Bullet Boy: Scene Analysis Essay

Bullet Boy, a 2004 British Social Realism film, directed by Saul Dibb has narrative that portrays a distressing an emotional tale of race, gangs and shoot crime London. The film follows the life of a young man named Ricky, who has late been released from prison, and portrays effect he has on the lives of those around him. The scene I leave discuss is a montage between the main ca work named Ricky, and his rec any dose Wisdom. The scene is astir(predicate) Ricky, planning an escape from his reputation along with his young woman Shea, while skating with his little brother Curtis, whom idolizes Ricky.Although, Wisdom is alone in a corner shop, unaw be that Godfrey and another of his rivals ar destroying his car. One of the most(prenominal) important elements of this scene is the use of cross burn upting between both Ricky and Wisdoms narratives. This scene exaggerates the strains of their lives and is cut in order to create an underlying foreboding and tension. By adding foot ling clips of Wisdoms tense plot, within Rickys longer, more upbeat vistas, it drags out and intensifies the audiences forecast as to how Godfrey get out take his revenge after he is shown with weapons and an accomplice.The hale-informed end-to-end this scene is mostly non-diegetic, a soundtrack piece, however diegetic sound eject be heard in a discussion between Ricky and Shea. tightfitting/diegetic sound is noted during the vandalism of Wisdoms car, as well as laughter and skates from Rickys shots. An upbeat track is apply to make up a virtuoso of pace to the scene, while safekeeping up with the run of the era. The music that begins in Rickys first shot continues throughout apiece of Wisdoms, also known as a sound bridge, indeed creating a smoother trans serve between both narratives.By employ a sound bridge to keep continuity in regards to sound, it makes the exploit seem uninterrupted helping the audience follow. The scene begins with a close up Ricky conversi ng with his girlfriend. Over the shoulder and close up shots are used to increase audience involvement with the characters. Seeing the characters close up gives the viewers a greater understanding of their emotions, while also helps to establish the dapple of severally character, and give the feel of looking at one character from the others point of view. After their discussion a travel shot of Curtis is shown as he skates towards the glass.This keeps up with the speed that Curtis is going, consequently keeping him in the centre of the frame, making him the main focus of this cut. The scene past cuts to a medium-long handheld camera shot of Ricky and Shea entering the ice rink, and this is where the non-diegetic music starts to play. Many medium and long shots of the couple are used throughout the scene, through this the viewers gain a better understanding of how healthful their relationship is by seeing the majority of their torso language, e. g. holding hand and laughing.Ha ndheld camera shots also express a certain agreeable of realism, and can make the audience feel as though they are actuate of the scene, rather than viewing it from a frozen position. After a few cuts shown of the three on the ice, the scene cuts to the first shot of Wisdom. The illuminate and scenery change dramatically and also Wisdoms body language in the way he is walking, giving a sense of uneasiness. The medium shot also reinforces the tension as it suggests the intensity of the drama. concomitant to this, another few handheld camera shots of the ice rink are played, which then cuts to a short clip of Wisdom in a corner shop.As Wisdom picks up the Pot Noodle a focus pull is used, focusing from the Pot Noodle onto Wisdom himself. This is through with(p) to subtly direct the viewers attention to a specific part of the screen. Further medium and long handheld camera shots are interpreted of Ricky, Shea and Curtis before it again fast cuts to Wisdoms narrative, this being Wis doms final and longest shot in this sequence. A two shot of Godfrey and an associate come into frame, the use of a medium shot on the first character, then cuts to the second, intensifies their piece of ass emotions, making the audience aware something potentially grave is going to go to Winston.Cut to a medium-long handheld camera shot of Godfrey, and it is now actually clear that they are holding baseball bats and are about to destroy the car. The clip fast cuts between both characters adding to the action, while ever-changing the viewers perspective and seeing the event unfolding from all angles. The scene cuts to a long shot of Wisdom in the store, substantiating that Wisdom is still unaware, while adding to the suspense. Shots of Godfrey and his partner again follow, fast snip between the two on either side of the car. Fast moorage in this energetic clip gives the scene a sense disorderliness and urgency.Both characters then exit the scene. The soundtrack music then ends indicating the climax of action has passed as it cuts to Ricky and Shea laughing on the ice. While this scene clearly ends on a high note for the couple as they embrace each other, the same cant be said for Wisdom as it cuts back to him finding his car vandalised. Through his choice of editing, camera angles and sound, Dibb makes this sequence a pivotal scene in the film. Its underlying tension and contrast to both Rickys and Wisdoms lives suggest that Ricky and Sheas plans will not be followed through.