The royal Tenenbaums
An analysis of mise- en- scene, editing and sound of “The Royal Tenenbaums”
According to Mike Crisp, editing “comes in a category some where between nrain surgery at one extreme and tiling the bathroom at the other”.(Orpen 2003, 16) French director claude Chabrol compared editing similarly, to doing the washing up: “Script writing is like cooking. Shooting, the part I enjoy the most, is like eating. Editing therefore is, well, the wasing up.” (Orpen 2003, 16) The following essay will analyze mise- en- scene,editing and sound from the Wes Anderson film, The Royal Tennenbaums (2001). The scene is about three minutes long, it comes across the audience two-thirds of the way into the movie. It marks the turning point of the movie as Richie’s suicide connected the family once again, despite Royal’s previous attempts.
The scene starts off as the crew left the detective’s office. Margot Tenenbaum’s secrets are revealed – she had been smoking since age twelve, had various marriages and currently having an affair with Eli Cash. Being secretly in love with her his entire life, Richie locks himself in the bathroom and attempted suicide.
Richie was framed as the central figure of a medium close up, it is a personal shot of eye to eye level. Starting by removing his wrist bands, he slowly cuts off his hair and beard. The process is sped up by jump shots. The discontinuous editing is abrupt; it reflects Richie’s emotion instability. With every jump, it gives the viewers a hair raising sensation that foreshadows his suicide attempt. “Needle in the Hay“ dominates the scene as it covers up any background noise, such as the sound of the running tap, or snipping of the scissors is heard. It accents the ritualistic quality of Richie’s transformation. As he takes off his sun glasses, it jumps to a over the shoulder shot, that is when we realize he is looking into a mirror. In this point we realize that it was a point of view shot, and that Richie is looking at himself. He gave
According to Mike Crisp, editing “comes in a category some where between nrain surgery at one extreme and tiling the bathroom at the other”.(Orpen 2003, 16) French director claude Chabrol compared editing similarly, to doing the washing up: “Script writing is like cooking. Shooting, the part I enjoy the most, is like eating. Editing therefore is, well, the wasing up.” (Orpen 2003, 16) The following essay will analyze mise- en- scene,editing and sound from the Wes Anderson film, The Royal Tennenbaums (2001). The scene is about three minutes long, it comes across the audience two-thirds of the way into the movie. It marks the turning point of the movie as Richie’s suicide connected the family once again, despite Royal’s previous attempts.
The scene starts off as the crew left the detective’s office. Margot Tenenbaum’s secrets are revealed – she had been smoking since age twelve, had various marriages and currently having an affair with Eli Cash. Being secretly in love with her his entire life, Richie locks himself in the bathroom and attempted suicide.
Richie was framed as the central figure of a medium close up, it is a personal shot of eye to eye level. Starting by removing his wrist bands, he slowly cuts off his hair and beard. The process is sped up by jump shots. The discontinuous editing is abrupt; it reflects Richie’s emotion instability. With every jump, it gives the viewers a hair raising sensation that foreshadows his suicide attempt. “Needle in the Hay“ dominates the scene as it covers up any background noise, such as the sound of the running tap, or snipping of the scissors is heard. It accents the ritualistic quality of Richie’s transformation. As he takes off his sun glasses, it jumps to a over the shoulder shot, that is when we realize he is looking into a mirror. In this point we realize that it was a point of view shot, and that Richie is looking at himself. He gave