Cinematography and Lighting

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Cinematography and Lighting

• The smoky greys shown in the street as the Tramp is taken away in the paddy wagon reflects the people’s uncertain futures due to the economic struggle of the Great Depression.

• The depth of field indicates what is significant in the street shot outside the cigar stand, having the Tramp, policeman and stand owner in focus. As the Tramp is escorted to the paddy wagon several observers walk into the frame and into focus, enhancing the narrative.

• The composition of the shots in the paddy wagon refers to whom the significant characters are, in the way that the Tramp and the Gamin are positioned in the very foreground of the frame.

• The close face-to-face proximity between the two main characters in comparison to the other people in the paddy wagon, suggests their future friendship.

• The close-up on the Gamin’s face in the paddy wagon displays the nature of her feelings clearly, and increases the audience’s involvement in the action. When she looks directly at the camera she portrays her youth and evokes great sympathy from the audience.

• The highlighting on the Gamin’s face when she is looking up at the Tramp and the stark difference in lighting on the man’s face sitting next to her enforces the significance the Gamin has as a character and her shining innocence.

• As the paddy wagon crashes the shot is reframed in a canted frame with the whole scene tilted, showing the extent of the crash and the sudden change in circumstances for both the Gamin and the Tramp.

• The movement of the Gamin and the Tramp from the darkness of the paddy wagon into the bright sunlight of the street, signals their sudden freedom and oncoming companionship.

• The diagonal lines in the shot in which the Gamin ...

... middle of paper ...

...s his hat in front of his nose when the man next to her burps, communicating his disdain.

• The shabby costume and makeup of the Gamin makes her look unkempt and dirty, which asserts her poverty and suffering due to the Great Depression, and supports scenic realism.

• After falling out of the paddy wagon the Tramp replaces his hat back on his head and picks his cane up. This refers to his soon to be made decision to run away with the Gamin, in that he is picking his dignity back up and deciding to fend for himself despite the harsh conditions.

• The way that the Gamin and the Tramp fall from the enclosed paddy wagon out into the open street reflects the way in which they strive to overcome poverty together and don’t allow poverty to hinder them from this point onwards. The open space allows for other options available for them to survive the Great Depression.

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