'Scorch Trials' Opening Sequence Analysis

Another opening sequence I will be analysing is ‘The Scorch Trials’ directed by Wes Ball and starring actors such as Dylan O’Brien and Kaya Scodelario. This movie is the second in the trilogy and begins with a flashback of when the main character is a child to give the audience an insight into the story line and develop further from the first production.

There are many camera angles and movements used in the sequence which are effective and add tension into the scene, fitting with the action/ thriller genre.  Several low angled shots are used throughout, one which looks up and highlights the barbered wire above; this may represent the controlling authority figures making the characters appear inferior and vulnerable
Another low angled shot is used when looking up at the young boy, this is also a point of view shot from the mother, this is an uncommon shot used on a child as they are often looked down upon as they are inferior and younger, although in this, the child is in a superior position insinuating that he is of importance to the story.



Additionally, we can see the use of eyelevel shots amongst the crowd, with the characters having extremely close proxemics; this creates the feeling that the location is extremely crowded and establishing a feel of tension which is built upon throughout the opening. Alternatively, this shot is effective as it suggests that something is wrong due to tense and confusing atmosphere created, meaning the characters and audience are equal as they are viewing the same thing and the audience is not given an insight into the storyline.

Camera movements in this opening rely heavily on a steadicam to keep the camera still through the action in the scene in order to not confuse the audience. A track is also used to pull away from the mother, as she blends in the crowd and becomes insignificant; in this the audience are also in the point of view of the child as he is dragged away. This presents the action to the audience without plainly showing it, instead the audience becomes a part of it.

The opening to the film has been edited using jump cuts at a fast pace, this is used to ensure that tension and curiosity is built up in the scene as the audience have a limited duration to understand what’s occurring in the image.  A shot reverse shot is used between the boy and mother whom we assumed have a paternal relationship due to the use of close proxemics. It is also suggested through the emotion of sadness upon both characters faces when the boy is taken away. The shot reverse shot is key in allowing us, as an audience, to understand the relationship as we can see both characters reactions and facial expressions.

Throughout the sequence there are two prominent effects used on the visual image, one of which is a blur applied to the image on screen. This is used as another way to confuse the characters, preventing the audience from clearly seeing the image stimulating a sense of mystery. This may also imply there is information or secrets being concealed from the audience.  Furthermore, there is blue tint/effect which has been used throughout the first half of the sequence. The use of this colour connotes sadness and hopelessness and makes the scene more serious. However, this contrasts against the characters that are made brighter and highlighted. As seen in the image, the rim light around the characters head may be linked with religion, this could be seen to represent angels, therefore demonstrating the innocence of the characters.

The lighting used in this clip is consistently dark and low key suited to the location and time of day it is set. However, it connotes mystery as the images are concealed and it’s hard to decipher what is occurring in the scene. The lighting is also a common convention of the action/ thriller genre in order to keep the suspense of the scene. The importance of the lighting is shown in the scene where the young boy is travelling on the train and is looking up at the dominant characters; the lighting is both highlighting and concealing his face. This contrasts light and dark therefore making the audience question the characters intentions as these colours often connote good and evil. This is used to further implement confusion and suspense into the opening sequence to draw the audience’s interest.

There is a vast use of both diegetic and non-diegetic sound in the scene. The music in the background was the dominant and the most obvious use of sound in the whole sequence, beginning slow and atmospheric then building and becoming louder, parallel to the action on screen. The non-diegetic music was prominent in the scene due to the lack of dialogue and minimal diegetic sound. This was effective because despite the music the scene felt very empty and eerie as there were many characters on screen yet no diegetic noise could be heard, making them seem inferior and unworthy of a voice. The only diegetic sound heard was the breathing from the guards in the mask and the dog bark, both of these making the scene more intimidating and is used to create a feel of isolation which the audience experience, with the lack of dialogue or comforting background noise.

 The mise-en-scene in the scenes work well with the story line and helps to build on the tension in the sequence. For example the location provided for this is effective as being in a train station shows that the characters are attempting to leave, suggesting something may be wrong, which makes the audience question what the events where leading up to this. The location is also out in an outside environment which is caged up and barbered wire can be seen on the gates, suggesting the people are almost as unworthy as animals, caging them in a similar way as what they would do to animals in a zoo.  The costumes range from the intimidating heavily armed guards, which are intended to be intimidating to both audience and characters, wearing masks which may suggest that something is wrong. To the female character at the end that ensures everything will be okay for the young boy whom is wearing an all white costume, juxtaposing the dark background or seen as a good character in an evil society and a prominent figure in the following story line of the film.