Analysis of 'The Woman in Black' Opening Scene



James Watkins's terrifying adaptation of Susan Hill's horror novella The Woman in Black powerfully introduces themes of tragedy and destruction that feature throughout the film with its chilling opening scene.

Sound
The non-diegetic music used in this opening scene is chilling, Watkins's decision to use the chimes of a music box throughout this scene is parallel with the dolls shown at the girl's tea party- effectively accentuating the unsettling appearance of the toys. The cringe inducing diegetic sound of the china teapot hitting the small toy teacups is unsettling to the audience, and begins to prepare the audience for the horrific events featured throughout the film. This is repeated twice, then seamlessly replaced with the chimes of the music box, effectively introducing the non-diegetic music. The music box audio is soon overpowered by a haunting, distorting version of the same audio- the light chimes made into deep, resounding noises that are entirely unnatural. The non-diegetic music builds as the girls begin to walk towards the windows- increasing in pace and becoming more deeply layered to emphasise the oncoming tragedy. This sense of doom is added to by the diegetic on-screen sounds of the china cup and doll's head cracking, establishing the imminent deaths of the three girls. During the close up shot of the girl's hand slowly opening the window, the on-screen diegetic 'click' sound of the window being opened is echoed- emphasising the weighted consequences of this action. The non-diegetic music builds to a climax as the girls jump from the windows- evaporating into silence as they fall out of shot. The silence is only broken by the diegetic sound of a piercing scream of grief off-screen- establishing the tragic consequences of what has happened.

Lighting

The opening scene is dominated mostly by natural lighting. This not only helps to preserve the time setting- as bright, professional lighting would be an anachronism within the 1910's setting- but also reflects the innocent gaiety of the three playing children and creates contrast to their tragic deaths. The natural lighting from the three windows serves as the key light in this opening scene- lighting only half of the doll's faces to create a creepy and foreboding effect. The fact that the dolls- symbols of childhood innocence- are slightly corrupted by the light shadowing subtly hints at the oncoming tragedy. Whenever we are able to see the whole bedroom- the windows stand out most- as they are the one source of light in the room and are extremely bright against the muted colour scheme. They appear almost attractive, drawing the audience to them in the same way the three girls are later. This is quite sadistic, yet fitting for the film genre. Once the three girls become possessed by the Woman in Black, the shadows seem to dominate the scene- most especially at 1:03 where darkness seems to have consumed the shot almost entirely. As the girls begin to walk, they cast their shadows over the doll's tea party, bathing their toys in darkness. This is symbolic of the loss of innocence and lack of control the girls- who were previously seen making the dolls drink tea and lay in beds- now have over the situation. During the reverse-tracking shot of the three girls walking towards the windows, they are all well lit by the natural lighting from the windows. If we take the windows as a symbol of the children's deaths and the Woman in Black's control, we can argue that the bright lighting in this shot serves to demonstrate how the girls are entirely possessed by her and that they have no hope of escaping this dark fate. As we watch the girls step up to open each of the three windows and block the light with their bodies, what we can see of the room is now entirely dominated by dark shadows. Arguably, this is symbolic of how the previous innocence (represented by the toys and childish decorations in the room) has now been corrupted entirely.

Camera movement

Throughout the sequence, the camera is never entirely still but always shaking slightly. Arguably, this is both representative of the lack of control and foreshadowing the scene's tragic conclusion. There is little camera movement within the sequence, perhaps to avoid distracting from what is actually being shown to the audience. By limiting camera movement, Watkins' prompts the audience to search for deeper meaning in the content presented- as it is arguably very symbolic of the film's dominant themes: lack of control and loss of innocence. However, at 0:56, the camera begins to zoom in slowly on the windows- perhaps to stress their significance within the sequence. It also reflects the way in which the girls are now drawn to them after being possessed by the Woman in Black. The lack of camera movement as the girls stand and begin to walk towards the windows is perhaps reflective of how they are now past the point of rescue. The close up shot of the girl's feet as they walk out of the shot does not pan to follow them, emphasising the fact that they are leaving behind their childhood toys, foreboding the fact that they will soon be leaving life behind as well. The lack of movement here is reflective of the audience's inability to prevent the oncoming tragedy. In contrast to the previous lack of movement, the reverse tracking used during medium shot of the three possessed girls walking towards the windows effectively displays their black expressions, emphasising their lack of control over what they are doing. In addition to this, the use of the reverse tracking shot here also means that, despite the fact the girls are walking forwards, the audience remain the same distance from then- again highlighting the audience's lack of power of the situation. The long shot of the girls stepping up onto the window sills, shot from behind, uses a tilt movement to follow the girls up as they step onto the window sill, effectively keeping them centred in the shot. Once the girls have jumped, the camera slowly begins to zoom out- and each of the shots following the jump use the same movement, perhaps to reflect the feeling of falling, as the girls did. The backwards zoom on the last shot also allow the audience to see a glimpse of the Woman in Black herself- effectively introducing the film's Supernatural villain and setting up the horror that the rest of the film shall include.

Camera angles

As the close up shot of the toy cup and teapot, a high angle is used, placing the audience in an elevated position over the toys and the childish associations with them. However, this feeling of superiority is taken from the audience as they following close up shot of the doll places them at eye level with it, removing that previous feeling of elevation. The long shot of the three girls playing together is also at eye-level, meaning that from the very beginning, the children are established as equal to the audience- suggesting that the tragic events that follow could happen to anyone, that their youth doesn't make them any more vulnerable than any adult- due to the Woman in Black's great power. The following sequence of the girls playing with their dolls is also at eye-level, emphasising this. However, the sudden change of angle- from eye level to high- in the following shot is initially disorientating, though it is soon apparent that this is a P.O.V shot from the Woman in Black. The high angle establishes her superiority over the girls, and the power she has over them. As the girls begin to walk towards the three windows, the camera remains eye level with their feet- focusing on the details of the destruction the girls carry out on their way- smashing dolls heads and cups. The medium shot of the three girls walking towards the windows is also shot at eye level, again establishing that the audience is equal to these girls. Once the girls have jumped, a close up eye level shot of the doll is used to give closer detail of the dolls face, placing the audience at the same level as an inanimate child's toy, again emphasising that the audience holds no superiority. As the opening finishes- a high angle perspective of the room is used to establish the Woman in Black's perspective, and to illustrate the idea that she has both orchestrated and spectated the entirety of the horrific events passed. 

Framing

The majority of this opening uses close up and extreme close up shots, in keeping with the conventions of Supernatural Horror, in order to disorientate and disturb the audience. Close up shots are consistently used on the dolls while the girls play, giving the audience a detailed view of their lifeless and haunting faces. However, medium shots are used in contrast to establish how the three young girls happily play together, full of joy and life as they play. The following individual close up shots of each girl's face shows their smiling and happy facial expressions. This use of close-up framing effectively mirrors the presentation of the dolls and thus foreshadows the girls' demise. As the Woman in Black's P.O.V shot is introduced, a high angle long shot is used to give a full view of the bedroom for the first time. This means that the three windows are now seen- foreshadowing how the girls will die as a result of the Woman in Black's influence and power. Once the girls stand and begin to walk towards the windows, the opening is once again consumed by close up shots, giving detailed views of the destruction the girls unwittingly commit as they walk to their demise. The close up shot used on the window handle as the young girl opens the window serves to emphasise the great importance of this act, and the tragic consequences it will have. Following this shot, a long shot is used to show all three girls standing in the windows, and stills to give the audience a clear view of them as they jump to their deaths- effectively portraying the tragedy shown. The following close up of the china doll again serves as a symbol of the girls lifeless state, and how they were used and manipulated by the Woman in Black. 

Mise en scene

The close up shot of the china teacups and teapot at the beginning of the opening arguably represents delicacy and fragility, paralleling the girl's vulnerability within the scene. The white colouring and small bird design symbolises purity and innocence, similar to the young girls, which will soon be corrupted. Also, the three birds depicted on the china set could arguably represent the three girls, who will soon jump to their demise. The use of the birds serves to enhance the later tragedy, as the girls are unable to fly free from their demise like their painted counterparts. The montage showing the girls playing with their dolls- featuring individual close up shots of the girls making the dolls sit, drink and sleep parallels the way in which the Woman in Black will soon posses the girls and make them jump to their deaths- rendering the girls as lifeless and helpless as their dolls. The costuming of the three girls serves to both establish the time period, and emphasise their youth and innocence- the small ribbon bows in their hair highlighting this. The three windows first shown in the high angle long shot of the room serve to foreshadow the girl's demise, as they match the girls in number and size. As the girls begin to walk towards the windows, the close up shot of their feet as they destroy their beloved toys effectively conveys the lack of power the girls have over their actions, and their inability to fight the Woman in Black's power. The destruction of the dolls also serves to foreshadow the girl's deaths. The close up shot of the doll after the girls have jumped to their deaths is chilling, and establishes the lifeless nature of the girls now. At the end of the opening, as the high angle shot slowly zooms out to reveal the Woman in Black's silhouette in the corner of the room- the audience is able to see some details of her costuming. The black veil she wears is reminiscent of funeral wear- and echoes the tragedy of the girl's deaths.

Editing

The opening begins with a fade transition from a black screen to the close up shot of the china tea-set, effectively introducing the audience to the scene. There is little editing within the opening- mainly simply cutting without transition between shots. However, previous to the Woman in Black's influence, there is regular spacing between shots, and each shot is on screen for roughly the same amount of time, establishing the normality of the scene. Whereas the high angled shot signalling the Woman in Black's presence is unnaturally long, disturbing the pace of the opening so far. This serves to emphasise the power she possesses, and the incredible weight of this moment as the girls fall under her power. Throughout the opening, little post production editing is done, instead focusing on the events on screen. At the closing of the opening, the screen fades to white- perhaps symbolising the way in which the girls have slipped into the afterlife, and the human world has faded for them. 

Supernatural Horror conventions

In terms of Supernatural Horror conventions, this opening follows the majority of tropes quite closely. It is common for Supernatural Horrors to use an inhuman demon or witch with unimaginable power to manipulate their environment as a villain. The Woman in Black fits this exactly- as demonstrated within the opening. It is also common for Supernatural Horrors to be set in locations that are unfamiliar to the audience: either a fictional place or- as in this instance- or in the distant past. This enhances this feeling of the 'other' and removes the audience's ability to fully understand the characters presented- adding to the feeling of helplessness Supernatural Horrors often strive to inflict on their audience. It is also common for Supernatural Horrors to use small children as either victims or tools for the antagonist to manipulate and use to execute their own will. This opening clearly conforms to this trope, as three young girls are used by the Woman in Black to establish her power to the townspeople. It is also common for Supernatural Horrors to be dominated by close up and/or extreme close up shots, to give unnatural and disorientating perspectives which disturb the audience. This opening also uses this technique, with the many close up shots including the dolls faces, the girl's feet as they destroy their toys, the window handle etc.

Conventions of a film opening

A film's opening is intended to give the audience a full understanding of the events on screen, introducing the narrative and usually, the major characters. Arguably- this opening does not conform to this convention, as although the Woman in Black is shown, it isn't immediately clear what has happened or who she is, and arguably- a audience member who had no prior knowledge of the film's narrative may struggle to understand this opening scene. The main protagonist is not shown either. Typically, a film opening includes opening credits to introduce the director, producer and main actors. However- this opening is void of all credits, or even a title screen, challenging this convention and again- leaving the audience lost in the events on-screen. 

What we'll take from it

From this opening, we agreed that our own work should definitely be influenced by the effective camera work throughout, and the strong symbolism used to foreshadow the victim's demise. We were inspired by the use of camera angles, framing and movement while watching this opening together, and will most certainly experiment with ways to enhance the presentation of our characters through certain aspects of camera work and technique.