The Girl Can’t Help It
In the 1956 film titled The Girl Can’t Help It, a long shot is used in the opening scene displaying Tom Miller–one of the films protagonists–in black and white. As a jab at television during this time period, Tom Miller “extended” the original narrow view, as well as called for the film to change to color, who he credits to “Deluxe”. Films in color were something that could only be seen in theaters, so leading with an image that resembles television at the time, and then transitioning to the brighter and better image that was unique to films, was a powerful way for Hollywood to encourage audiences to continue spending money on films. The long shot allows the camera to stay focused on Tom Miller without reframing, as he makes these improvements to the audience’s view. The audience also gets a good view of the instruments set up behind Tom in this frame, foreshadowing one of the films’ main ideas: music. Tom is placed in the direct center of the shot, in front of the instruments, and dressed nicely, giving the audience the idea that he is of importance and holds some sort of power in the film to come.
Jailhouse Rock
In the 1957 film Jailhouse Rock, Vince Everett, played by Elvis Presley is introduced in a bar scene where he accidentally kills a man with a punch to the head. Everett is shown immediately after, in a close-up shot chosen by the director to emphasize his immediate feelings of panic and regret as he watches the life leave the face of this random man. Vince is a rebellious, rude and stubborn man throughout Jailhouse Rock, although in this scene we get a sense of his soft side. This soft side is later revealed in his relationship with Peggy, whom he mistreats but ends up showing his love to in the end. The early close-up of Vince foreshadows this growth that he experiences as a character. If a different shot, such as a long shot were shown, it is possible that a different–more ruthless and mean–interpretation of his feelings may have been received by the audience.
Another shot utilized by the director in this film is a medium close-up. In the end of the story, Fats, Vince’s ex-cell mate attacks him and Vince is reluctant to hit back. This is a display of tremendous growth in Vince as a character who would earlier fight seemingly anyone. A medium close-up shot is chosen when Vince is in the hospital, unable to talk, and Hunk comes in to visit him. He apologizes, and expresses his sincerest regret by laying his head on Vince. The medium close up allows for this intimacy and emotion to be displayed. Hunk lowering his head to Vince’s level is symbolic of his view of Vince–as an equal. The medium close-up is the perfect scale for the director to express this emotional and affectionate moment.
