Silence of the Lambs Climatic Chase Sequence Essays

Silence of the Lambs Climatic Chase Sequence Essays Silence of the Lambs Climatic Chase Sequence Essay Silence of the Lambs Climatic Chase Sequence Essay Story and production elements keep the audience on the edge of their seats during the climatic chase sequence of Silence of the Lambs (SOTL) which sees CS discover BB’s identity and pursue him into his underground lair. Inside JG house CS comes to the realisation that she is in the presence of the serial killer, BB, when the Death’s-head moth lands on the cotton reel. A CU reaction shot of CS expression shows the audience the moment of realisation. BB’s underground lair is a labyrinth of dishevelled rooms each realising something more about his psychosis. The first room that CS enters reveals the dressing room. Situated in the middle of the room under a spot light, reveals the ‘human suit’. Initially CS is shocked to see the subject, first hand, before quickly realising BB is still on the loose. As CS continues to track BB down through the lair, she is on a downward path to find BB. The lighting symbolically gets darker giving each room a particular feel of inhumanity and insanity. The pit in which houses Catherine down a well is singly lit above, creating dramatic shadows, as seen under the eyes of Catherine, the exaggerated effects expresses to audiences how long she has been stuck there for and how mistreated she has been. The medical room shows the extent to which he treats his victims with the green UV lighting highlights how he cuts up the victims limbs and stores them in the tank, after chopping them into pieces on the medical table under the blue light. CS then enters the bedroom in which BB turns of the light and follows her in the dark. Each time CS bursts through the door the camerawork formula shows an objective view from CS, the camera then is on the other side waiting, giving the impression BB is on the other side of the door allowing audiences to see CS’s expression and reaction. When the door opens, CS is holding the gun toward the camera (audiences), building up the suspense and making the audience feel very uncomfortable as if could represent BB point of view (POV)to find that that BB is not in the room. Another component that contributes to building up the suspense is the diegetic sounds. The heavy breathing that we can hear from CS allows us to feel her fear. The humming that comes from the air conditioning, gives an eerie feel, and solidifies that she is in an underground lair with an industrial feel. As the doors are slammed open in the silence, it makes audiences feel as though she is getting closer to BB, where she begins to hear the voice of Catherine, getting louder and louder as she enters ea ch room. These diegetic sounds create a layered, noisy landscape which adds to the audience’s tension. When BB cuts the power and the lights go out CS is observed through BB’s night vision goggles. He takes time to covet her as she struggles in the dark. The camera work switches between objective and subjective. The last thing CS sees is Mrs Littman in the bath. As BB gets slowly closer to BB, an objective view is given as you see more closely, her expressions and fear as she tramples through the darkness. Diegetic sounds are sometimes heightened (volume) then fall away, as each room is entered, its own diegetic sounds are revealed and initially intensified to build suspense. The closer he gets to CS, the louder the score is, highlighting the danger she is in as he is watching her every move. The camera work conveys the major theme of voyeurism and reminds the audience of BB’s desire for transformation. Sound elements aid in the camerawork in drawing out the scene into real time. As BB moves toward CS, the string instruments crescendo, as though CS is pulling the increase in loudness with BB getting closer to her, ultimately reinforcing the dangerous situation and she is virtually doomed. The gunshot exchange between CS and BB is the climatic point of the film. This exchange is very quick in terms of screen time; but packs a punch as it takes place momentarily in pitch black with gunshot flashes illuminating the screen. Once the window is shot out daylight streams into the basement revealing BB dying in the foreground while CS reloads her gun. It is only at this point that the audience can breathe a sigh of relief. The camera work during the gunshot exchange is a shot-reverse-shot as CS turns around in slow motion, in BB’s point of view and then turns to CS point of view as she shoots BB repeatedly, breaking a window and revealing daylight into the room, and allowing audiences to see BB fall to his death. Immediately after the climax the camera travels forward over BB’s face, then moves to the right to frame the Bill Skins Fifth newspaper headline on the wall and finally moves left across the room to rest under the butterfly mobile. This continuously camera sequence efficiently brings the main storyline to a close; BB is dead, he did not get to kill victim No. 6 and he did not complete his female suit transformation. Exterior shots of Catherine walking from the house holding Precious and CS under the arm of CR add to the resolution of the main storyline and also one lamb is saved, a character issue that CS suffers from. As CS is being comforted by CR this shows that she now has a father figure and a role model to look up to, something she hasn’t had in a very long time. CS also finds triumph in a man world as she finds success in solving the case and becoming an FBI agent. It also gives the audience time to think about the closing (denouement). CR congratulates CS and says â€Å"Your father would have been proud today†. HL calls CS to make her aware that he is still on the loose, however, he intends to not see CS again â€Å"I have no plans to call on you, the world’s more interesting with you in it† as he trusts her to not come hunting for him, â€Å"You know I can’t make that promise†, foreshadowing the next instalment and makes audiences believe that there could be a possible interaction between both characters in the following movie. He asks an important question; â€Å"Well Clarice, have the lambs stopped screaming?† the audience is left to ponder this question as a conclusive ‘yes’ cannot be confirmed. The film ends with a continuous crane shot of HL walking from out of the darkness into overcast and naturalistic lighting from the weather, into a crowd (Bahamas) in pursuit of Dr Chilton and revenge; â€Å"I’m having an old friend for dinner†. This crane shot effectively reminds the audience of HL’s freedom and draws their attention to the central character of the next instalment of the Thomas Harris trilogy; Hannibal.