Disturbia (2007) - An effective beginning?

‘Analysing the effects created using cinematography, editing and sound within the introduction sequence of ‘Disturbia’ (4.30minutes)’

‘Disturbia’ was directed by D.J.Caruso and released on 14^th September 2007 by DreamWorks Production Company. It’s a thriller with a runtime of 105minuets. The cast includes Shia LaBeouf, Sarah Roemer and David Morse. Translated into Russian it is named ‘Paranoia’ accompanied by the tagline ‘Every Killer Lives next door to someone’.

After witnessing his father’s death at 16, Kale Brecht is sentenced to 3 months under house arrest for punching a teacher. He passes his time by spying on his neighbours only to discover that his neighbour is a serial killer. Determined to expose the truth while protecting his mother and friends, Kale attempts to prove what Mr Turner really is.

I am analysing the introduction of the film as this sets the scene and introduces Kale making it important to grab our attention. The screen begins black with non-diegetic voices speaking in the background:

‘“You think he sees us?”

“Nah he can’t see us but he can feel us watching.” ‘

This line foreshadows future events in the film and causes tension within the audience straight away as they prepare for something to happen. Slowly the diegetic sound of water begins as a stream fades in. As the camera pans upwards we can see a reflection in the water, the camera continues upwards to a medium shot of two men fishing. There are mountains in the background with the sun shining creating a very calm scene that relaxes the audience. Non-diegetic calming music begins in the background removing the tension from earlier.

As the characters talk they reveal their father and son, the son named Kale. The camera cuts to a high angled close up of a fish that they are trying to catch. It cuts to a medium shot of Kale as his dad joins him. The mis-en-scene is very still apart from the water and fishing rod. It cuts to a close up of the fish and follows its movements. We feel that Kale has the upper hand over the fish by using a low angled shot so they appear higher than the fish. The camera cuts to a medium shot half in the water which is murky and unclear, the audience realises the fish isn’t as defenceless as it seems. The camera pans upwards, everything appears still until the fish jumps in the air. We feel Kale’s triumph which the music accompanies by rising with the speech tones.

The camera cuts to a close up of Kale reeling in the fish with diagetic sounds of the fish splashing. The audience sees Kale’s disappointment when the fish escapes. A medium shot shows his full disappointment. A close up forms into a point of view over the shoulder shot of his dad. By cutting from the two characters we can see their close relationship and respect for each other. Kale is willing to spend time with his dad than his friends; they can talk freely to each other. A medium shot allows us to see them together which cuts to a high angled long shot with them in the distance. This allows us to see that they’ve travelled far to a remote, beautiful, peaceful and calm place. This is continually accompanied with non-diegetic music to emphasis their calmness and tranquillity.

The scene abruptly cuts to a close up of Kale and his dad in a car. The music continues but is drowned out by the diegetic sound of the engine. Kale is on the phone to his mum. The camera cuts to a low angled long shot of a large house in the suburbs showing that they live a happy comfortable life. We hear diegetic sound of Kale’s mum replying before cutting to show her in the kitchen, the music has stopped. This alerts us that something is about to happen allowing for tension to build. The camera cuts back to the car emphasising the family’s close relationship. A close up of the wing mirror reveals a car taking over. This makes us feel wary that the car is threatening Kale’s relationship with his family. Cuts to a point of view, over the shoulder shot through the windscreen of Kale passing the phone to his dad we feel relief because he can concentrate on driving. A close up of his dad then to his mum emphasises the relationship. The audience begins to speculate the damage if one member were to die, this heightens the tension that has manifested within the audience. There is still only diegetic sound.

A point of view shot out of the windscreen looking at the car in front which is too close, at this realisation the car quickly turns to reveal a stationary car in front. Kale isn’t looking and the people by the car are running away. We know they are going to crash and are scared that they will die. The next shots are very fast, but show us almost every angle to give a big impact affect and build the tension to whether they’ll survive. A close up reveals Kale’s dad reaching for the steering wheel but it’s too late. We see the car hit the stationary car and turning as it moves through the air. The camera stays level with the car with every different shot and angle this allows us to feel from the characters perspectives, heightening the tension and terror felt over the fear for their lives. The diegetic sound of the car crashing to the ground is designed to shock us, we calm as the mis-en-scene becomes still but when we see the smashed window the tension rises again. There is relief when we see that they are alive. The whole crash takes just 14 seconds but within that time the director has managed to play with our feelings in a few shots.

The audience is still concerned for the characters but believe the danger is over. A close up reveals that they’re in pain but not seriously injured. Kale remains securely fastened to his seat unlike his dad who is falling out as they remain upside down. As the diegetic sound quietens the non-diagetic high pitched music begins and continues to rise, building tension once again. A close up of Kale shows him looking out his dad’s window. “Dad-“, is said in a quiet frightened voice which allows the audience to realise that it’s not over yet. Cuts to Kale’s dad as he realises then a point of view shot of the car coming towards his dad’s window. The car continues towards the camera and the audience knows it’s not going to stop; it hits the camera shocking the audience. It cuts to a red truck which pushes the car as the camera stays still creating a faster and bigger impact. A close up of the car spinning towards the camera makes that us realise that someone will be seriously hurt. The camera is still at a low level with the characters. Medium shots are used to show the impact and destruction of the crash. Smoke surrounds the car when it stops making us focus on the car and makes us keep our attention on the characters survival. The mis-en-scene is very still and using a low angled close up of the back of the car we see the extent of the damage. Only diegetic sound is used such as the tinkling of falling glass. The camera pans to the front of the car showing the smashed remains. The sound of someone moving give relief to the audience as Kale crawls out of the car, ripping his leg in the process. The camera follows Kale as he moves to the other side of the car, always keeping to his level. We see’s he’s in pain but believes his dad is alive. A point of view, close up of Kale looking into the car, smiling gives the audience hope. However his expression slowly changes to disappointment then horror and we realise that his dad’s dead. Using this technique the director has used Kale’s facial expression to explain that his dad’s dead without us needing to see the body. Non-diegetic music slowly begins allowing us to mourn with Kale who stands and steps back, the point of view shot continuing as if his dad has died with his eyes open.

This first scene is designed to show the close relationship within Kale’s family and therefore the impact Kale’s dad’s death will have on them, Kale especially. The director has made use of the cinematography to make us feel as if we are first witnesses then involved in the crash. Using fast or slow shots the director has conveyed desperation or calmness. The editing also allows us to see everything in a few seconds of footage. Shia LaBeouf has created a stunning and suspenseful performance by using his expressions to give the audience all the information they need.

The music used to create calmness is kept in the background while the director prefers the use of diagetic sound to give the suspense needed. Overall the opening sequence allows us to understand Kale’s actions later in the film and pity him.

Therefore the opening effectively sets the scene for the rest of the film, giving Kale a motive and reason for his actions with all the appropriate elements included. This is a very powerful opening as it is shocking and to the point, effectively creating emotion within the audience.