Acknowledging the reality that space is defined by and unique to the individual is an integral part of the process of bringing a story to the screen. In comparing and contrasting the eye and the camera Stephen Heath points out the unique ability of film to construct space through the "impression of reality" that is "neither absolutely two-dimensional nor absolutely three-dimensional, but something in between". This construction is a conscious decision made by a filmmaker in light of the nature of the story being told and the tone the filmmaker wishes to convey. Through the movies Sleepless in Seattle and Suspicion we see the significance of how the filmmaker chooses to frame the film, in particular from which character's perspective the viewer watches the narrative unfold.
Sleepless in Seattle tells the story of a man and woman (Sam and Annie) on opposite coasts who defy the odds and logic by falling in love. The serendipitous tone of this romantic comedy is achieved by constructing spaces around the two main characters. The story could have easily been told from the point of view of either of these characters - from the perspective of Sam (Tom Hanks), the widower whose son tricks him into meeting the woman of his dreams, or from the perspective of Annie (Meg Ryan), the woman who questions her own engagement upon hearing the sad story of a man who was once passionately in love. However, had the choice been made to construct the reality of only one of these characters, the viewer would miss out on the story of the other character and would consequently have been cheated out on all the obstacles that character had faced leading up to the romantic first encounter. By showing both characters' stories, the viewer gets to see how close Sam and Annie come to actually meeting as well as the misunderstandings that nearly keep them apart. For example, the scene where Annie travels all the way to Seattle on a whim. While there, she follows Sam and his son Jonah on the beach and later on witnesses Sam happily embracing a woman. From Annie's perspective, it seems as if Sam is happily in a relationship, but the viewer who has also seen Sam's story knows the mystery woman is only a friend. Understanding both sides of the story, the audience is left yearning for Annie not to give up and for Sam to take notice of her, which he does, only to be separated by a truck passing between them. The choice to show both perspectives lets the audience see how much these two characters belong together and all that they must overcome in their journeys to find one another.
Suspicion on the other hand relies on the single space created around the character of Lina (Joan Fontaine, in her Oscar-winning role). As the title suggests, the story is based on the unknown and the feelings that guide our intuition. Lina is a woman bound to become a spinster (as declared by her father) who falls for Johnnie (Cary Grant), a smooth talker with a shaky reputation. Throughout the movie, Lina picks up on clues that her husband is getting into trouble with gambling and such, but is always swayed by Johnnie's explanations. Our one-sided perspective has us guessing with Lina, always wondering but never knowing the truth behind Johnnie's actions. This hidden truth helps build suspense throughout the story, making the viewer wonder whether Lina herself is in danger. Had the viewer been given insight into both characters' lives, the story would be less of a mystery/thriller (i.e. less of a Hitchcock film) and more of a domestic drama about secrets and lies. Turns out Lina's sole perspective is necessary to maintain the anticipation and uncertainty that is so characteristic of the story. The one time we actually see from another character's perspective is when Lina is visited by two inquiring detectives. The second detective, Benson, who remains relatively silent, draws our attention away from the narrative and instead focuses on an otherwise arbitrary painting in Lina's foyer. As Heath suggests, this jarring switch is meant to draw the audience's attention toward the painting of Lina's father in the following scene. This change in perspective inadvertently also serves as a reminder that Lina's is not the only perspective in the story. Our tendency to side with Lina, perpetuated by sharing her narrative space, hinders our ability to see any truth but her own.
Framing is obviously an extremely important element of any film. I like how you consider how both of the movies would have been dramatically different if the director had made other choices with regards to perspective. In "Sleepless in Seattle," if only one of the two lovers' perspectives had been revealed, the audience would probably not be as engaged in the film, because they would be ignorant of certain facts about the other lover that are what make us really root for the two to get together. In "Suspicion," if the film had incorporated the viewpoints of both Johnnie and Lina, the audience would be aware of what Johnnie is up to and would not be on the edge of their seats guessing whether or not Johnnie is planning to kill Lina. The greatest lesson we learn from these films is that it is not the story that makes a film successful, but rather, how it is told.
ReplyDeleteYou make a great point about the effects of a single perspective when developing a narrative. We as an audience trust the camera, who is our "objective" eyes and ears, to tell what is "real," in an ironic sense. Because as Bonitzer says in his text, we are always semi-aware of the fictitious nature of film, while simultaneously being drawn into its narrative fabric.
ReplyDeleteHancock's use of a single perspective in "Suspicion" seems to me to present similar dynamics present in "Fight Club." In this film, we are only presented with the perspective of the nameless narrator, who we identify with, and it is not until we are forced to step back from his perspective through editing and spatial devices that we realize his reality is actually fiction. Thus, I agree with what you say about Hitcock's use of Lina's perspective.Combined with his strategic lighting that heightens the visual subplot of Lina's terror and paranoia, the use of a single perspective increases the audience's emotions and "sutures" (to use Bonitzer's term) us into the film by further identifying with the heroine.
With Sleepless in Seattle, you stress the point that both stars had to remain apart so we could "see how much these two characters belong together." This is completely true, and Cooper makes note of this in his article. By keeping the two lovers in different spatial localities, the director "intesnified the audience's desire for resolution, thus further investing us in the film." In essence, the film makes us sit on the edge of our seat--a well-known saying which, at its core, speaks to the ability of film to draw us into the narrative. The narrative in Sleepless in Seattle self-produces precisely because the two spaces are dichotomous until the resolution.
The point you made on the effects of point of view and narration on the story is an excellent one. I'm actually reminded of "Cache," in which some of the discussion surrounding the film centered on the trustworthiness of the narrator; how much faith could we place in a man who so obviously lied to those around him? Could we trust in his narration? And though none of the main characters in "Sleepless in Seattle" or "Suspicion" could be said to be untrustworthy, the point remains that we as an audience are viewing their lives through their eyes, and this vantage point directs our feelings. It is because we see Annie and Sam through their eyes that we're able to feel what they feel, and because we are so entrapped in Lina's point of view that we too become overcome with suspicion.
ReplyDeleteI also agree with your analysis of why Annie and Sam were forced to remain apart for the majority of the film; it is because they each inhabited separate locations and yet almost constantly shared a "look" that the desire for closure was so enhanced. The use of narrative space in both these films is absolutely integral to their story, and to the emotions we draw from them.
I like how you break down each film and show how the director creates a dual perspective narrative in "Sleepless in Seattle" and a more single-focused narrative in "Suspicion". With your analysis of "Suspicion", I liked how you pinpointed the scene with the detectives and the painting, and showed how the audience is reminded that Lina's perspective (though the audience is mired in it), is not the only perspective out there. I think this also happens in "SIS", in that Ephron, throughout the film, clips to the map of America and shows how the story unfolds from the perspective of the film's third main character-- the US itself. I like your use of the opening quote of Heath's but think you might be able to incorporate it a bit more into your thoughts, especially how Suspicion is from a woman's point of view, and SIS is split between a man and a woman.
ReplyDeleteGreetings Matt,
ReplyDeleteThis is Alexis. I'll be the person grading the blogs in this course. You do a good job comparing the impact of framing on the perspectives of the viewers in terms of both films. What are some of the other technical elements that limit or supplement the perspective of the viewer/witness?
I look forward to continuing to read your work!
Best,
Alexis