Le Chiffre is threatened

This establishing shot of the scene sets the location which is a hallway of some sort of hotel. There are lots of uses of gold in the furniture, paintings, lift and even the lights as this connotes the richness of the hotel and reflects onto Le Chiffre. The position of the camera is at a low angle however therefore connoting that this success may come at a price and representing it in a negative way. This may also be the use of voyeurism (looking in on someone else's life) as it meets the spy genre and style. The diagetic sound enhances this as the sound of walking and the ding of the lift makes us feel like we are not there, the fact there is no music makes the audience feel slightly at ease and comfortable to watch him.

The camera also panns to the right following Le Chiffre into his room as if the camera/ audience is peering into his life.

Our character has entered and his body language suggest that he walks in darkness, this is through his clothing and the direction he is about to walk into.

Levi-Struass theory of binary oppositions reflects the storyline, in this case the lights reflect good vs. evil within Le Chiffres fate.

We have a conflict of light in this scene. The contrast reflects both in his personality but also in the scene that is about to happen.

The wide angle establishing shot lets the audience view a luxury suite. This is shown to emphasis his money, greed and status. There are scattered pieces of furniture which reflect his life style and his state of mind.

The next shot is of Valenka. The long shot creates a distance between the audience and the character whilst the netting gives the connotation of mystery as we cannot fully see her and therefore do not trust her. There is also a breeze blowing creating an unease about her which is a convention of the spy genre because the audience is always on edge with continuous twists and turns in the storyline as alliances change and the line between friend and foe blur.

The camera then pans to the left following Le Chiffres movement onto the balcony. The audience can now also see that he has moved away from the lights into the darkness therefore choosing his fate.

The camera then rapidly tracks into a close up of Valenka and Le Chiffre as they embrace and kiss. There are clear conventions of a spy/ mystery genre as we see Le Chiffre in a silhouette and the dramatic action on screen is emphasised by the atmospheric music.

Just when we are at ease from the diagetic sound, suddenly there is an eruption of sound to make the audience feel like the drama on screen will be consequential to the plot and is a warning sign to worry.

The silhouette is one of the most famous conventions of the spy/mystery genre. The imagery suggests that we do not know this person and that we shall be entering a world where there are lurking shadows and therefore we must look out for every character. Therefore when the director used it in this shot we are reminded of the genre and the likelihood of what might happen.

Le Chiffre is then grabbed from behind by someone out of shot, this is done so the audience is shocked and is taken off guard. He is pulled away out of shot, the enigma code (cliffhangers) makes the audience worried about his fate.

The next shot is from within the hotel room. We see Le Chiffre dragged through and lifted up as the camera rapidly tracks into a close up again just like we previously saw outside with Valenka. This is repeated to show the contrast in situation like an equilibrium. To aid this intense situation the volume of the music rises just like his blood pressure and the seriousness of the situation

Beginning Equilibrium

Problem/ Disequilibrium Resolution

New Equilibrium

Here we cut to another scene with Bond and Vesper approaching the front desk, the music has changed drastically to a low melody that plays just under the dialogue but slowly builds to a more frantic beat before the pair walk away at the end of the scene. The camera tracks in and to the right as they round the corner and walk to the desk. There is a two shot to represent their close friendship and the irrelevance of the woman at the desk as she is out of focus in the depth of field. The contrast in light from the previous scene emphasises how in the dark Le Chiffre is into his situation as they are well lit. However the use of palm trees behind them reminds the audience that both couples are in the same location and therefore suggesting that they could walk in on the danger. The reason behind the fast cut to the opposing couple is so that suspense is building as the audiences focus is on Le Chiffre. The pace resembles a spy layout as there are two scenes happening at once and the audience is trying to connect them together some how.

There is a slight sound bridge between the two scenes of Valenkas cry as she is spun around this is done so that the audience know the previous scene is not forgotten and it means the two couples are linked. The camera quickly pans across in mid action of Valenka being whipped around, this adds speed and tension to the scene and the situation. The camera then settles on Le Chiffre and the Villain threatening him. The position of the men is in the centre third so is the main action and also central to the scene and the reason behind the ambush. The direction that Valenka has been turned away from is the light and into the dark just like there is little light facing Le Chiffre, this connotes a negative representation of their future and therefore the audience will presume there will be a disastrous end for them both. The movement and the editing between shots has become more rapid connoting the situation is getting worse and contrasts heavily from the beginning of the scene where there were long sweeping panning and wide shots.

This low angle of the couple reinstates that they are the power couple in this situation. The proximity between the two characters represents how attached they now are to each other which shows a massive contrast to the previous couple. The music has not faded but chooses a different melody leaving out the brass bass and has a more technical sound to it.

The close up shot here of Vesper is used for her reaction as it should reflect what the audience looks like and feels as Bond replaces his earpiece and pulls out a gun. The gun is out of focus whilst in the same shot of Vesper. The director has chosen to do this as violence and crime are forever featured in Bond films and play an underlying tone to the film and the audience as well the characters must get used to it.

The music has now drastically lowered in volume and now focuses on Le Chiffres breathing. This has been done because the audience are now aware of the situation and the stakes have changed since he has been released. Here the use of a high angle shot connotes the little power that he possesses. Even the audience is looking down upon Le Chiffre as if he should be ashamed of himself.

There is then a series of close ups for reaction shots. This is done to slow down the action and create suspense just like a spy/mystery ought to do. This is a convention as it lets the audience take in what already has happened and let them form their own decisions of the situation.

There are a series of close ups used in the next scene with Vesper and Bond. The first focuses on the technology and gadgets that he uses. The use of special effects on the screen lead to a location and this is then acknowledged by Bond pressing number 4 on the lift panel. This sequences is used so the audience know that they are aiming for a location and sets in the enigma code; where are they going? What are they doing? The use of cliff-hangers and encouraged questions makes the audience active rather than passive. Which is exactly what the audience should be doing watching this genre of a film.

When referring to Le Chiffre the director chose to continue to use this high angle shot as he has no influence anymore. This is a contrast to the beginning of the scene when he walked in. The director is letting the audience know that the outcome is already decided and he will just have to sit and wait for it.

In the rule of thirds, the knife is pulling focus by being whipped across the screen into the centre third. This foreshadows what will happen as we can see her in the background as the knife goes across her. The camera then pans around him so we can witness what he will do with the knife. To emphasis the fear of the knife the quieter scene makes it easier to hear the echo of the knife being drawn and have this reoccurring thought that the scene will revolve around this object and has the same effect as cocking a gun.

The mise-en-scene is the same hallway in the beginning of the scene to reinstate the situation. Bond and Vesper then walk out of the lift and enter the same location as where Le Chiffre is. The repetition of the shot is another convention of the spy genre as location is key in order to solve the missions however the camera is now positioned in a high angle in the camera like CCTV.

This time we are made aware of the stairway sign as if the audience need to know escape roots, this is emphasised by the fact that the mise-en-scene is all in focus. This is once again foreshadowing what may happen to the characters.

This close up of Bond is used for a reaction shot, he is the hero and even he is alarmed. This then makes the audience feel the same way and lets them know that they are in close proximity of Le Chiffre and Valenka.

Vesper is positioned far behind Bond as if he is protecting her. After he realises that something is wrong he turns and the cameras depth of field goes deep and is pulled focus upon her. In the centre third we can also see that the lift is still open therefore an escape root. This is another convention as we now can see where someone can go and what they should do.

The wide shot puts everything into proportion, every character within the room can be seen even Le Chiffre on the floor. This is so there is a big dramatic build up to him swinging backwards and striking down upon her arm whilst the atmospheric music builds. The camera then cuts to a close up of the knife hovering above her arm as the music also cuts and all that is heard is her breathing irregularly as she realises that he has not cut off her arm. This has been done purposefully as it should reflect the reaction of the audience who are practically holding their breath waiting for the outcome.

Bond is positioned so that his reflection is on the sign Presidential Suite connoting that he is the president in this situation or in other words he is top in the hierarchy.

Once again the wide angle establishing shot is repeated and now there is even more focus on the stairway sign as both characters are looking at it. The colour green is also associated with the action of GO and suddenly they lunge to go towards the stairway. The design in the carpet also encourages this action as it leads towards the camera and out of the situation.