Presentation Notes

In my presentation I will be analyzing the introductory scenes of four famous cinematic antiheroes /
villains. I will be focusing on the four following anti-heroes / villains: Hans Landa from Inglorious
Basterds, Vito Corleone from The Godfather, Anton Chigur from No Country for Old Men and
Hannibal Lecter from The Silence of the Lambs.

The close-up has always been an essential component of cinema, with theorists such as Béla Balázs,
Jean Epstien, Gillies Deleuze, and Walter Benjamin contributing to theoretical notions surrounding
the topic.

For Balázs, the close-up, whether of objects or the human face, is inherently anthropomorphic:
“When the film close-up strips the veil of our imperceptiveness and insensitivity from the hidden
little things and shows us the face of objects, it still shows us man, for what makes objects expressive
are the human expressions projected on to them. The objects only reflect our own selves.”

Epstein habitually refers to this as the surrealisation of objects or appearances. A capacity for
surrealism is “inherent to the apparatus itself.” Beyond any reference to the contemporary
movement of surrealism, Epstein seems to be invoking here a supplement—something beyond the
real, something that can be grasped only by the cinema.

Traditionally, according to Deleuze, the face has been given three roles:

• As the privileged state of individualisation (it embodies each person’s uniqueness);

• As the manifestation of the social role or social type;

• As the primary tool of intersubjectivity, of relation to or communication with the

other.

For Walter Benjamin, the close-up was one of the significant entrance points to the optical
unconscious, making visible what in daily life went unseen.

Hans Landa

The horror of Hans Landa’s character is embodied In the concept of being transported to a different
time where the villain is carrying out the duties of a job he has been ordered to do.

His manners are exceptionally polished, matching his well-groomed appearance, however the SS
uniform is a constant reminder for what he stands for. His non-verbal actions are unsettling, his
lingering eyes over La Padite’s daughters, his singling out of Charlotte as he looks her up and down
on several occasions. By simply looking at his daughters, Landa gives a clear indication of what he’d
do to them if needs be. When offered a refreshment, Hans Landa asks for a glass of milk, a beverage
which is typically associated with children and innocence creating a juxtaposing effect.

"The Verdict" (La Condanna) is a musical composition by the legendary Italian composer Ennio
Morricone. It is featured in the opening scenes of the film, and plays a crucial role in establishing the
atmosphere and enhancing the emotional impact of various scenes in the film.

At one point, Hans Landa asks if they could switch from speaking French to English, and later he
takes out his pipe, specifically a Calabash Meerschaum, which we immediately associate with the
character of Sherlock Holmes, conveying that similarly to the British detective, he is about to crack a
mystery. It is then when Landa reveals that he knows that La Padite is hiding a family of Jews in his
home. In this scene we watch as his face, with only the slightest movements, transform from the
remnants of a smile and polite courtesy, into a hard straight line, with cold eyes and devoid of
mercy. The camera cuts constantly from Hans Landa’s emotionless face, to Perrier La Padite, who
despite maintaining a stoic expression, looks visibly terrified. All the while it is slowly zooming into
their faces, capturing the high emotions and intensity f the situation. The reason he was speaking
English was a ploy, his ability to coax his victims into a corner through words and subtly alone that
gives the viewer chills.

Vito Corleone

The first scene featuring Vito Corleone in "The Godfather" is a pivotal moment that sets the tone for
the entire film. Directed by Francis Ford Coppola and released in 1972, "The Godfather" is a
landmark in cinema history, known for its compelling storytelling, complex characters, and masterful
direction.

In the opening scene, we witness the wedding of Vito Corleone's daughter, Connie. The atmosphere
is vibrant and festive, with the celebrations taking place in the Corleone family's stronghold. This
contrast between the joyous occasion and the underlying tension within the Corleone family creates
a sense of duality, hinting at the complexities that lie beneath the surface. Vito Corleone is
introduced as a powerful and respected figure within the criminal underworld. His ability to navigate
the complex web of relationships and maintain control is evident from the first scene. This is also
evident in the way he is approached and addressed, always with an air of reverence and awe.

The scene begins with a wide shot, establishing the grandeur of the wedding and the prominence of
the Corleone family. The use of shadows and low-key lighting in Vito's study creates a sense of
mystery and power, emphasizing the character's enigmatic nature. The close-ups of Marlon Brando
as Vito Corleone are iconic, capturing the intensity and wisdom in his eyes. The lighting is quite
harsh, giving off a striking chiaroscuro effect.

He speaks in an assertive yet sympathetic tone, giving an insight to his character and why he is held
in such high regard. Nino Rota's haunting score, especially the use of the accordion, contributes to
the film's overall atmosphere. The music becomes synonymous with the Corleone family and adds
emotional depth to the scenes.

Anton Chigurh

Anton Chigurh, portrayed by Javier Bardem, is a complex and enigmatic character in the film
adaptation of "No Country for Old Men," directed by Joel and Ethan Coen. While he doesn't have a
traditional introduction, his first scenes establish his ruthlessness, unpredictability, and the
overarching themes of fate and morality in the film.

Anton is introduced in the aftermath of a crime scene. His first notable action is strangling a police
officer with the handcuffs he stole from him. The lack of dialogue in these early moments adds to
the mysterious and ominous atmosphere surrounding the character.

Anton's distinctive weapon, a captive bolt pistol used for slaughtering cattle, becomes a symbolic
and iconic element. The choice of this weapon highlights his cold and mechanical approach to killing,
as well as the theme of life and death throughout the film.

The Coen brothers use various cinematic techniques to enhance Anton's unnerving presence. The
use of Javier Bardem's haircut, his blank expression, and the haunting musical score contribute to an
atmosphere of dread and tension whenever he is on screen.
The first scenes featuring Anton Chigurh in "No Country for Old Men" establish him as a formidable
and chilling antagonist. The Coen brothers employ a combination of visual storytelling, symbolism,
and sound design to create an atmosphere of tension and moral ambiguity surrounding the
character.

Hannibal Lecter

The introduction of Hannibal Lecter in "The Silence of the Lambs," directed by Jonathan Demme, is a
pivotal and iconic scene in cinema history. Anthony Hopkins portrays Hannibal Lecter, a brilliant and
terrifyingly charismatic serial killer.

The scene is marked by a sense of visual symmetry and balance. The shots are carefully framed,
with Lecter in the center, underscoring his dominance and control. This visual arrangement
symbolizes the power dynamic that will unfold between Lecter and Clarice. A particular shot of
Clarice Starling where Hannibal appears in the glass reflection is a foreshadowing of how Hannibal
will forever have a lasting effect on her. The glass barrier between Lecter and Clarice physically
separates them but doesn't diminish the psychological intensity of the interaction.

Hannibal Lecter is presented with meticulous attention to detail. His immaculate prison uniform,
combined with his calm and composed demeanor, creates an unsettling contrast in comparison to
the other prisoners held in maximum security. Howard Shore's score contributes to the eerie
atmosphere, enhancing the tension. The absence of music at certain moments allows the ambient
sounds of the prison to heighten the suspense.

The use of close-ups, particularly on Hannibal Lecter's face, highlights the intensity of his gaze,
revealing a keen intelligence and a hint of menace. The eye contact establishes a connection with
the audience and reinforces Lecter's ability to read people. Lecter's dialogue is carefully crafted,
showcasing his intelligence, wit, and disdain for those he considers inferior. The famous "quid pro
quo" dialogue sets the stage for the psychological interplay between Lecter and Clarice throughout
the film.

Lecter's ability to subtly manipulate Clarice is evident from the beginning. He keenly observes her
body language, tone of voice, and responses, demonstrating his psychological acumen. This dynamic
sets the tone for their complex relationship. Lecter's fascination with Clarice's background and his
use of metaphorical language add layers to the scene.

The aforementioned characters are hallmarks of excellent character formation that is built through a
multitude of cinematic effect and psychological cues that, despite their simplicity, contribute
towards conveying some of the truly terrifying aspects of humanity. They are excellent examples of
how, if properly crafted, there is no need for special effects to terrify someone, sometimes all it
takes to petrify an audience is a human being