enter the shot from either side and start to dance. Even then, they always fit in the tic-tac-toe squares and keep the feeling alive.

Overall, this is a fantastic film. Like, it's amazing. Like IT'S SO AMAZING AND I LOVE IT VERY VERY VERY MUCH. But I don't want to have to sing its praises. Go watch it. This reviewer gives it 5/5 Lefty Scissors, Suzy's weapon of choice, for great plot, cinematography, directing, cast and acting and just plain great mise-en-sceniness.

Great, now I've got to follow up that little piece of amazingness with something... oh wait!

BUM... BUM... BAAAAAAAAAAAA!

Its the movie that will make you never want to talk to strangers on a train, the Hitchcock thriller "Strangers on a Train."

Now, I watched this film alone, in the dark, on a laptop,  with headphones... and it didn't scare me at all. Its not that kind of thriller, folks! This one makes you think. It follows the story of one Guy Haines, tennis player extraordinaire, and a stranger that he meets on a train (go figure), one Bruno Antony, who turns out to be crazy (spoiler alert). This crazy man proposes a crazy idea to Guy, that turns out to be not-so-crazy to him. In fact, he'd... kill to see it through. Anyway, this movie is like Apollo Creed to the young scrapper Moonrise Kingdom, like the old champ. Alfred Hitchcock sure knew what he was doing with a thrilling plot, but he definitely supplemented the plot with some great mise en scene. He still follows the rule of thirds, although not with the same swagger and panache as Wes Anderson, but the lighting is a different story. Whereas Anderson uses natural light, Hitchcock uses very hard, unflattering light to give the image a suspenseful and almost dangerous tone. In one scene, Guy ascends to Bruno's father's room to warn him of the plot. He enters the room, almost pitch-black, the only visible image is the outline of a man. Then, a bright lamp flicks on, revealing Bruno's face in a huge, plot-twisted grin. You get the feeling that maybe Alfred Hitchcock knows a little something about the mind of a crazy person throughout the film. He is so meticulous in his attention to detail, from the shots to the costumes to the looks on the actors faces. He was obsessed with the details, both in his plot and his film. Even something as simple and seemingly backburner as the Setting of this film evokes an emotion of fear and paranoia, from a tennis court (where an expertly composed shot shows Bruno in the bleachers, eyes fixed on Guy from out of the crowd) to a mansion.

Overall, this excellent, pioneering thriller had mise en scene level 99, but just not that 100 that a film like Moonrise Kingdom has. I still loved the movie. OH MY GOODNESS THE FINALE OF THIS FILM IS SO GGGGGGEEEEENNNNIIIIUUUUUSSS! Just watch it. Not saying that the rest of the film isn't totally fantastic, but it's worth it just for the finale. This reviewer gives it 4/5 Creepy-Bruno-Strangling-Hands for being a classic, amazing thriller with a flawless finale, that just wasn't as good as Rocky.