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Film Openning Analysis 1
Introduction
Blackphone (2021) is a tense psychological thriller directed by Scott Derrickson that combines supernatural elements with human horror. The film's opening sets a chilling tone, transporting viewers into the dark underworld of a small suburban town in the 1970s.
In the dim light of streetlights, a young boy cycles through a quiet neighborhood. The air is thick with ease, as the ordinary setting conceals an invisible danger. Missing children flyers flutter from telephone poles, their blurred faces a haunting reminder of a growing mystery. Suddenly, a black valve appeared and the silence was shattered.
As nervous mount, the audience is introduced to Finney, a shy and resourceful teenager trying to navigate his tumultuous family life. But when he becomes the next victim of a brutal masked kidnapper known only as “The Grabber,” the real nightmare begins. Trapped in a soundproof basement with only a black, unplugged rotary phone, Finney soon discovers that the phone has a supernatural connection to the Grabber’s previous victims. Their desperate whispers provide clues and hope in a race against time.
The film's opening puts the mundane in the terrifying, creating an emotional and atmospheric journey that explores courage, survival, and the ghosts of those left behind.
Blackphone (2021)
First scene
The opening scene begins in the familiar, gentle setting of a baseball game, where we see the boys, including the protagonist, playing a game under the warm afternoon sun. The lighting is bright and natural, casting a nostalgic glow over the entire scene, evoking the innocence of childhood and a sense of security. The props, such as baseball gloves, baseball bats and baseball caps, along with the boys’ uniforms, set the scene in a typical suburban setting, painting a picture of normalcy and carefree youth. As if to say that this is simply a boy living out his childhood. The simple yet 1970s-reminiscent custome, with vintage T-shirts and jeans, reinforces the authenticity of the setting. The scene switches between wide shots, capturing the entire baseball field and showing the camaraderie of the boys, and close-ups of the protagonist's face, emphasizing his joy and focus on the game. It also suggests that this is a very simple boy who doesn't care about his appearance and is passionate about the sport. These shot choices immerse the audience in his world, allowing them to share in his experience. The sound design includes the diegetic sounds of the game, with the clanging of bats and the cheers of friends, adding to the lively, innocent atmosphere of the scene. This opening sequence establishes the balance of Todorov's narrative theory, presenting a calm, familiar world before the disruption begins.
Colour grading
In this scene is warm and vibrant, reflecting the golden hues of a summer afternoon. The sunlight bathes everything in a soft, nostalgic glow, reinforcing the sense of safety and comfort. However, this warmth will later contrast sharply with the cooler, more muted tones used when the film takes a darker turn.
Second scene
The next scene, as the boy rides his bike home after the game, gradually changes the mood, with the lights subtly fading to signal the end of the day and foreshadow a sense of unease. The golden light from the baseball field fades, replaced by colder, darker shades as the boy cycles through an increasingly deserted neighborhood. The props remain simple, the boy's bicycle becomes a symbol of his vulnerability, the ordinary objects now seem to highlight his isolation. Although he still smiles at those around him and is still very cheerful, the way he moves through each scene can be seen as saying that although he is still cared for by those around him and is not shunned or discriminated against, it can be said that the whole path he walks alone and never stops can carry the meaning that he will have to go through something on his own, which could be dangerous or something else. It also suggests that he may not need any help from anyone, but will do it himself. The camera follows the boy with a combination of shots of the deserted street, emphasizing his loneliness, and close-ups of his face, capturing his growing sense of anxiety as he glances around, noticing the quiet. The editing includes jump cuts that shorten the boy's journey, creating a disjointed rhythm that suggests his anxiety. This feeling is amplified by a subtle sonic bridge, where the faint sound of an engine, barely audible at first, begins to accentuate the silence, suggesting that something sinister is nearby. The soundtrack gradually shifts from cheerful to tense, with eerie, non-diegetic music subtly underscoring the change in tone. The sense of balance from the first scene now seems threatened, introducing a period of disruption in Todorov’s theory as the boy’s secure world begins to fall apart.
Third scene
Moving on to the next scene after a quick flashback to a classically styled scene, we return to the present with the boy still on his way home, where his insecurities have deepened considerably. The light becomes even dimmer, casting long shadows across the road as he enters a more secluded neighborhood. The camera focuses on him in a medium close-up, highlighting the anxiety on his face as he glances over his shoulder, sensing that something is amiss. The scene cuts to a wide shot showing a black van parked ominously in the distance, creating a stark contrast to the boy’s innocence and hinting at the danger that lies ahead. The editing uses cutting to alternate between the boy’s and the truck’s perspectives, creating suspense by positioning them as opposing sides of the narrative space. The truck’s own props, dark and ominous, represent a menacing presence, disrupting the quiet suburban setting and signaling that the boy is no longer safe. The sound design becomes more forceful with the rumble of the truck’s engine, a melodic sound that grows louder as the boy gets closer. The un-melodic music continues, amplifying the boy’s anxiety and creating a growing sense of dread for the audience. This scene reinforces the disruption in Todorov’s structure, as the boy’s innocence is now directly confronted with a lurking threat, setting the narrative up for further tension and conflict.
Character
Finney is introduced as a shy but kind-hearted boy trying to make his way in the suburbs of the 1970s. His attire of a simple vintage T-shirt, slightly worn jeans, and sneakers reflects his humble upbringing and unassuming nature. The muted, muted tones of his clothing blend into the film’s nostalgic color palette, reinforcing his innocence and normalcy. His messy hair and slightly oversized clothing add to his vulnerability, making him seem even smaller in a world that will soon prove dangerous. Throughout these early scenes, Finney’s facial expressions subtly change, revealing the depth of his emotions. During the baseball game, his face lights up with excitement and determination, but as he rides his bike home, his expression becomes more guarded, his gaze darting around the deserted streets hinting at growing anxiety. The cinematography often frames him in isolation, emphasizing his loneliness and foreshadowing the painful journey ahead. His makeup remains natural, ensuring authenticity, but the slight shadows under his eyes subtly hint at underlying exhaustion or stress, possibly due to his