Sam McLeish's Textual Analysis of 'The American' (Anton Corbijn, 2010) (00:00 - 3:30)

Key 
Camerawork
Editing
Mise en scene
Sound track

I have split this sequence into two parts, from the opening to the bedroom scene (00:00 - 01:09) and then the scene when the couple goes out for their walk (01:10 - 3:30). For the purposes of this task, instead of analysing the whole sequence, I have stopped at 3 mins 30.

First Section

Image 1

‘The American’ is one of my favorite openings to a thriller sequence because it’s very misleading for the audience. For example, the first image presented to the audience (1) shows nothing but the annotation announcing that they are in Sweden (an example of editing) and the blank woodland scene. 

However, in hindsight, image 1 is a peaceful scene for the audience in comparison to the shooting that is later to come. This is further supported by the non-diegetic, off screen ambient sound which then fades into the romantic piano music.  This is effective because the film is trying to put the audience at ease despite the fact that they know that this is a Thriller film. 

As the film has shown the ‘equilibrium’ of the scene, the audience will then be more shocked when both they and the characters discover the disruption, according to Todorov’s theory.

What should also be noted is that the duration of each of the images are very long in the first half of the sequence. For example, image 1, an establishing shot, is ten seconds long before any cut and the camera is filmed on a tripod, preventing any shake on the image. As a result, a fluid image is created and so is a calming atmosphere around the scene. This is useful because it allows the editors to create an unsuspecting audience so that the following actions are more dramatic, like they did in the above paragraph.

Image 2

Image 2, is another establishing shot but instead of remaining still, the camera zooms in and focuses on the house in the right of the image. The mise en scene of the image suggests to the audience that the home is the sort of ‘winter wonderland’ style lodges with nothing but comforts. This suggests that the people who live there are of a high income or are dedicated to a secluded life as no other civilisation is filmed. 

However, as the lodge is at eye-line level to the camera, the idea that these people are upper class and stereotypically rude is disproven because it would have been more appropriate to film from a very low angle in order to impose their status. As this isn’t the case, it can be dismissed and the audience can assume that they are like any ordinary people. Due to this, the audience then relates to the characters and therefore, feels sorry for them later after the shooting.

Image 3

Image 3 shows the two main characters. The man’s appearance, especially the greying, shaggy beard connotes that he is a determined man who will get on with what he has to, which is expected for somebody who lives in the middle of nowhere and living conditions are tough. However, his facial expressions suggest that he is deeply concerned, or has seen something worrisome in the past. 

The female looks loving and relaxed, as suggested through the way she rests her hand casually on his shoulder and there is a neutral/relaxed expression on her face. Overall, as they both look fairly calm in their situation, the opening still has the calm feel to it, especially with the intimate close up shot used, but the concern on the man’s face could foreshadow the shooting that is to come, starting to develop the tension for the scene.

Image 4

Image 4, shows the female laying naked on the bed in a comfortable position whilst resting on the man's shoulders. Even at this point, the characters still don't speak to each other so more information is withheld. However, they still have the unspoken love as shown by the fact that they are still content with only each other. This then means that the audience still are none the wiser as to what will happen in the next part of the opening. This then allows for more tension in the next scene.

Second Section

Image 5

At this point, the second half of the scene starts with image 5. This establishing shot of the cabin without the use of the shakey cam is used to show the audience that neither of the characters realise that their equilibrium is about to be disrupted by the shooting and neither do the audience because this sequence is filmed subjectively.

Image 6

After this, the character's clothing suggest to the audience that both the characters are unaware of the attack. For example, the male character is wearing a dark grey coat, hat and trousers which wouldn't be useful if they'd want to be inconspicuous. However, the female character is more suited to the environment as she's wearing mainly white clothing which means she would blend in well with the snowy background.

Image 7

In image 7, the camera shows the two characters in a ELS surrounded by the trees. What is different with these trees in comparison to the other shots is that in editing, there has been a desaturation filter applied to reduce the colour of the greens in the trees. This is effective because it starts to turn the scene darker the closer we get to the shooting. This means the audience could start to understand that everything is not what that it seems. However, the desaturation is only applied at a low level so it is unlikely for the audience to notice it too much. As a result, it is still a surprise when the shooting happens which adds to the thriller sense.

Image 8

From image 8 onwards, the audience starts to understand that this scene is the not the utopian world that is portrayed. For example, the use of the very high angle looks like a POV shot from an unknown person. This then gives the impression that they are being followed/stalked which is typical for a thriller film. This then follows on nicely to the next shot.

Image 9

Image 9 starts off with a MS of both of the character's head and shoulders until the female notices the tracks in the snow. The camera then tracks down to the tracks and goes back to it's original position in one fluid motion. So, the editing still doesn't increase the pace of the cuts but as it's getting faster, some tension is created, especially as the non-diegetic background music stopped as soon as she said "Hunter?". Also, as the audience can see that the footprints are heading towards the same direction as where the camera was positioned in image 8, they can work out that the couple are not alone and could be in danger. This then shows that this sequence is developing nicely into a thriller.

Image 10

Image 11 

After returning to the MS of the couple, the camera focuses on the man's face and it cuts to the POV of image 10. This is the point in the sequence when there is no more dramatic irony because now the male works out, like the audience has, that they have become prey. As a result of this knowledge, they both sprint off towards the cliff edge but it is clear to the audience that the woman hasn't worked it out because she starts to giggle. Also, the still camera has been replaced with shakey-cam, as expected for this sort of sequence which shows the disruption to the scene. However, after this, the dialogue from the woman has been replaced by on-screen diegetic heavy breathing. In comparison to the beginning of the sequence, this is a lot more dramatic and more appealing to watch in a thriller movie.

Image 12

Image 12 shows both of the character's reactions to the shootings. For example, the male character's facial expressions suggests that he is more concentrated on the shooter, especially whilst he's holding a gun. This now continues the idea to the audience that the male character has a darker past, one that the female did not know about as she is just as surprised as the audience is that he has a gun. The female, however, looks more shocked and concerned in comparison to the male. This shows that he is trained and the audience then expects him to use his weapon.

Image 13

Following on quickly, the man lifts his head over the edge and in the POV shot the audience sees the shooter in image 13. As the audience can tell, the duration of each clip is getting shorter and shorter each time as the sequence gets more and more intense. This further develops the sequence because it makes it feel chaotic, like what the characters would be feeling in the scene. 

Image 14

Next, in image 14, after the man shot the shooter dead, he goes over the body and inspects it. Looking at his body language, he is calm as he gives no sudden movements and rushes quickly over to the body. As a result, this further supports the idea that he has done this in his past where as the female hasn't, as she stands away from a distance and slowly starts to freak out. For example, she covers her mouth with her hands in awe and slowly takes a step back from the body in disbelief.

Image 15

Image 16

Image 15 is probably another significant moment in the sequence because the female character looks like she's going to be physically sick but then in image 16, the male character kills her, as foreshadowed all along. As the man's gun goes off as he kills her, it is amplified more and echoes for longer in comparison to the shot that killed the shooter because he is literally shooting his equilibrium and is an important thing to be emphasised for the audience.

I personally feel that this opening would be appropriate for my target audience (17-25 year olds) because it clearly shocks the audience from what could be argued a very misleading and convincing scene. However, this demographic may dislike having to wait for the action (even though it's only three minuites in) and want it from the off. Overall, I would feel happy to broadcast it to the demographic and feel confident that it would still do well.

What I would steal from this sequence is the redherring of the happy lifestyle presented to the audience. This is because it makes the disruption more significant and the thriller more tense.