The Wizard of Oz and A Touch of Evil (Presentation notes)

For my presentation I have decided to look at aspects of mise en scene in two films. I have carefully selected scenes from ‘The Wizard of Oz’ and ‘A Touch of Evil’.

In the Victor Fleming picture we shall observe the scene where Dorothy has been captured  by the Wicked Witch of the West via the application of flying monkeys. The shot of the hourglass is interesting as it represents times running out for her, not just as a threat from the villain but from Oz in general. The colour of the sand is strikingly similar to the slippers that play a crucial part to her departure from the land. In the same frame you can see a small pestle and mortar, this could be taken as a symbol for labour and framed against the large hourglass a metaphor for Kansas. The palette used here is sepia based much like the opening scenes of the film. Another point in this I would like to note is the angle the hourglass has been displayed, it leaves the viewer to see three gargoyles/carvings. Though this seems insignificant the number three reoccurs a lot throughout the movie, there are three lollipop kids, three friends (Scarecrow, Lion, Tin Man), three heel clicks, further into this scene you will see three monkey statues below the globe and as the camera pans you can see three powder pots. The powders within are almost primary colours except, with the substitution of yellow its impossible to create green. One could argue this reinforces her distance from earth. As the camera pans you can see an open book with a model of a human hand on it, the story is being read by a human, it is a human that’s in control, could this be a way of telling the audience that Dorothy is the instigator of the world? Bar Dorothy the entire set is artificial and strengthens her departure from reality. All light focuses on her securing her feelings of isolation. When she sits on the floor distressed she hugs the chair, seeking comfort with something man made? It is only when Dorothy commences crying that the globe/crystal ball begins to operate, further reinforcing her unconscious creation of a world. The globe starts with an apparition of her aunt, with our main character turned into the chair she has her back towards her family. Displaying her position from Kansas quite literally. When the Witch appears she is shot in a way that from a distance her green skin, framed within the sphere would look like earth. It is curious to note that as the narrative develops the Witch is disposed of through via the use of water. With the Witch being established as a connection to earth she has to destroy the false image to get home, same applies for the discovery of what the Wizard really is. If we return to the case in point you can see a mosaic like use of tiles in background. Being gold, this is certainly a reference to the yellow brick road. Framed behind the crystal ball is what appears to be a model of a revolving globe except one crucial point, the globe is missing. With the absent of the world it serves as a very simple method of pushing the notion that she is not in her world.

The next scenes I’m going to observe derive from Orson Welles 1958 film ‘A Touch of Evil’. This scene follows after Charlton Heston fucks shit up for the masses and the plot develops to a point where some of the tables have been turned. Ramon now knows Hanks involvement and attitude to the crimes taking place. In the first shot you can see Hank on the right, framed this way it forces you to look at everything else in the set first. One of the more interesting aspects of this scene is a piano that’s playing itself, this could be interpreted as him no longer maintaining control of the case or his life. A bottle in shot establishes he’s been drinking. The décor shows he is completely immersed in the world of the fortune teller which is his old world, he has reverted. In a previous scene when he engages with the fortune teller he his framed with very linear objects behind him will she is juxtaposed with elegant curves. Now we cut to a shot of matadors on a wall, in the same frame you can witness a mirror that is shield like in its design. It is in this that Heston appears as a reflection. The shield connects him to a valiant knight in shining armour and in this scenario he’s the character you could most associate that with. He poses in a similar way to one of the matadors on the wall, as he his Mexican as well it illustrates his role. Matadors now how to play with bulls and manipulate them but the danger aspect is still there. The camera then moves to Hank, with this high angle shot he appears vulnerable and weak. Upon noticing Ramon’s arrival though he rises, accented by a low angle shot. In the background here is a bulls head establishing Orson Welles’ part to that animal, furthermore you can observe a smaller framed matador. A symbol for the physical difference between our two actors, their roles and battles of power. The bull’s head itself is decorated with flowers angles in the same way a plant is to Mr. Quinlan in an earlier scene. In this section of the picture Hank is standing in front of a plant flared up in a peacock like fashion. A bird commonly associated with grandeur and pride it works as reflection of his respect. The plant moves in the wind portraying his reputation as questionable. These two graphic matches establish Hank as more of an animal than human epitomising is rage capabilities. Charlton Heston in this scene is standing in front of an oil refinery, a forewarning of events in the same area. Something that’s digging for oil, pulling out dark murky substances in an apt object to portray the events that follow.

Carl