Creating suspense through film form
Tuesday | September 26, 2006
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In Film Art: An Introduction (Chapters 1-3) we argue that a movie’s form engages the viewer actively. As a result, we try to show how formal choices can shape the viewer’s response. For instance, a filmmaker who wants to tell a story tries to arouse curiosity, suspense, and surprise (along with other emotions, of course), and narration–the flow of story information–helps him or her do this (Chapter 3). A nice confirmation of this point is offered in Christine Vachon’s new book, A Killer Life: How an Independent Film Producer Survives Deals and Disasters in Hollywood and Beyond (Simon and Schuster).
In the script of One Hour Photo, director Mark Romanek carefully set up an opening stretch that slowly built suspense about Sy, the photo clerk who will take an unhealthy interest in his customers. But then came the studio marketers, who hinted at the film’s premise in advertising. As a result, preview audiences knew a little more than they were supposed to about where the story was going. In test screenings, the first act (the first 25-30 minutes) seemed to drag.
After consulting with Francis Ford Coppola, Romanek decided to begin the film late in the story, with Sy being arrested as a criminal. But the audience isn’t told exactly what he’s done. Then the plot flashes back to the original opening material. “This one change,” says Romanek, “rendered the first act more compelling. The first act played out almost exactly as before, but now the audience is paying closer attention. They’re now put in the position of trying to discover clues as to what Sy might’ve done. They’ve gone from passive viewers to detectives of a sort. And the first act came alive again” (p. 232).
Vachon’s book offers other intriguing examples of how filmmakers try to shape viewers’ responses through choices about form and style. It’s also a fascinating survey of the daily life of an independent producer. Vachon produced Safe, Boys Don’t Cry, Far from Heaven, and other widely admired films. And she never lets the reader forget that financing and ticket sales drive even the low-budget sector.
Last Modified: Thursday | July 22, 2010 @ 17:36 open printable version
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on Tuesday | September 26, 2006 at 6:51 pm and is filed under FILM ART (the book), Narrative: Suspense.
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