All four of these films we have watched in class have obvious connections to sight and morality. However I decided to look specifically at Rear Window and Doubt because of their very blunt similarities. What I mean by this is that in both of these films there is a character that is singled out as the potential villain. Along with this, the main character in both of these films is in a sense, portrayed as a hero. These similar plots are ideal at analyzing morality because the theme of accusation plays a very prominent role in the movie. The way both Hitchcock and Shanley go about accusing the certain characters come alive in the following stills.
The first still above is from Rear Window. As you can see the shot is a medium shot of Thorwald. You can see him from waste up, but also have a good view of his face, and his actions. In the shot Thorwald is gathering newspaper in the kitchen. While looking at the context of the shot, you realize that this is when Thorwald was packing up his alleged murder weapon. He is in the middle of hastily covering up his crimes with numerous tasks. In my opinion, the most important thing about this shot is the framing. You can see that the frame is a dark circle. This circle represents the camera lens, which the main character, Jefferies is looking through to spy on Thorwald. The framing contributes to the shot in such a strong way that it clearly points out the moral uncertainty within it. As a viewer, we see the shot through Jefferies eyes, however they are magnified because of the camera lens. That fact alone tells me as the viewer that it this is wrong, and I’m clearly spying. It is interesting how this shot gives the viewer insight of the villain, however because it is through a lens it makes you feel as though you are accusing Thorwald. This leads to the moral uncertainty. The way Hitchcock enables his viewers to see the villain and uncover his secrets are entirely immoral which is why the movie is so thrilling. Not only is Jefferies spying on Thorwald, but so am I.
The still I choose from Doubt is similar to that of Thorwald, because like Hitchcock, Shanley frames the shot in such a way that it makes the viewer feel as though they are accusing the character in the frame. In this specific medium shot, Father Flynn and Donald Miller are embracing one another in the middle of the hallway. I think this was a very intentional choice Shanley made. Philip Seymour Hoffman’s face is so strong and expressive that it isn’t necessary for Shanley to zoom in on him. Instead, Shanley choose to incorporate Sister James in the background of the shot. This little decision ended up turning the shot upside down. The shot also includes fellow students, however not only are they not in focus, but they seem to be walking out of way of the two, almost in a way that a bubble is formed around Donald and Father Flynn. In context, Father Flynn witnessed a bullying act made upon Donald in which his books were knocked from his arms. He offers Donald his hand to help him from the floor, and then proceeds to pull him into his chest for a hug. The embrace itself sounds an alarm in the viewer’s head. Father Flynn is cradling, and resting his face on Donald’s head. Donald in return is burying his face in the Father’s chest. It is quite obvious this hug isn’t average. However what really shakes the shot up is the black figure of Sister James in the background. Blurry, or not, her presence is immense, and causes the shot to scream moral uncertainty. With Sister James looking at the two hugging, you as the viewer immediately feel as though this embrace is wrong. You are now uncertain about the relationship between the Father and the boy. However, just like Jefferies, you are watching this happen from the outside perspective. Through the camera lens, and through the ironically crowded yet intimate hallway, you end up accusing these potential villains with the smart directing of both Hitchcock and Shanley.
In both of these stills, through the specific framing of the shots you end up accusing the potential villains with the smart directing of both Hitchcock and Shanley. They also both have an element of moral uncertainty made by both Jefferies and Sister James, by seeing a specific action being made by the villain. In my opinion these two shots were the best at representing the film, and the directors goal.
