This is my frame-by-frame analysis of the opening sequence of a thriller film. I have chosen to analyse the modern James Bond, Casino Royale.
Frame 1: In some ways, this is one of the most important frames of the film. This establishes the setting and tone. The shot is revealed to be edited in black and white. This immediately grabs our attention because it’s something we don’t see in every film. The black and white effect conveys a very chilling and sinister feel. The shot is a wide angle of a tall city building and is shot in this way because it offers a full view of the action. Smoke can be seen coming from the road however this is not a main focus, this is just to add to the mise-en-scene. The shot is filmed at night which is a typical convention of a thriller opening to add suspense. A single street light can be seen and provides a spot light for what is to come.
Next, a car comes into view from left to right and stops outside the building. We cannot yet see who’s in the car and this is purposely done to make us, the audience, ask questions. Straight after this the words ‘Praque, Czech Republic’ in clear white writing, replace the space where the car was and this was used to inform the audience of the location.
Frame 2: The mysterious figure in the car steps out and his face is revealed. This is shot at a low angle and this shot has been chosen because it makes the male look important and imposing. The building is featured behind him in the shot and this is to give us clues of what is coming next. His face is stern as he checks no one is around. At this point we are very suspicious of the character before us.
Frame 3: This is another low angle shot of the character going up in the lift. The effect of this makes the building appear large and it makes it obvious that he is traveling up. His face shows us the same uncompromising expression of composure. There is still no sound at this point.
Frame 4: This frame is our character actually in the lift and is shot at a high angle, looking down at the male character. I think this is done because we see more of his body and it is shot in an angle that a lift camera would view him.
Frame 5: This shot is extremely simple but effective and only lasts for a brief for seconds. We see a medium close-up of the lift number changing. The effect of this is that it shows us he is going up and is typical of what we’d expect to see in a lift which confirms where he is.
Frame 6: Here we see the man walking along a long corridor having just left the lift. This is a medium shot. Everything is still in black and white and there in no sound but his footsteps. The whole building is metal and glass and this would have been chosen to create a cold, harsh and mysterious setting. They would not want a place with detail or character as this is simply a building for the characters to meet.
Frame 7: The camera is positioned behind an office desk at a low angle to shortly capture the door opening which signals our male character coming through the other side. The mise-en-scene shows us typical elements of an office such as plants, stationary etc.
Frame 8: The male character strides across the room and the camera follows him in a panning shot which towards the end moves up to a long shot of him turning on a lamp. This is included because we get the impression that the panning camera is another pair of eyes. At this point the camera is now positioned behind an office chair.
Frame 9: We suddenly go from a long shot on the other side of the room to a close-up of his face. His expression is knowing as if he realises he is not alone.
Frame 10: Our heroic character James Bond speaks and the camera quickly spins to an over the shoulder shot of our male character looking at Bond lounged in an office chair. Bond’s facial expression is cunning and Propp’s character types reveals that the male we’ve been watching is the bad guy.
Frame 11: This shot continues but becomes closer so we only see the male characters ear and we are given a closer view of Bond. Both characters are dressed in black which ties in to the black and white editing.
Frame 12: As the characters exchange dialogue the male character is shot as a low angle with the office lamp alluminating his face to make him look more sinister. He walks left out of shot and sits in the chair opposite Bond. At this point the sound of violins subtly creep in which builds even more tension.
Frame 13: This is a really important shot as it is a wide angle where we see both characters sat at different sides of the room. They are both sat at the same height and appear as equals. This builds even more suspense for the audience and we cannot predict what will happen next.
Frame 14: A close up of the draw opening next to the male character to reveal a gun placed in the centre alone with some other device. We return to the previous shot of the male character behind the lamp and as he speaks, he removes his black leather gloves which signifies something is going to happen.
Frame 15: His voice continues but the shot moves to a wide angle with Bond on the very left still sat in the office chair, listening to him. The music continues but it is very slow, and drawn out, much like the tension and convosation between the two characters.
Frame 16-17: The camera switches twice between the two characters, each time shooting at a medium shot as each one speaks.
Frame 18: Bond has a flash back of what he other character is talking about. We can tell this because the lighting is different, much brighter in comparison to the dark and mysterious atmosphere of the building. The music pace increases as we see this flashback fight scene and then in contrast slows right down again as we’re back in the office for the next shot.
Frame 19: We’re immediately back to a medium-close up of the male character with the gun from the draw in his hand pointing a Bond. He says a cutting line, “Shame, we barely got to know each other” and then shoots. The tension is sky high at this point with our heroic main character in a vulnerable position. We expect to hear a loud bang but instead receive a pathetic click and the male characters smug facial expression drop when he realises there are no bullets in his gun.
Frame 20: The camera moves back to Bond at a medium shot with a cunning look once again and reveals he had the bullets. At this point the tension climaxes once more as we’re intrigued to find out what he’s going to do.
Frame 21-22: The camera continues to switch from character to character as they continue exchanging dialogue. They are both medium close-ups. Notice how the male character is stood up and tense, while Bond is casually still lounging in the office chair. We know which character is in control here.
Frame 23: Another flashback of the same scene of Bond and another villain informs us of his capabilities and ensures our trust in him.
Frame 24: More dialogue is exchanged before the music very quickly paces and the camera spins back to Bond revealing a medium close up of him shooting the gun at the male character. While the audience is relieved, their still asking questions which is really effective to keep up during the opening sequence.
Frame 25: Next, a high angle of the male character flying from his chair, across the floor and lying still which confirms his killing.
Frame 26: Bond delivers a final cutting line and rises from his chair. This is shot at a medium angle.
Frame 27: There is a long shot of Bond in the setting of the flashback facing the wall. There is silence for dramatic tension. Suddenly he turns round and shoots the position of the camera and the theme song begins to play which concludes the opening sequence.
