FACE/OFF- THRILLER OPENING ANALYSIS

Within the opening clip of ‘Face Off', technical decisions regarding the mise-en-scene, sound, editing and camera angle, movement and position influence our perception of the main characters: detective, Sean Archer and sniper, Castor Troy. These decisions follow the typical conventions of a archetypal thriller.

Touchstone Pictures produced this film. Their logo is blue, black and gold, written in block capitals using a Serif font. By using this type of font, it creates an element of truth, seriousness and solemnity. Behind the print, is a jagged strip, very similar to lightning. Overall, this image is perfectly in keeping with the thriller genre as it instantaneously introduces a dark and severe impression.

We hear a musical sound bridge, comparable to the ‘tinny’ chiming sound of a merry-go-round or a child’s toy. Although seemingly innocent, it creates a foreboding and slightly chilling atmosphere. The opening titles then appear, one by one, as though they are coming into focus. The white, sans-serif text, that is resting on a black background, immediately signifies Stauss’s theory of binary oppositions, which demonstrates the constant battle between good and evil, ever present in thrillers. The ‘whoosh’ sound that accompanies these credits, emphasises their appearance. The sound, as previously mentioned, has morphed into an ambiguous, classically based, almost melancholic music. Again, ambiguity is a key feature creating the mystery or enigmas which we expect within the opening of a typical thriller.

The fast paced editing between this and the opening shot, a seemingly bright blur that darts from one side of the screen to the other, morphs into an image of Sean Archer and his son playing on a merry-go-round. This editing creates a claustrophobic atmosphere, which I believe is imperative to produce the correct feeling for a thriller. A child’s laughter supplements this transition, again unsettling the audience.

During the loving moment between the father and son, the music changes to a string quartet, and the pace becomes slow motion, producing a soothing ambiance. Dissolves are also used to reiterate the same feeling. The camera clearly focuses on the expressions of the characters, by numerous medium close-ups to close-ups, showing a physical and emotional closeness between the characters. The film has a gentle, sepia quality to it and is faintly out of focus, suggesting that this image is but a memory.

It is at this moment that the camera pans, and quickly zooms, to reveal, at an extreme close up, a telescopic lens attached to a rifle. The sound of the covering cloth is emphasised as it is lifted from the gun, by cymbals and a ‘whooshing’ sound. The title ‘Face/Off’ emerges, as a fade in, and overlays the silhouette of Castor Troy; the ‘Face’ white and the ‘Off’ black, again, visually reinforcing binary oppositions. The music alters to a sound like monks singing. The music is bass heavy, creating a sudden, ominous and menacing sensation. Many extreme close-ups are used when focusing on the villain, Caster Troy, to enhance the drama. His face is calm and collected, also insinuating a cold and sadistic side to his personality. To enhance this further, Troy is simply sipping a drink, showing his relaxed approach to this job.

The point of view, long shot from the crosshairs lens, is used to accentuate the danger and allow the audience to focus on only this momentarily, thus creating tension. We then move to an extreme close up of Castor Troy’s finger on the trigger. The sound of the bullet is exaggerated and its time and distance to hit its target, Sean Archer, prolonged. The camera pans and tilts around the bullet, in extreme slow motion, by the use of CGI. A cause and effect shot is established through this transition; we see the bullet being fired, and the devastation it causes.
A dubbed (non diegetic) sound of a distressed, carousel horse is used to signify the death. And although not real, our brains subconsciously associate this noise with the carousel, due to the blood stain left upon its side, creating an extremely haunting image. Moreover, all colour fades from the scene, apart from the red balloons floating to the sky, also signifying the boy’s death. The music is holy and sorrowful, reflective of the eerie and heartbreaking mood.

The opening finishes with a tilting shot, from the boy and father, to the carousel, still turning. The music reaches a huge crescendo, and the sound of distressed horses is again heard. The carousel increases rapidly in speed at this, and the colour drains to a vivid black and white contrast. The image becomes harsh and fragmented, perhaps a visual representation of the father’s, Sean Archer’s, now broken and distorted mindset.

We then have a fade to black, and a stark, white caption appears reading ‘SIX YEARS LATER’ clearly identifying the passing of time as well as the change of scene. A long establishing shot, from the inside of a window, is used to illustrate the surrounding setting, a heavily built up, urban city, which is highly conventional for a thriller.  The camera pans to reveal a much dishevelled and older Sean Archer. Sean Archer holds his left hand to his face, to express the depressive state he is in, and has been since his son’s death, as well as clearly exposing his wedding ring, emphasising its importance, (we later discover that the death of his son and his obsessive need to fulfil his revenge, has had a knock on, damaging effect on his marriage; reiterating that he is a flawed hero, an archetypal character within thrillers). The music, a harp and xylophone, is soft, gentle and reflective, as the camera tilts from the top of a wall to reveal his many awards and certificates presented to Archer for his occupation; clearly he is an extremely successful and highly respected detective. The shot then falls upon a close up of a gun, to remind the audience of the dangerous and unpredictable aspect to his job; a job perfectly apt for a thriller.

Moving from Sean Archer’s office, a tracking shot is used to move throughout the busy and fast-paced office, highlighting name tags, files and computer screens, showing the hard-working environment Sean Archer conducts in his establishment. The clip then edits back to a shot of Archer, handling the gun and placing it at his side. The music becomes melodic and choir-esque once more, as he looks into the distance, his determined and saddened face set on revenge.

It is at this point that we are introduced to Castor Troy, and his details, through a police data base on a computer screen. This identifies his face, name, occupation, killings and motivations, setting the scene for the following events.