Sam McLeish's Textual Analysis of 'The Usual Suspects'

Image 1

Chronologically, the first image (1) presented to the audience could be argued as the most significant. This is because it is a rather a dramatic one to start off a series without any context to the viewer. For example, the use of the ECU shot and the connotations of fire suggests to the audience danger and these two images become motifs across the entire of the opening. However, the lack of shakey-cam in this image is unusual for what the audience would expect for a dangerous situation, which suggests the character (Keaton) is in some form of calm state, despite the fact the audience can assume that this is not the case. Due to this information being withheld, despite the fact it is only two seconds into the sequence, the audience is being given a sense of mystery that is to be expected for a thriller opening. What should also be noted that at this point in the soundtrack, there is a diegetic, off-screen, most probably foley of church bells ringing in the distance. This also continues with this danger being created and prolongs the sense of tension in the opening because it easily suggests to the audience the death that is being foreshadowed at the end of the opening.

Immediately

Image 2

 at the end of this, the sequence cuts to the image of the lit matches being raised to the cigarette and the first shots of Keaton (2). Keaton is presented as a character that is not quite evil but certainly of an ominous background. For example, in comparison to Kaiser, Keaton's clothes features colours other than black, for example the grey on the collar of his sleeves. This can suggest that he is a twisted character but possibly the protagonist, maybe as some form of 'anti-hero'. Also, in terms of both hair and makeup, he is dirty and scruffy that the character has undergone some form of extreme discomfort, as supported by the fact that he says to Kaiser, "I can't feel my legs". As a result, this shot contributes to something typical of a thriller opening because the characters are undergoing something that isn't normal for everyday life in an extremely dangerous situation. 

Image 3

Next, the sequence cuts to a MS shot (3) of a barrel pouring out clear liquid whilst the camera tilts down to the deck of the boat where the liquid is forming a pool. The audience can assume quite easily that the liquid is flammable because of the motif of the fire, the style of the container and the feeling of tension within the scene. As well as this, in terms of editing, the sequence hasn't been very upbeat, with long shots (in duration) which drags on which isn't normal for other thriller sequences. On the other hand, it can be seen as effective because the audience's desire for more information allows the sequence to capture attention and creates unease. This therefore, still reaches the aim that most thriller films aim to achieve.

Image 5

Image 4

After this, Keaton drops the lit cigarette onto the trail of the flammable liquid, which we assume is petrol, and the camera follows in cuts, as it passes a dead body and then is distinguished by a liquid from above which we later discover to be urine, as shown in images 4 and 5. At this point in the sequence, the duration of cuts begins to speed up which conveys to the audience that the sequence is starting to become more dramatic, especially as the audience are now aware of the dead on the ship. However, like the fire, this climax is bought to an end with the urine when the pace of editing slows right down again in the following. Again, the constant switching between usual and unusual traits of stereotypical thriller films is overall successful. This is because it gets to challenge the audience's perception of what is normal for this genre of film whilst creating unique and interesting content.

Image 6

In image six, after the camera tilts up from the urine to where it's coming from, the audience discover the character of Kaiser. He is presented as an interesting character because as the camera tilts, the non-diegetic, off-screen backing track reaches a crescendo in terms of volume. This highlights him as a significant character to the audience and as fire can connote hope, and his urine extinguishes it, his actions could foreshadow Keaton's death. Also, the lighting and his clothes are significant; in comparison to Keaton who's clothes are still tainted with shades of grey, Kaiser is the complete opposite who has no colour showing. His outfit is comparable to SS-style clothing which obviously has negative connotations in the eyes of the audience. 

As he walks down the stairs to Keaton (image 7)

Image 7

, the on-screen diegetic noise, most probably created by foley, of his footsteps are amplified to the audience over the backing track and other ambient noises. This is crucial because it shows to the audience how important Kaiser is and how much power he has over Keaton. Due to this, the awareness of how powerless Keaton is in comparison to Kaiser makes the audience empathic to the lesser character because it is at this point where the audience becomes aware of how dangerous the situation is in.

Image 8

Image 10

Image 9

Images 8 through 10, from when both Keaton and Kaiser are on the same level, apart from the fact Kaiser is presented as the character with the high status as he's shot from a low angle, the scene is shot in 'Shot Reverse Shot' and does not break the 180 degree rule. This is clever because it shows that these rules don't need to be broken in order to create a successfully, disorderly scene. However, this provides more clarity to the audience and doesn't add to the confusion already in the scene.

Image 11

Image 12

Image 13

After their conversation, Kaiser raises a gun to Keaton's face in a POV shot, fires the gun and the audience assumes that Keaton has been killed (although the audience doesn't see this). This happens in shots 11 through 13. The diegetic, off-screen sound of the gunshots happen exactly when the scene cuts from one establishing shot (12 + 13) to another. The establishing shots allows the audience to further explore the scene whilst coming to terms with what happened, Also, the gun shot echoes for quite a long time after the gun fired which shows that this sound is be prolonged for the audience for them to understand what has happened whilst also further adding to the tension. The non-diegetic, off-screen backing track reaches a crescendo with the introduction of flutes which supports the idea that Keaton is the protagonist because his death is presented as a sad moment.

Image 14

After two more establishing shots, Kaiser drops his cigarette (14) that causes the boat to go up in flames. This is done with slow motion editing so that the audience can realise what will happen and feel more nervous anticipation, which contributes to a tense feeling scene. The backing track also reaches a cresendo with the introduction of horns, which is significant because it shows what he's doing is truly wrong in the hope of the audience disliking the character so that they can relate to the motives of the other protagonist characters in the rest of the film.

Image 15

Next, the camera cuts to a shot (15) of rope that looks tainted with the colour red. The audience immediately assumes that it is blood as they connect the dead bodies and Kaiser's lack of restraint when it comes to killing. This is effective for the sequence because it works well with the loud music and the fact that the camera zooms into the rope from a distance at a slow speed. This is for dramatic effect because it gives more time for the audience to understand and then feel sorry for the characters, whilst at the same time allowing them to feel fear for Kaiser. This then means it is an effective thriller sequence because it allows the audience to feel sorry for character in a particularly unsafe situation. 

Image 17

Image 16

Finally, the sequence ends with images 16 + 17 after a fireball that is incredibly dramatic and another closeup of the bloody rope. This is a good use of a visual climax for a dramatic ending because as it cuts to the now CU shot of the bloody rope. Throughout the sequence the motif of fire has been a constant reminder of the danger that Keaton was in so it seems fitting to finish on it because it shows to the audience that it was foreshadowing his death all along. However, as the rope's colour gets brighter after the fireball, and as the rate of zoom is still at the same speed, it is effective because it still remains at the same speed. This shows to the audience that life still goes on despite the fact that the film has lost a life. After this scene, image 17 fades out of the opening of the thriller.