Home Entertainment How Sophia Coppola uses color in virgin suicides

How Sophia Coppola uses color in virgin suicides

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Between us Color code In the series, Luke Hicks chooses a few fist shots from a favorite film to understand the meaning behind certain colors and how they can play in both the whole scene and the film. For the sixth entry, he dug into Sophia Coppola’s The Virgin Suicide.


Cecilia – 13, the youngest of five Lisbon sisters and for the first time – she was always the least concerned with maintaining the artwork of the girls’ picturesque 1970s suburban life. He had a natural natural idea for rotting beneath the surface. After the autopsy in the picture above, he is lying like a tree across the tree, now a piece of earth, green algae exposed from the dark wood around him. Life flows through death. He wore the same unobtrusive look as before. He asked his mother to forgive him from the party, after which he jumped into the front yard to avoid the risk of being saved like last time.

She also wears the same off-white vintage wedding dress, a wonderful outfit for a teenager raised by puritanical parents who treats marriage as a ritual and avoids casual romances like burning rock albums, which are ready to keep girls at home or ever ready. Smoke the living room with plastic. Her bright red, yellow and green bracelets – trimmed over a band P bandage on her wrist after the first attempt – were bought for the beaded black bracelets, a subtle indicator for her side cut. As soon as he disappeared, he appeared softly and silently, burning pictures of fans in the eyes of visitors. Virgin suicide.

Writer-director Sophia Coppola And photographer Ed Lachman Image Cecilia (Hannah Hall) Here in a gray, angelic light, a state of physical fascination that will eventually spread to Lux, Bonnie, Mary, and Theresa – this kind of heart Original novel by Jeffrey Eugenides. However, as you can see, cinematography is not a fountain. The colors of the film are disturbing and chaotic, a collage of different dream palettes expressed by the mood of the deck. And the moods are drawn through intriguing dances between surreal aesthetics and dark realities, represented by a mixture of many, warm and cool colors.

As in the book, the adaptation and directed debut of the Coppola skeleton is described by a man (Giovanni RBC) He was part of a group of boys that made girls passionate and imaginative. Now, in their youth, still vainly pinning for explanation, they bring back to us the story of Lisbon (otherwise conventional): a resurrection in remembrance. What we see is the crystallization of the Lisbon sisters – not how they were, but how men immortalized them. The enchanting melody and the image of the moving method give an unexpected shortcoming of existence, a major color of the Coppolar style is illuminated here through the use of color.

We see that just a few days after Cecilia’s suicide, the sisters spread out on the floor of the bedroom in bed. Lux (Kirsten Dunst(On the far left, then Mary)AJ Cook), Bonnie (Chelsea Swain), And there (Leslie Heyman). A bright red blanket pool beneath their thrown, bloody bodies: a mock group suicide. The youthful shades of flowers, pink, purple, red and blue take on the image and form a similar color scheme, meaning they fall next to each other in the color cycle. Here, the focus is not on one shade but on the color play on the cotton candy palette – blushing the baby blue in the lavender blend, all working together to soothe their innocence, adolescence and virginity.

They are looking at Father Moody (Scott Glenn), Standing at the door. “I thought we could talk. What do you think? “The girls look down at the floor without peeking before they say goodbye politely. They look more bored than sad, a reflection of the boys not spending enough time with them in most situations to find out how they were, behind closed doors.” Very few.Instead of hysterics, they have become their silent, content, light-hearted.

Coppola and Lachman put a pink color on top of everything to show what we see in front of men’s eyes. It’s sweet but disturbing, a melodious mix of idealism in their memory and the reality of reality: Cecilia is dead. When we enter Mrs. Lisbon’s house a minute later the balance becomes heavier towards reality. The color is dark, grave and mature and the mourning is more recognizable.

Asphyxiation force

On the opposite end of the alphabet and the mood spectrum sit the final sequence: the Lurid asphyxiation-themed debut ball, where the girls have a very memory burst. This is indirect but obvious. They wear masks because a toxic touch on a nearby plant smells sulfuric in the air, but the girls are at the top of everyone’s minds. The boys, like everyone else, “had to forget about the girls in Lisbon.” The Chartres palette evokes a sick feeling, the greenish yellow gives it an off-chemical hue. The monochromatic (light to dark shades of one color) yellow-green image emphasizes the loneliness of the mood.

Notice how bright the scene would be without the tone of color: crisp white gloves and shirts; A bedside gas mask; A silver beverage drink and its glasses; The bright lights spread like stars. Under their masks, they are smiling. They are laughing at the shock of the gas leak. If the heavy colored filter is removed and the gas masks disappear, it will be a warm, beautiful party.

The green looks like we can see through the bullshit – the ball through a suburb They live Glasses. But instead of mind-controlling aliens we see a poison in the air and a community is clearly aware of it. They are more interested in masking themselves and maintaining the illusion of fulfillment than finding the source of the deadly leak. It is no coincidence that Cecilia had wheels in a green body bag.

Golden Hour

In the novel, Eugenides does not give the Lisbon girls the ability to visualize concretely. For her, they need to be faceless – every “stand-ins” when you are 13 or 14 years old your intentional lack of “emotional love” ”character formation allows her to shape girls more like dreams or memories rather than slave men. As we see in the film, Coppola and Lachman had to find visual ways to cultivate this hollow, dreamy quality in girls.

Here, we see the orange and green complementary color scheme from the montage of a dream sequence brought by the discovery of the Sicilian Diary boys. As they read it aloud to each other as they imagine the Lisbon sisters, the combination of childhood diary romances and childhood discoveries ends in a surge of golden times. A fire is burning in the corner of the sun above a holographic lax, whose blonde hair turns to golden wheat. He is literally hollow. The creamy shades of orange and yellow create a free, cheerful and cheerful mood.

Between the blurry tree line and the grass in the field, green plays a much different role than the image above. It is kind, healing and natural, pleasing joy in a moment. Coppola let the boys taste our dreams as if it really portrayed his “ical magical, beautiful creature” (as he describes them). The boys play in their light and color, warm and cool, as if we were telling a fairy tale. . Some degree, we. It’s just like the more basic type – the kind of killing that ends.

Death of Cecilia

This shot comes in a minute Virgin suicide And this is the first thing we see in the Lisbon family, a heavy bathroom window seal. The siren goes silent, moving to the soundscape of the manicured neighborhood. The last few drops of the call came out slowly. As the ambulance grows louder, the image above captures the frame like a still life. The image enters the narrator, making the dense, light blue hue horrible, and we cut into Cecilia, the wrist disconnected into the tub.

The other colors in the image are happy and on the whole map: champagne, a transparent purple, chrome, siphom green, a pearl purple, great shades of amber, etc. Give The Amber a louder, more rich appearance. The glittering vanity display thematically opposes the bloody reality below, but despite all the color, the blue filter gives it an awkward context.

Crucifixes spread cosmetic proliferation to signal a culture where the enterprising standards of faith and the unchanging values ​​of beauty are involved enough to tear someone apart. Like every image I choose, the game between warmth and cool spotlights is the way Coppola and Lachman use color to express emotions and what is off-screen, trimmed at the bottom of the surface or in the boy’s memory point here, we see what the girls left behind, makeup And a shell of perfume and prayer, a myth that has surpassed them. Because, “what was decided after them was not life, but the most insignificant list of worldly information: a lizard on a clock wall একটি a house around noon… only frightening people by thinking of themselves.”

Disclaimer: The opinions expressed within this article are the personal opinions of the author. The facts and opinions appearing in the article do not reflect the views of knews.uk and knews.uk does not assume any responsibility or liability for the same.

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