Charles Dickens Essay

Comparing the ways in which tension and suspense is created in the opening sequences of David Leans 1946 & deoxyadenosine monophosphate Julian Jarrolds 1999 interpretation of Great Expectations by Charles Dickens In David Leans 1946 interpretation of Great Expectation shoot down is portrayed as a small, smart, clean young boy, as he lead be considered more innocent and vulnerable to the auditory sense. Pips handsome hair colour against the smuggledening background makes the earshot think that he is an saintly ilk figure.Lean shows the vast grace with tall-silhouetted gibbets to indicate rightful(prenominal) how small and vulnerable Pip is running across the marshland. When Pip goes to experience and weed the grave of his parents, Lean shows this particularly to gain the audiences humanity. The audience hears everything that Pip hears and this helps us to understand his apprehension. The scream is shocking and makes us see his fear to his meeting with the convict. Whe n he is being threatened, Pips overwhelming politeness and naivety, despite the life-threatening situation he is in, makes the audience feel a great deal of sympathy for him.However, in Julian Jarrolds 1999 interpretation of Great Expectations Pip is portrayed as a scruffy and an unclean young boy. This fig gains the audiences sympathy as we can tell that he is mistreated at home. Jarrolds Pip has dark hair and although he is not seen as an angelic and innocent figure. Jarrold engages the sympathy of the audience by presenting him as a hunt animal. When Pip encounters the convict, he is undoubtedly terrified and traumatised. He cannot scour typeface at the convict, and is so paralysed with fear he cant even speak.When we first meet the convict we can see immediately how frighten he can be. David Lean shows a close-up of his face simultaneously to him leap onto the scene. This close-up view is being used to show us what the convict is view and excessively to show the anger. Th is close-up view is also used to prevent us seeing what Pip is doing when the camera zooms up on the convict. Therefore we fill for Pip and this adds to the suspense of the moment.The convict is an intimidating large man who has a lot of power over Pip. In the branch he is incessantly shot in tail, whereas Pip is always shot in silklike at large(p) to emphasise his honor. This is particularly noticeable when the convict is in control, nerve-racking to tilt Pip over the gravest unmatchable. There is a cut betwixt Pip and the convict to show Pips vulnerability and a close-up of his face highlights his terror. Pip is shown as the opposite to the convict and looks innocent, charming and neatly dressed. The convict however looks angry and dirty and we presume that this is what he is like and and then regard him as a bad person.Language is also used to emphasise the convicts aggressiveness. The convict specifically emphasises the terminology roasted and also tear him open. Thes e words are emphasized to scare Pip and also to shock the audience. It draws the audience into the story and makes us feel Pips intimidation. The convicts terrifying image adds to the forbidding setting. Julian Jarrolds version of the convict is shown to be fabulously daunting and intimidating. Although no dialogue is spoken we can see from his obdurate stare on Pip and his angry scowl that he intends to do harm to him. The convict is dressed in old dirty clothe and looks very ill groomed, this adds to the audiences understanding of him as an break loose convict.Lean uses some effective techniques to show the characters. He shows the vast landscape with tall-silhouetted gibbets to indicate just how small and vulnerable Pip is. The use of light and dark is very effective when me meet the convict. Pip remains in the light but the convicts face is shrouded in darkness to convince the audience of his an evil nature. Pips lightened appearance shows his innocence and makes the aud ience wonder why such a nice boy is in such a dark and gloomy place. After the confrontation, Pip is seen scrabbling home across the marshes as quickly as possible, against the same supernatural landscape.The setting in Jarrolds 1999 interpretation is less stereotypical. It is not dark and the sky is sunny. There is a very high-pitched note, which appears haunting and creepy to the audience. Just before we see Pips head chirrup out of the wheat field, from the convicts point-of-view, we hear breathing and this causes suspense, as we cannot see anyone. The setting of a wheat field is less handed-down and does not prepare us for when the convict creases Pip, as no one would expect to find a convict in the middle of a wheat field.The golden reeds add to the peaceful tranquillity of the first shot, and therefore relax the viewer. Jarrold uses his own ideas and makes the opening more intriguing and exciting. At the beginning we have no idea what is going to happen and because of thi s Pips running come as a shock, and therefore has more impact. This provides the audience with an immediate incentive to continue watching. We then follow the dramatic chase that Jarrold has constructed through a wheat field and the graveyard. Jarrolds use of point-of-view shots move on the audience a chance to feel more involved in the film and to help them to feel the confusion of the chase. The wheat field itself is Jarrolds own notion and is not mentioned anywhere in the written novel. However, this rattling helps to show Pip is trying to hide but that he cannot escape.