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Mise en scne Film Review: Secret Lairs

Edward Scissorhands
Edward Scissorhands (directed by Tim burton) follows the story of an unusual character that was invented as an artificial man with scissors for hands; unfortunately the inventor died before finishing his creation which left Edward in suspense as a lost individual being, living in a dark castle on top of a hill. He was later on found by a mother who was concerned of Edwards living situation, to which she welcomes him in her own home in the suburbs.

Fig.1 The environment of the suburbs is almost perceived as being too perfect, the pastel coloured houses match perfectly in size which consists of the same identical properties. The use of juxtaposition between the location of the castle and the suburbs suggests the contrast between the inhabitants of the suburban area and Edward. He is intended, I think, as an everyman, a universal figure like one of the silent movie clowns, who exists on a different plane from the people he meets in his adventures(Erbert 1990) Ebert suggests how Edward is seen as being different which defines the visual difference between the two locations. Larsen comments on the relation between Tim burtons backstory and the film, perhaps the cinemas most enchanting parable about the misunderstood and alienated artist (Larsen,2008) as Larsen suggests alienation is used in this film, which is represented through the disconnection between Edward and the suburbs. The castle represents the isolation he feels, but also represents Edwards source of comfort as the storyline suggests that he doesnt belong in the area he was brought to as he was misunderstood as Larsen mentions, as being a monster. However we as audience follows the narrator of Kim which corrects our views of Edward, through her story-telling we see Edwards innocent nature throughout and not the monster that is seen by the suburban inhabitants.

Mise en scne Film Review: Secret Lairs


Fig 3.

The use of space, imagery, colours and atmosphere express the castles gothic nature. The dark environment and the vivid use of lighting creates an atmospheric, scary vibe which could reflect on the appearance of Edward. However the space inside the castle is used to reflect upon his personality, its size and proportion expresses Edwards isolated nature which can be related through his thoughts upon the loss of Edwards inventor. Tim burton used reference of the gothic novel frankenstein which is reflected upon Edward. 'Edward Scissorhands' is essentially a retelling of Mary Shelley's "Frankenstein" with an angst-ridden splash of suburban satire thrown in for flavor (Brown, 2007) In terms of Frankenstein Edward is the monster, Frankensteins creation. He, like Edward was an experiment but rather than being a creation that was unfinished, the monster was one that had gone wrong. The monsters motives were entirely misjudged due to his appearance, similarly to Edward towards the end he was blamed for something that he didnt do. His innocence is misinterpreted which is relevant to the story, as Brown mentions this judging of an innocent character can relate to the audience through its meaning most of the townsfolk play some part in the paranoia, disloyalty, and deception that victimizes an innocent man. At first glance, the story may seem like a cynical attack on human nature, but it's actually a carefully crafted film that poses a single question to its audience -- how do you treat the outcast in your neighborhood?

Mise en scne Film Review: Secret Lairs

Illustrations: Fig.1 h&tbnid=92s3Kwop6JYj_M:&imgrefurl= /edward_scissorhands_hill.png&w=1920&h=1080&ei=hTXCUNrsKoOQ0AWa0YEo&zoom=1&iact=rc&dur =5&sig=101173468274702699087&sqi=2&page=1&tbnh=135&tbnw=257&start=0&ndsp=16&ved=1t:42 9,r:3,s:0,i:93&tx=100&ty=146 Fig.2 2&tbm=isch&tbnid=BuHl00QgZyyAM:&imgrefurl= 0ef10c536.jpg&w=500&h=345&ei=rTXCUOjQJMPX0QWU1IDQCA&zoom=1 Fig 3 h&tbnid=8i0fHbINW8_lM:&imgrefurl= TNM&imgurl= g&w=475&h=311&ei=hTXCUNrsKoOQ0AWa0YEo&zoom=1&iact=rc&dur=4&sig=1011734682747026990 87&sqi=2&page=1&tbnh=135&tbnw=219&start=0&ndsp=16&ved=1t:429,r:4,s:0,i:96&tx=66&ty=133

Bibliography Larsen (2008) ds=on Ebert, Roger, (1990) 3 Brown, Kenneth (2007)

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