Meaning is created in this film with the use of micro elements such as Performance and Cinematography. Performance is the imperative because we as the viewers have to believe that what is going on is real. Physical expression is the primary conveyor of dramatic meaning in most, if not all films because after all, one little smile can be worth a thousand words. Sometimes physical actions are more intense and meaningful to an audience than mere words, this is because any actor can memorize their lines and recite them, but only good actors can demonstrate them too. Considering that this film was in the Cinéma vérité fashion, and almost all of the lines were improvised, the physical expression was the biggest contributor to giving this film meaning. The use of Cinematography in a Cinéma vérité style film can sometimes be missed out as the director would want to concentrate on the storyline more, but ‘15’ certainly does not lack any of it. Just by having the camera at a different angle can make a big difference as it can show the character in a totally different perspective. I have decided to review the 9 and half minute sequence in the film, where the three main characters are all introduced.
The sequence begins with the character Armani portrayed by the real-life gangster Melvin Lee with his head submerged in a tank of water. The only light source being a shot of light coming from behind his head and the camera is set to sepia tone to make the character more mysterious. This makes his identity secret to the viewers as they do not know who he is at this point, the identity of this character in particular is important to be kept a secret at this point so that he can have a dramatic introduction. A quick paced fight is next in line to be shown, Armani encounters two other gangsters called Vynn and Melvin (who have both kept their real names). After a quick confrontation and a lot of abusive language later, a speedy street fight takes place. Both jump cuts and long shot’s are used here, the jump cuts are used to create the illusion that the fight is longer and that they had to shorten it down, and the long shot is used so that you can see all three characters and so that none of them go off the camera. This short sequence shows the hate between the teenagers and how much violence is in their everyday lives.
About a minute into the sequence probably the most controversial scene takes place. The character Armani expresses his feelings in a unique manner that most film directors wouldn’t dare illustrate. It starts off with Armani sitting in the corner of a highly contrasted room with a box cutter in hand. Without any warning as to what will happen, he starts to slash his left arm and wrist open. This is beyond the elements of realism, and this is also one of many scenes that are recorded using a handheld camera. This gives the scene much more importance as it looks like one of his friends recorded it and it is set aside from the other scenes around it so it stands out more. There is no sound apart from the sound of his skin tearing apart, but most of the time, the images spoke for themselves. To some people, this will be too much for them to sit and watch as it may be discomforting, but the deepest feelings sometimes have to be shown dramatically, so that the audience can really know what the characters are going through. The camera is at a high angle so that the audience will feel like they are looking down on him as if he is not worth anything. It then moves into a close-up of his arm so we can see the self-inflicted damage. Tan obviously wanted the audience to engage well with what is happening, so he made the room that Armani is in highly coloured so you can see clearly what is going on.
Straight after the scene with Armani, it quickly cuts to Vynn and Melvin talking about their regret for having a fight with him. They use the word ‘brother’ to describe their relationship with him to show that they are more than just friends. The word ‘brother’ is also used a lot in gangs as it shows the bond between the gang members and how if one of them dies, they all die. After a brief talk with each other, Vynn gets up and offers to get some food for Melvin and a long shot is used here and that cuts off the top of Vynn’s body, so it’s like you’re sitting across the table from him. Behind the two teen’s you can see a table full of Chinese boys wearing white clothes and a blurry congested background. A couple of jump shot’s are used when Vynn keeps coming back to the table asking which food Melvin would like which shortened down this part of the scene. Once he gets back, you see the Chinese boys laughing at their group leader for spitting at a cat. Considering both Melvin and Vynn are Singaporean and the boys at the other table are Chinese, a foul-mouthed argument gets underway which Vynn takes control of whilst Melvin slouches beside a table. Lighting also plays an important role at this part of the sequence because it helps control the audience’s perceptions of the characters. There is mostly only direct sunlight used at this point, since they are just in an open topped cafe, but it is clearly more focussed upon the well-educated Chinese boys. This shows that they are superior to both Melvin and Vynn who are in a shady area.
A swift cut takes us to the next part of the scene, which is a panning shot of both Armani and Vynn. The screen is split into two and it shows the two boys walking in opposite directions through a dull underpass. This shows us that they are both taking different paths in life and that they are drifting further and further apart. After about 20 seconds of solely panning them, Vynn starts to turn around so now he is walking in the same direction as Armani. The split down the screen disappears so now it looks like Vynn is following Armani, this notifies us that their relationship is going to change and somehow Armani will become a leader to him. This panning shot of both characters takes up about 50 seconds of the scene.
Tan cuts this part of the sequence with skill and accuracy, which makes it show the hype of the character’s lives and how everybody knows everyone. You see other gangsters talking on the phone to Armani telling them about the Chinese gang chasing Melvin and Vynn. It is edited so that the conversation runs on throughout each person talking on the phone. After the call has ended, the film cuts back to the bland underpass showing the chase taking place until both Melvin and Vynn are lying on the floor getting beat up. The lighting is very high and saturated at this point to bring out all of the characters. For about 10 seconds, you see Tan playing the part of the leader of the Chinese gang, he is standing above the other gang members in slow motion, whereas everything else around him is sped up. This shows how he is dominant and how he doesn’t take orders, he gives him.
Armani comes into the shot with about 50 armoured gang members and orders them to chase the Chinese away, leaving Armani alone staring at the two motionless bodies. A low, long shot shows him standing there for about 10 seconds, until he finally walks over to them and helps them up. This type of shot is used wisely here as it places us in the perspective of the bodies on the ground. After brushing them off, Rocco and Mohawk (two of the gangsters Armani brought) bring back a bloody Chinese gang member. As soon as the box cutter comes out again, Tan uses tracking shots to follow it’s every move, he does this because it is the most important subject in frame to be watching. One giant slice into the Chinese boys face finishes him off and you can hear the deep breathing of all the characters in the underpass. The end to the scene takes place in a whole new setting, Armani, Melvin and Vynn are reciting a gang rap whilst making peculiar hand actions. The room that they are in is tinted blue and the lighting is quite low because of the vulgarities they are saying, but all three of them rapping together shows that they have finally been reunited.
Tan’s unconventional style of having all of the actors hand picked from the streets definitely makes this film better, as it gives you a better insight into the degradation that the actor’s come from. Since all of the actors are all from real gangs too, they can use that to make their characters in the film stronger by using their own knowledge about what actually happens, this also lightens the realism. Our society today judges them as troublemakers who indulge in criminal activities simply to get attention but from this film, we are starting to find out that it is in fact not true.
No comments:
Post a Comment