Analysing 5 Film Openings

In order to understand how to put together our comedy opening, I analysed 5 comedy film openings.


Analysing Film Openings

‘Knocked Up’ (2007)
The film opens with non-diegetic music; a contemporary ‘rap’ song, accompanied by a very long shot of a small house with a sofa outside, surrounded by trees. Using this prop and framing the trees behind the house immediately gives the character living here connotations of messiness and freedom. There are then a series of straight cuts through scenes of grown men messing around and acting like children. Camera movement is used to give these characters negative connotations of immaturity and laziness: the camera tilts in slow motion as people jump into the pool, reflecting the relaxed, lazy and pointless lifestyles these characters lead. The main character here is established as one man dominates the camera, especially in a medium long shot where the camera tilts up to him with his arms in the air wearing boxing gloves that are on fire. This is a comical shot as it is accompanied by his exaggerated diegetic cheering: he is clearly a grown man but is acting like a child. More about this character’s lifestyle is revealed through a two shot of him and another man taking drugs. This is a comical shot as they sit next to each other, not communicating, and one has a bowl on his head. The non-diegetic music throughout this scene plus a low angle shot of these grown men, two of them obviously overweight, ‘street’ dancing, creates a comical scene that connotes they are dim-witted, immature men who think they are better than they actually are. The camera then tracks these men on a roller coaster, a medium long shot framing them screaming manically, connoting they have a carefree lifestyle and no responsibility. The setting of a theme park also has connotations of childishness and freedom. Their costume is also laid-back; shorts, sports tops etc. which connotes their childish, irresponsible lifestyle. The audience can see stock character types used in a romantic comedy emerging as here we are introduced to the ‘useless’ lazy man whose life is going nowhere.
There is then a straight cut into a totally different setting in which the camera pans a series of props on a shelf, including a small box of tissues, a notebook and an alarm clock. These props connote an organised, respectful lifestyle, which directly contrasts with the lifestyle of Ben (the male main character), as the props used for him are boxing gloves and marijuana. There is also loud diegetic beeping coming from the alarm clock, which immediately connotes that this character has responsibilities. The costume she wears (smart work clothes) also contrasts with that of Ben’s. The non-diegetic soundtrack changes to a more sweet-sounding, friendly tune, with a steady rhythm and cadence, which connotes her lifestyle is controlled, normal and steady.
A very long shot frames a totally different setting to Ben’s small, messy house: Alison lives with her sister’s family in a huge, expensive looking house. The camera pans the father (her sister’s husband) as he plays with his daughter, connoting the responsibilities of family life, and a medium shot of the family frames props such as fruit and breakfast cereal that contrasts with the drugs used in Ben’s scene. Framing the family in this medium shot connotes them to be a close unit with a strong bond. Alison, however, is framed separately. A medium shot of her watching the family connotes that although she is mature and career-minded she is also lonely.
Therefore, the equilibrium is established by giving the audience an idea about these two character’s completely different lifestyles. Each scene tells the audience that this is normality for them. The enigma is posed, as inevitably these two characters will meet somehow, and the audience will be drawn into the diegesis, as it will be interesting to see if these two contrasting lifestyles will clash. This equilibrium of two different lifestyles is a typical opening to a romantic comedy; the typical narrative being the stock character types of ‘useless’ man meets ‘successful’ woman and the clashing lifestyles causes friction, but eventually they realise that opposites attract. The audience identifies with characters; my target audience of girls might identify with the female character and her situation. The light-hearted music and high key lighting throughout and use of everyday settings and props gives the film a relaxed, light-hearted atmosphere that tells the audience this is a comedy film.

‘Mean Girls’ (2004)
The film opens with a low angle shot of Cady’s parents looking down on her. As this is a P.O.V shot, the audience’s initial reaction would be that they are talking to a very young child on their first day of school, as the diegetic dialogue tells us, but the camera tilts up as she stands up and straight cuts to an over the shoulder shot framing Cady standing between her two parents; clearly much older than five. Immediately the film is comical as it is odd that she is so overprotected by her parents at such a strange age: the tightly framed over the shoulder shot connotes this. The non-diegetic soundtrack has a heavy drumbeat and a high-pitched piano, connoting a contrast of two different cultures. A very long shot of the family connotes they are out of place and overwhelmed in this neighbourhood, which is further revealed in a series of quick fade-ins through still frames of Cady in Africa. Accompanied by this is a non-diegetic voice over which establishes Cady as the main character; the Proppian ‘hero’ of the film. The voice over is also sarcastic and funny, and there are also added scenes demonstrating comical perceptions about home-schooled kids; for example, a long shot of a ‘nerdy’ looking girl wearing glasses, zooming in to show her overly pleased facial expression when she spells a word correctly, and a medium shot of a group of boys in a very still frame connoting that they are simple. The non-diegetic music changes according to setting: when in Africa the music sounds tribal due to it’s heavy drum beat, but when in high school the music is fast-paced and sounds like a contemporary pop song, connoting the modernity of American youth which Cady is not used to. The non-diegetic voice-over says ‘Hello high school’ just as there is a jump cut to Cady almost being run over. This jump cut reflects Cady jumping from the bus and accompanied by ‘Hello high school’ an enigma is posed; high school will be overwhelming and dangerous for Cady. Camera shots and movement further connote this: the camera tracks her walking through school, so the audience immediately sympathise with her as their ‘hero’; a medium close-up of her face frames her annoyed and overwhelmed facial expression; a POV shot frames everyone walking towards her which puts the audience in her shoes and makes them sympathise with her; and a long shot frames a very large amount of kids, some of whom are playing with fire, which connotes an overwhelming environment. The camera also pans the scene in slow motion, connoting that this is all surreal to her. As a teen comedy, the audience begin to see stock character types emerge: Cady is the ‘average’ girl, revealed in her normal costume of a jacket, jeans and t-shirt; but she is made to feel abnormal because the kids in high school all wear bright hoodies, so already she doesn’t fit it. The audience are drawn into the diegesis as they sympathise with and relate to the main character and hero Cady, as they will have all had their first day of school. They can also relate to the character type of the ‘average’ girl.
High key lighting is used throughout to establish the comedy genre and give the film a light-hearted atmosphere. As well as stock character types to teen comedies revealed here, Proppian character types are also revealed. Cady is obviously the ‘hero’ and high school the ‘villain’; her parents could be the ‘donors’ as they have sent her on this journey. However, later in the film when a plot develops these character types will change accordingly. The typical narrative of a teen comedy is also posed; new girl at school attempting to fit in. The target audience of teenage girls can instantly relate to this. Also, there is the typical stock setting of high school. We know she will have trouble fitting in because where Africa would be overwhelming to Western teens; high school is overwhelming and dangerous to her. Plus she is very overprotected by her parents at an unusual age. This draws us into the diegesis and helps us sympathise with Cady.


‘Superbad’ (2007)
The opening diegetic music is upbeat and immediately gives the film a relaxed, light-hearted mood, connoting its comedy genre. A low angle shot of a car follows; the shot if from the front of the car and is typically seen in ‘rap’ music videos, giving connotations that the owner of the car is rich and respectable. However, this car is a small, dirty looking car, and as the camera tilts up and straight cuts to a medium shot of the young, fat, curly-haired driver, this scene is instantly comical. Stock character types typical to teen comedies are introduced already: this boy is obviously the ‘geek’ who falsely believes he is actually rather cool. There is then a medium long shot of the boy he is on the phone to, framing him eating cereal and studying. The props used in this scene, such as the book he studies from, and the costume he wears (which is a stripy long-sleeved t-shirt) also give him connotations of being studious and establish his character type of being another ‘geek’. The camera pans the boy in his house washing up his dishes, which would be considered a typical ‘geeky’ thing to do for a teenage boy. However, the lighting in the kitchen is darker which connotes that this character is perhaps more shy and reserved compared to his overweight and boisterous companion. This is further revealed, as there is diegetic music from the car radio, whereas the other character stands in silence in his kitchen. Also, the medium long shot means he is not dominant in the frame unlike his friend in the car. Therefore, two stock character types for teen comedies are revealed here; they are both ‘geeks’, but one is lively and outgoing and probably would not consider himself a ‘geek’, and the other is the timid and quiet ‘geek’. Together, they form a sort of ‘team’, which is stereotypical to the teen comedy genre, and the audience immediately relate to them. The diegetic dialogue between these two characters consists of a small argument over what they consider is ‘good’ pornography. These characters are portrayed as so desperate and pathetic through this dialogue, as well as through the props such as the small car, and it is this that makes them so comical. The equilibrium is established, as it is obvious that this is normal life for these teenagers, as a long shot of the other character coming out of his house and getting into the car without hesitation connotes that this is an everyday occurrence. The diegetic dialogue gets louder here because the two characters are still on the phone to each other despite being face to face, which also contributes to the comedy of this film. Also, there is a pan of the small, dirty, maroon coloured car pulling into a nice, expensive looking and very green front garden to connote that these boys are social misfits, as well as the accompanying dialogue about pornography. These characters are obviously the Proppian ‘heroes’, despite being very easy to laugh at. High key lighting is used throughout to give the film a light-hearted mood and connote its comedy genre. The stock narrative is quite easy to guess from this title sequence. The ‘geeks’ in teen comedy films are almost always on a mission to ‘get laid’ (have sex). This immediately relates to the target audience, as sex is a stereotypical issue in teenage life, and also draws them into the diegesis by posing the enigma: how are they going to do it? These pathetic characters are so laughable and so pathetic that this makes a perfect and very watchable comedy film.

‘Bridget Jones: The Edge Of Reason’ (2004)
Non-diegetic very light, classical music opens the film, immediately giving it a light-hearted and romantic feel and connoting the genre, as music like this is iconic to romantic comedy films. A high angle shot of a diary, which the camera circles from a crane, connotes its importance. This diary is iconic to the ‘Bridget Jones’ films. A dissolve is then used into the next scene, which is a high angle show of a car. The camera pans it as it pulls to a stop, framing the snow-covered surroundings. Immediately a British audience will relate to the use of setting; cold winters are inexorable in Britain. Bridget’s costume helps to further relate to the target audience as she wears a huge warm coat and a scarf, plus her hair is messy so she is not perfect, which makes it a lot more realistic.
Characters start to be unravelled in the opening; through a high angle shot of Bridget coming into her mother’s house the use of mise-en-scene tells us a lot about her mother. There is an over-abundance of ornaments and patterned wallpaper, and the use of colours; clashing blues and yellows; connotes how ostentatious her mother is, and the over-exaggeration of this instantly makes her a comical character. This is also further established through her costume: she wears pearls, a bright red top with a flower on it and her hair and make-up are perfect. Her body language, framed through a medium shot of Bridget and her mother, adds comedy too; she keeps away from Bridget making sure she doesn’t budge her hair or make-up. There is also non-diegetic whistling, which follows a steady rhythm, connoting that her mother is a very comical and perhaps simple character in the film.
The audience relate to the Proppian ‘heroin’ Bridget through a non-diegetic voice-over used throughout the title sequence. Also, a close-up and pan of Bridget at her mother’s buffet frames her never changing facial expression. The audience know her smiles are fake, because in the voiceover she tells us what she really thinks of these characters. This helps draw the audience into the diegesis; we instantly relate to Bridget and her situation. A pan of the buffet frames the very few people there, most of whom are grown adults dressed in Christmas outfits- a perfect example of the self-deprecating humour that is so common in British comedy films. As this film is a romantic comedy, it relates to its target audience (women) through its main character and the situations she gets in. For example, a medium long shot and tilt down frames Bridget’s ‘pervert’ Uncle feel her bottom; an immediate straight cut to a close-up of her disgusted facial expression helps the audience familiarise with her. The audience next see that Bridget and her father are very much on the same level; a medium-close-up frames them tightly together which connotes their strong bond and straight cuts throughout their conversation emphasises their close connection.
The love interest is clearly revealed next; the camera tracks Bridget walking towards Mark in slow motion, which connotes the emotional connection between these two characters. A close-up reveals her facial expression, which this time we can see is genuinely happy. This, accompanied by non-diegetic very slow and deep music connotes a strong romantic connection. There is then a zoom in on Mark Darcy to connote his importance to her. However, the camera tilts down to show his costume, which is a very ugly knitted Christmas jumper. Again, the idea that one can laugh at oneself is typical of British humour, creating verisimilitude as the audience can see that he is not perfect. The camera then tilts down to show that she is wearing a matching jumper, which reinforces the romance between these two characters, as they don’t mind looking silly together. Costumes like this create a light-hearted mood that the audience can relate to. High-key lighting is also used throughout the opening to connote the romantic comedy genre and reinforce this light-hearted atmosphere. Also, it means that no villains are yet established, so the romance of this film is the most important thing. There is then a dissolve into Bridget’s ‘fantasy’. The audience know it is a fantasy because of this dissolve, and this helps them relate to her more as it creates the feeling we are really seeing into her mind. Dissolves are used excessively in the next scene, especially through shots of Mark and Bridget kissing. They are used to give the film a relaxed, romantic feel, making it seem almost like a fairytale.
Bridget’s ‘fantasy’ is a comical spoof of a typically perfect romantic scene. The idyllic setting; green field and blue sky, contrasts completely with the snowy town seen earlier, although this is very beautiful in itself; this could be connoting Bridget’s need for perfection thus ignoring what she has got. This is an issue that comes up later in the film; so this ‘fantasy’ in the opening is dropping subtle hints towards later disruptions in the narrative. There is a long shot of Bridget and Mark running towards each other, Bridget wearing a long frock and Mark wearing a crisp white shirt and brown trousers. The couple run in slow motion, accompanied by the non-diegetic ‘Sound of Music’ tune. This is all very exaggerated, mocking the stereotypical ideas of ‘true love’, which is not only very funny but relates to the audience, who would familiarise with Bridget’s realistic situation as well as her dreams of a very unrealistic romance. A very long shot of them embracing frames them surrounded by all this beauty, but they look only at each other, connoting true devotion and reinforcing the film’s romantic genre. The camera moving on a crane connotes how ‘out-of-this-world’ and unrealistic this fantasy is, again so the audience familiarise with it.
From watching the opening, the equilibrium is established as Bridget and Mark happily in love. The enigma posed would be the same as all romantic comedies; can they stay this way? It’s obviously too good to be true. This rom-com will inevitably follow the same Todorovian narrative as all rom-coms, the disruption being the couple temporarily breaking up, a ‘grand gesture’ from one or the other being the attempt to solve the problem, and the equilibrium will then be re-established.

‘Hot Fuzz’ (2007)
As this film is of the sub-genre action-comedy, codes and conventions of both action films and comedy films are prominent throughout the opening. Opening with diegetic sirens, the audience immediately are put on edge which is a typical to an action film. However, the abrupt stop to these sirens accompanying a very long shot of a man walking towards the camera connotes that he is not a dangerous character, as the complete silence other than his loud, diegetic footsteps and the very long shot makes him seem small and insignificant; there is no tense non-diegetic music to connote him as the ‘villain’. Also, as it takes him a while to reach the camera, any authority that might have been connoted through his strong, determined body language; or dark lighting to create mystery as we can’t yet see his face; more or less disappears with every step and creates an awkwardly funny atmosphere. A close-up of his face frames exactly the same facial expression he has on his Police badge photograph, which is zoomed in on straight after. The audience start to see that this is a comically arrogant character, which is established in the non-diegetic voice-over, where he talks about himself in third person. A low-angle shot of him and a low-angle close-up of his shoes connotes how bigheaded he is. The close-up of the shoes connotes that he obviously thinks he can ‘walk all over’ anyone. The camera tracks him throughout, connoting him to be authoritative and establishing his Proppian ‘hero’ character type. A quick jump cut frames a close-up of his uniform which connotes his comically exaggerated pride in being a Police officer. His body language is determined and he walks quickly; a tilt of him running up the stairs and then off frame connotes that he is very busy and hard to catch. There is then a flashback of his Police training which is all very fast-paced due to excessive use of straight cuts, connoting the action genre and also connoting his life as exciting and action-packed. However, the comedy side of the genre is revealed through the non-diegetic music; a steady drum beat and a trumpet give it a more light-hearted atmosphere that mocks his seriousness about his profession. Also, his facial expression, which is constantly zoomed in on throughout the flashback, is always the same, matching the cadence of the music and his very monotone non-diegetic voiceover, which creates a comical effect. This opening aims to create a parody of a stereotypical determined, strong and proud police officer, establishing this as the equilibrium. His hard work is connoted through jump cuts to props like pens and paper whilst he is doing his theoretical exam; the excitement he has encountered during his training is connoted through quick pans of officers fighting fire, which connotes danger. However, all of this contrasts with a still medium shot of him giving two old ladies directions, mocking all the hard work he has undertaken, making him a laughable and pitiable character. This helps the audience familiarise and empathise with him, effectively drawing them into the diegesis and making them wonder what will happen to him; whether he will realise that he’s not as powerful as he thinks. The fast pace of the opening, too, engages the audience and sets an exciting atmosphere for the rest of the film. Costume is used effectively in the opening to reveal more about his character; police uniforms have connotations of responsibility, maturity and restrictions, and a very long shot frames him in a line with his fellow officers, all wearing black. This makes him blend in and connotes that his life is not as exciting as he thinks it is; infact, it is quite bleak.