750 word essay

WORD COUNT:809

(I could have continued with the second half of this clip but didn't want to overdo specification requirements.)

This scene is is introduced by a tracking shot of a character who seems to be a worker at the Turkish baths which is the location of this scene. Usually in films, tracking shots are used to follow along side an action which in this case is this worker. The main usage of tracking shots is to make the audience feel as though they are alongside the characters/actions shown or within the scene as a whole. This has successfully been carried out as I think that the smoothness of the camera movement matches that of a passing by person which in this scenario has positioned us as the audience to take this role. This technique is usually done through putting a camera on a dolly on a track alongside the set. This helps avoid unnecessary shakes or jagged movements.However in this scene I feel as though they have placed the camera in a filters hand who follows the track which could explain the lack of movement and bopping of the camera looking slightly up and down. This is most likely a transition from a tracking shot to a pan without any cuts which moves us horizontally to further introduce us to a wider portion of the setting as well as introducing one of the protagonists shaving his moustache which was in the date of this film an efficient way of stereotyping the British public as in the World War II era this is what usually made the brits stand out. This is using a technique called foreshadowing slightly as he is supposed to be met and recognised by two strangers who have solely been told that they must find a man with a "big moustache". This scene cuts from a medium shot to a mix of an over the shoulder close up as we aren't supposed to be reunited with this character just yet as we need to make sure the two immature French-men who have been sent to find him are safe as the location is being surrounded by nazi soldiers looking for the landed RAF pilots. This close up of the mirror reflection also allows us to focus on another key feature which would be his gapped teeth. The camera placement further helps us see that this man is indeed one of the protagonists by showing his "British traits" as the protagonists of this were the group of the shot down RAF pilots and the two French men. The camera is subtly placed below him, this isn't too obvious and could be far-stretched however this could have been done to reinforce his role  (in relation to propps character types)which the viewers know him as the squadron leader "big moustache". A jump cut is then utilised to place us in the bath where we are reunited with another one of the main characters which is clearly presented to not be one of the members of the RAF due to there being no techniques used in order to make this character look superior and the way he is his walking shows signs of inferiority. As the camera tracks him approaching the menacing person he whistles the hum of the song "tea for two" which was the groups reunion song. Here Dramatic irony has been used as we who have just seen "big moustache" the man he is looking for in another room however the frenchman is led to believe the strong man with a large moustache is the man he needs. during this moment the characters reposition themselves to a point where both of the characters in frame are facing each other face to face whilst us being able to see their facial expressions. This is important as a new action code is provoked. Usually in most films within the genre of war especially within this era, you wouldn't expect a nice prolonged day at the spa and instead you Ould expect more action/fighting. This helps satisfy the audience as the bigger man is looking at the now trembling French man almost as if they were to engage in combat. After coming to the realisation that he has in fact spoken to the wrong man he begins to walk away with the big bodied man still staring at him whilst he walks away which is shown further by a match en action to truly show us the audience that he is gone. A This then leads to a tracking shot of the frenchman walking away whilst whistling the theme for "tea for two" once again. This time, the diegetic whistling is louder as the volume is then empasised by a cross cut back to the real "big moustache" where his smile lights up at the thought of reuniting with his lost comrades and rushes to the direction of the sound Which is followed by a panning shot.