Crime Film Opening Analysis
About:
I’m going to watch the first six minutes of three popular crime thriller films and analyze what they share in common, as well as what makes each one unique. I’ll mention several camera shots, conventions, and lighting choices, and describe how each film begins. Moreover, I won’t be going too in-depth here—I’ll simply describe what I observe and the research I conducted to better understand what I’m seeing.
Before Analysis Research:
I asked Perplexity, an AI website, to explain what typically goes into the start of a film. It introduced me to several terms and elements I hadn’t known before, such as opening sequence, title sequence, and narrative structure. I used additional sources to learn more about these concepts.I discovered that narrative structure refers to the methods or forms filmmakers use to share a story with their target audience. There are different types of narrative structures, each with unique traits that shape the way a story unfolds. For instance, a linear film structure—the traditional format—organizes a series of events with key moments, such as the rising action, which then leads to the main conflict.
I haven’t yet explored specific examples, but I found that a title sequence includes the credits shown at the start of a film, while an opening sequence refers to the film’s introduction, which may appear before or after the credits. I plan to describe both the opening and title sequences of these films to identify their similarities.
Se7en (1995):
Camera shots/ angles/ movements:
The scene begins with a static, waist-level shot showing him getting ready for work. There are several close-up shots of his belongings, including one where he picks up his badge, pen, and knife, indicating that he’s a cop or detective. Then, we get a slow tilt-up from ground level revealing a dead body, its position, and the blood around it. Next, there’s a tracking shot of the character moving closer to the camera, followed by a small pedestal down as he analyzes the wall at the crime scene. Another cop appears in the scene, talking with Somerset, where we learn that a mother killed her husband and child. The camera movements are tight, creating an almost uncomfortable feeling throughout these moments. We’re then introduced to another character after the other cop leaves through a static shot that transitions into a slight tilt as the new character walks upstairs to meet Somerset. We find out his name is Detective Mills. Overall, the camera shots remain tight yet include subtle shakes that add realism to the scene. Additionally, certain shots draw attention to what’s happening around the characters, helping the audience imagine what might have occurred.Mise-en-scene:
The mise-en-scène in Se7en uses specific props and dim lighting to reveal the harsh reality of a crime scene and the serious tone of the film. In the opening scene, when we see Detective Somerset’s belongings, it becomes clear that he is a cop. Additionally, the suit worn by the other detective helps the audience recognize that they are in the middle of an investigation. The lighting remains dim with dark tones throughout the sequence, which deepens the sense of seriousness especially during the shot of the dead body.Editing and sound:
There are no non-diegetic sounds during the opening scene. Instead, only diegetic noises are heard for example, in the first scene, the faint sounds of people in the background suggest that he might live in an apartment rather than a house. You can also assume he lives alone. When Somerset enters the crime scene, you can hear officers speaking over walkie-talkies, though the sound remains faint. The cuts between the characters’ dialogue vary some are quick, while others hold on the characters’ faces or actions, adding to the tension in the room.
Prisoners (2013):
Camera shot/ angles/ movements:
It begins with an establishing and static shot showing the forest, followed by the appearance of a deer. The camera slowly zooms out to reveal the point of view through a gun’s scope, aimed at the deer, where we see two people hunting. We then get an over-the-shoulder shot of a man smiling, seen from what appears to be his son’s perspective. A two-shot follows, showing the father placing his hand on his son’s shoulder, expressing his pride in the moment. Next, the same shot from the beginning is repeated, but from the opposite angle this time, we see the father and son instead of the deer, which could suggest that someone is watching them or that they might become the hunted. Afterward, there’s a tracking shot of a car with the words “Keller Dover Remodeling & Repair” on the back, signaling that the man is an ordinary blue-collar worker with a family. A close-up of the father shows him talking to his son about what his grandfather taught him. The scene ends with the father proudly praising his son's shot, followed by a close-up of the boy’s faint smile.Mise-en-scene:
The mise-en-scène in Prisoners feels very isolating because of the location and props used in the opening scene. The hunting rifle immediately tells the audience that the characters are out hunting. The forest setting, along with their coats and hunting gear, shows how cold the environment is. Additionally, the snow makes it clear that the season is winter. The color palette is gloomy and gray, with no warm tones in sight, emphasizing the cold and somber atmosphere.
Editing and sound:
Several editing techniques are used, such as eye trace, where we see different perspectives of the characters and their car. We learn that the father is an ordinary man with a family, likely named Keller Dover, who works in remodeling and repair. An eyeline match then cuts back and forth to show the son’s reactions as his father, Keller, speaks. In the first hunting scene, there are no non-diegetic sounds, but once the car scene begins—showing the characters driving we start to hear faint drum beats and tense, alerting music. This sound builds tension with every word Keller says, fitting closely with the tone of a crime thriller.No Country For Old Men (2007):
Camera shot/ angles/ movements:
The film opens with several extreme static shots of the environment. The sun is rising in each shot, revealing a desert-like landscape. A slow panning shot moves to the center of the frame, where we see a man being arrested by a police officer. We then get a close-up of an air tank, which appears dangerous, as the cop places it in the car. This is followed by a long shot of the vehicle driving toward the police station. In the next scene, there’s a mid-shot of the cop on the phone with someone of higher rank, whom he addresses as “sir.” As he speaks, the camera slowly zooms in while he explains what the handcuffed man was carrying an oxygen tank with a hose leaving both officers confused about its purpose. Near the end of the two-and-a-half-minute mark, the scene takes a sudden turn as the handcuffed man wraps the cuffs around the officer’s neck, likely killing him.Mise-en-scene:
The film is set in Texas, in a harsh and isolated desert with no one in sight at the beginning. The lighting uses mainly earthy tones that reflect this part of Texas, emphasizing how unforgiving and empty the environment is. The clothing also helps the audience understand the roles—the man wearing a hat and badge is clearly a police officer arresting another man dressed in regular clothes. Additionally, the patrol car and handcuffs further suggest that the man being cuffed has committed a crime, though the seriousness of it remains unclear.
Editing and Sound:
The film uses continuity editing, with many of the cuts blending smoothly together. There are several long takes with a slow pace, leaving us in silence as we see different parts of the desert while hearing a voice-over from an unknown man at the beginning. At the start, many straight cuts transition between shots of the desert and the cop car. The diegetic sounds of the environment are present, but the overall silence enhances the feeling of isolation and emptiness in the desert setting.How they alike?
Most of the camera shots and scenes have a slow pace, giving the audience time to analyze what’s happening. I was honestly surprised to notice how many similarities these films share that define their genre. They all use similar diegetic sounds—like wind and walkie-talkie noises—that bring the scenes to life and make the audience feel present. The lighting is mostly dim, dark, or relies on natural light. All of these elements help build the tension essential to a crime thriller, and I plan to incorporate many of these techniques into my own opening. As for the title sequence, the only film that featured a traditional one was Se7en, which appeared around the six-minute mark and it was impressive to watch.
What's Next?
I plan to study different conventions in depth to bring my opening scene to life and make sure it fits the crime thriller genre.
