Analysis of the opening 2 minutes of the Usual Suspects, with references to mise-en-scene and editing

Analysis of the opening 2 minutes of the Usual Suspects, with references to mise-en-scene and editing

The opening shot of the Usual Suspects is an ECU of some matches being lit. Then it cuts to Gabriel Byrne’s character, lighting his cigarette from the matches. The lighting is very low key during that shot. The light is on Byrne’s face, with the background swathed in shadows. We can see that the setting is a boat instantly because of the ropes in the background and the rhythmic ship bell in the background. It then cuts to some oil drums spilling some clear liquid. At the time, the audience are unaware of the liquids properties, whether it is water or gasoline etc. However, it is apparent they are of some consequence to the story. Again, the setting is damp, dark and generally mystifying, which complements the shots prior to it. Then it cuts to Byrne’s character again, this time showing his whole body. We can now see that he is in a lazy stance, sitting defeated by some wooden boxes. His body language suggests he is resigned to his fate. He nonchalantly throws his lit matches into a trail of gasoline and watches it fire away from him. The background is shadowy and lit brightly by fire, with deck items such as ropes and nets lying behind him. The next shot sees the fire light the trail of gasoline. Here, the director, Bryan Singer, uses quick cuts to match the speed from which the fire lights its trail. This is a good use of sharp, intelligent editing. It then cuts to the fire coursing past a dead man, who is probably a victim of the events on the ship. There are specks of blood on his face, suggesting a shootout.

Then it cuts to the fire as it bends, and a new character urinating from on high, stopping the flow of fire. Then the camera goes up, to reveal the character, up to his face. The fire from beneath shows only his hands. The new character is wearing a black trench coat, and is hidden by deep black shadows, continuing the theme or a drab, mysterious environment. The camera then cuts to Byrne’s characters face, who is almost smiling as he bows his head in resignation. To the audience we assume the new character is dangerous, judging by Byrne’s facial expressions. It then cuts back to the new character as he walks from the top deck down to where Byrne’s character is. Again, no light shows up on his face, and the red light from behind him creates a sinister mood. As he walks past, we see another character with a knife in his back, and we the audience assume the new character killed him, as he doesn’t stop or seem to register him. It cuts back to Byrne’s character, who know is completely losing his battle of wills, and looks submissive amongst the smoky barrier he’s made with his cigarette.

This is where the cutting between Byrne’s character and the mysterious figure begins. During the whole conversation, the fire is still going, and the figure remains enveloped by shadow. We see him spark his lighter, and bring it to the top of the frame, and light a cigarette, but we don’t see because his face is out of frame. It then cuts back to the CU of Byrne’s character, as he laughs to himself. We can see behind him the flickering flames. It cuts back to ‘Kaiser’ as he closes his lighter, and by this time, both characters have a lit cigarette. It cuts back to Byrne’s character, who is still smiling to himself. It then cuts to the Kaisers watch, which is gold and seems expensive. Byrne’s character nods to himself, and we see Kaiser in the next shot switch which hand he’s holding his gun in. We then see Byrne’s character smile knowingly, as Kaiser takes a step towards him, hold up his gun, tilt it sideways and then it cuts. The whole conversation is shot at a steady pace, with emphasis on Byrne’s character as he reacts to Kaiser. It is not shot with a fast paced, ultra-thrilling manner, but a steady conduct, to create mystery and intensity.
Immediately following the gun shots are a series of shots of the boat, starting with a shot of the upper decks, then a shot from the dock, of a rope holding the ship in, mooring it to its place. It is followed by a shot of the back of the boat, then a closer shot of the rope. This repeated shot of the rope suggests it has a special importance, of which the audience is not yet aware of. This a good use of an enigma code.

Overall, the opening to the Usual Suspects is dark, intriguing, enigmatic and quietly thrilling. Its use of low key lighting and steady editing means its all their to be seen, but it still leaves rocks unturned.

Written by Michael