with my first serious blog post.
Misc-en-scène, simply speaking, means the combined visual effect of everything in the scene. Arguably, misc-en-scène is the most important aspect of the film as it is typically the most easily remembered, “Many of our most vivid memories of movies stem from misc-en-scène [1].”
So now we’re all sold on the idea let’s apply it to a movie to see how good misc-en-scène works.
In relation to the title, Batman and Robin (1997) directed by Joel Schumacher, is perhaps universally regarded as the worst Batman film of all time. From the painful pun filled script to the decision to put nipples on the costume it’s very hard to take the movie seriously. However that is beside the point, the point is, despite all of its many failings there is something very particular Batman and Robin does right.
So we’ll be talking about the characterisation of Gotham (practically the first shot of the Gotham, Museum of Art) and the surrounding settings, as this is where the movie shines.
Gotham, in Schumacher’s movie is filled with looming arches, giant statues, gothic gargoyles, huge stone structures and neon lights. It seems to be a city created from a mashing of ancient and modern architecture, which personally give the city a timeless look that heavily reflects its stylized comic book origins while also emulating a certain charm and character.
Without further ado, let’s break down a scene.
After escaping the Bat cave, being house sat by George Clooney, we are greeted with this beautiful shot.
The purpose of this shot is plainly to establish the setting of the action, inside the museum. The upwards angle, combined with the choice to have everything diagonally tilted to the right emulates the kind of placing you’d see in a comic book panel. Even when taken as a static image, it holds a sense of movement that helps build anticipation for the incoming action.
The design and decoration of the building its self is reminiscent of Greco-Roman art and architecture. Greco-Roman art was influenced by their own mythology, usually speaking of great heroes and epic battles. Superheroes, such as Batman, I feel are modern examples of these ancient legends ergo the allusions to these cultures in the design of the setting in this shot (and throughout the movie) seems fitting.
Speaking of the statues, statues are a running theme in Schumacher’s Gotham. Littered throughout, there are several human figures placed around as décor. They serve to give an eerie sense of watching as there are several pairs of stony eyes (typically) in the background of every scene.
The statue, although off to the left (not centred in the shot where the focus naturally falls), grabs our attention by being the most forefront human form. Brandishing a trident and standing in a forceful pose (thrusting forward) the allusions to Greco-Roman mythology are clear again. Combined with the camera angle their gives the stone man an even greater sense of movement as he seems to be determine to defend the museum based on his posture and stance. A sense of dramatic irony is drawn as the audience is aware the action is already going on inside the museum.
The main statue is accompanied by two other statues. Although these are further back and nearly cut out by the framing. They are cloaked and the one of the left is seen holding a harp. The design draws parallels with the idea of muses, Greek goddess of the arts. However they are low and off to the sides, over shadowed by the looming museum behind and trident baring statue in front. Implying the museum is not the setting for action and battle, not art.
To maximise pictorial impact, lighting is key, or in this case lack of. The details (aside from the bold designs) are difficult to make out due to the entire shot being heavily shrouded in shadow. Most obviously due to the scene taking place at night, however the choice to the hide the statues further back while allowing the emulated streetlights to pick up the form of the trident statue gives weight to the ideas of the previous paragraph.
The rest of the scene is illuminated by the spotlight (centred on the museum sign). This could be use to guide the attention of the audience so they are aware of the scene, but also allows heavy shadows to be cast over the rest of the scene (mainly the door way and the statues). This gives a strong sense of foreboding and mystery, again this helps the audience anticipate the upcoming action.
Sadly that’s all I have to say on misc-en-scène in this particularly example. So please, comment, argue and rebutt if you feel like it, and if you haven’t, give the movie a watch, to see what I mean about the setting being great, just not so much for the acting.
References
[1] David Bordwell and Kristin Thompson, Film Art: An introduction 10th edition page 112 paragraph 1.
Screen shots and footage, Warner Brothers 1997 Batman and Robin.
Critical Cartooning 