Film Techniques In The Usual Suspects

The Usual Suspects is a movie full with plot twists and action packed scenes. In this particular scene, I will be analyzing various techniques are used to heighten the intensity of the film in order as it occurs. The director uses dimensional film techniques in both major and minor ways that are used to further the story. Many of these are subtle, yet calculated choices that go into the making of a film.
The first element that proceeds throughout the duration of the movie is its aspect ratio. The aspect ratio of this movie is 2.35:1, which is a common ratio for movies. The 2.35:1 ratio is wider than 4:3, the original standard for TV, and 16:9, another common ratio used in movies. This decision to make the movie very wide makes the x-axis very
The characters continue to walk towards the camera now only now the motion appears to be from right to left again. This accentuates the uncomfortableness of the situation at hand as everyone waits to see if Kobayashi has outsmarted them, thus foiling the plan. When they arrive to see Finneran in the office, we clearly see the utilization of the z-axis as Kobiyashi, Keaton and Finneran are now all in the frame. As Keaton is threatened by Kobayashi, we get a narrow depth of focus on Keaton. This is to to the fact that this is a direct on Keaton. The other suspects are out of focus because they aren’t directly affected by this attack. The directors give Keaton no nose room in this shot and I believe this is to be interpreted as the end of their failed attempt to kill Kobayashi. Keaton knows he can go no further with the plan, otherwise he will lose the one he loves and the frame complements this reasoning. Kobayashi is framed using the rule of third facing to the right to allow a good nose room. He is ahead of the game so the adequate nose room of Kobayashi contrasts that of Keaton’s very well. Koba’s framing additionally serves the purpose of creating a congruent cut to Keaton as it shows he is talking to Keaton via the vectors created by Kobayashi’s eyes. The use of vectors created with eyes occurs again immediately after this too. When Kobayashi moves into the room with Finneran, Keaton gets more nose room to indicate he is looking at