Kingsman: The Secret Service
~Directed by Matthew Vaughn
One of the best films I have had the opportunity to see; Kingsman focuses around an English secret service; trying to save the world from a global extermination. Having analysed this short opening, I found a number of techniques that create mystery, excitement and capture the audience into wanting more.
In a separate section I will quickly talk about logos and pre-film advertisement. Starting with a plain black screen, the first logo quickly cuts in; bright and florescent colours- a 60’s feel (maybe reflecting the time change in the beginning of the film). However I felt that this was slightly unnecessary; in our film, my partner and I want logos that relate slightly to the genre-which the Kingsman logos did not. This could subconsciously introduce the audience to our spy genre.
The transition into the second and final logo is smooth and well edited. They blend seamlessly into one, appearing as just one camera movement. This effect was intriguing and something that I will need to take into consideration for my film; using this type of editing immediately gives the film pace and flow- interesting the audience. The 2nd logo itself has a slow appearance, lulling the audience into a false sense of security until the film starts and action jumps in!
The establishing shot could be placed into two editing categories: Graphic match or extreme close up. I thought this beginning camera angle was a brilliant way to set the scene. A boom box! Immediately setting the decade and creates interest in the audience. Why is there a boom box there? What sort of people would have a something like that? All questions drawing the public in. A tracking shot is used to slowly pan out, revealing the two military men. A wide shot reveals the location and what kind of people these men are. The helicopter comes into shot and from this freeze frame the location, feel and characters can be analysed.
Combining bright lighting and a deserted atmosphere, the Middle East can be easily identified as the setting. Matthew Vaughn (The director) uses stereotypical landscapes to solidify what the titles reveal. Mise-En-Scene is a key aspect of this shot; the gas oil lamp in the right hand corner, the worn out crates and sand bags reflect the barren landscape. The desert environment also works well with the contrast between the Kingsman and militia men. They are dressed in black-professional; the helicopter shines in the sunlight. All of this contrasts with the dirty, ragged look of the enemy. Already the audience subconsciously knows; the men in black are from a well-paid government, they are well trained, they are in a foreign country, they are trying to use stealth and they are effective. This is clear proof of how the Mise-En-Scene, lighting and camera shots work well together. The contrast in costume is yet another aspect that we will use in our film opening: the attention can be easily diverted to the main focus character.
The camera then pans to follow the helicopter over the, now dead, militia men; still maintaining the appearance of one very long camera shot. This creates the embodiment of a smooth introduction into the film and carries the audience through the environment. The camera then changes to an extreme wide shot which reveals the Middle Eastern manor/ palace. A low angled shot was specifically used here to create the ominous feel of how big this building actually is. The film then enters the credits; which is the highlight of the Kingsman 2 minute opening, I think. The helicopter releases missiles into the manor, causing explosions. But it isn’t rubble that breaks away and flies towards the camera, but letters- making up production company names. This is such an inventive way of presenting dull, tedious information and immediately catches the audience’s attention (it did for me anyway). The non-diegetic sound also plays a big part in the feel of this scene which I will briefly talk about.
Sound in this beginning scene: The non-diegetic soundtrack enters the film slowly, fading in. Drums are used to gradually pick up the beat with trumpets joining in (creating an air-raid-sirens-like noise- warning the audience of immediate action). As mentioned above the non-diegetic sound plays a HUGE part in setting the mood during the credits scene. Adding electric guitar over the top of orchestra up reflects the upbeat aspect of the film genre. It could also indicate the comedic attitude taken on later in the film. As the credits come to an end, the orchestra fades back in; creating a new serious tone. Diegetic sound is added later, but again plays a huge role in this opening. Gun fire, explosions, fast moving footsteps, helicopter propellers, the cable tie fastening and even sand settling on the ground is all added; creating a bigger atmosphere for the audience. Combine this with the non-diegetic sound and it mirrors exactly what is happening, giving the audience a full experience.
We then zoom into the main window; the men in black have a man tied to a rickety chair. From here until the end of the scene a number of wide shots, mid shots and close ups are used. They are all inter-cut together reflecting the constant action. The cutting of camera shots increases in speed as the main man counts down in the foreign language; adding tension and excitement throughout the audience. As our opening is a Spy Thriller, my partner and I will hopefully be using this intercutting technique to indicate important scenes.
Not many props are present within this scene: apart from the handheld gun and bare chair, there is nothing else in the room; the lighting is dim and dust can be seen floating in the air. From just this alone the mood of tension and growing danger can be reflected to the audience. A close up is used when the military man leans forward, after being shot in the knees, lifting his head to reveal the pin in his mouth. Diegetic sound plays a huge part in the audiences emotional reaction to the next scene. The non-diegetic soundtrack fades out and the slow ‘click’ of the pin being pulled free echoes. This sound effect is heard before the audience actually sees the pin, creating a moment of mystery before the truth is revealed.
A reaction shot catches the subsequent body language of the men in black, emphasising the gravity of the simple movement.
Mid shots and wide shots are used to clearly display the agent sacrificing himself. This action is followed by a mid-shot of Colin Firth, who removes his mask, with the lighting dark and sombre. Another good example of where lighting and mood work well to persuade the audience how they should be feeling.
Finally, a tracking shot is used to slowly transition into a close up of the man who sacrificed himself- clearly telling the audience that the next scene will be focused around him somehow. The slow track sets the new pace of the film and slowly brings the audience into the next scene.
