Through analysing, compare and contrast the method used to make the opening sequence of the Matrix and Frankenstein both appealing and exciting, to their respected audience. What makes a film good? It’s crew? The actors who star in it? Its ability to tell its story? The amount of special effects it has? Many would say it is a mixture of all four but to make a film appealing, to make an audience sit for two to three hours to watch the whole thing the film needs to be exciting, and it might take all of the things mention above to do it or it might only need one, but it has to be there.
And how can a film even start to keep the audience? To have an opening sequence so exciting and bewitching that it is impossible to look away. The Matrix and Frankenstein successful fulfil that. Not only do they excite and appeal, the stories they start with are perfect preludes to the rest of the film. Even though the settings of the two films are completely different, one, an industrial, compact city, the other the middle of the artic, they both have prominent feelings of desolation.
In Frankenstein, there is physically nothing there, only a vast plain of snow, ice and fog, with every small sound echoing for miles and even the Matrix is built up with houses and apartments it still feels truly lonely. No other people are seen apart from police officers, the men who all look the same, and the mysterious girl in black. This helps the audience empathise with the characters, they have no one, everything is against them and they are trapped.
Also the audience can sympathize with the character therefore letting them get more involved which would heighten their excitement as different things happen to the characters. Both films are set in time divisions from our own, the Matrix in the future and Frankenstein in the past, this would increase the appeal to both movies as its somewhere the audience has never been, never experienced before, and as everyone has the curiosity to find out what it was like, people would want to watch it.
You never notice the colour of the screen till it either changes or you are told about it. Both films use colour, the matrix has a green tint the whole way through and the settings and costumes are all dark, whereas with Frankenstein, the prominent colour is white after its dark, stormy beginning, this could symbolise a new beginning for the characters or purity but in this film it feels more lonely and bleak, it shows the fact there is nothing not even colour, maybe not even hope.
Both of the films use quick camera shots, to aid with the dramatic tension. Frankenstein not only uses it on the boat, with the falling sail, the dramatic crash and when the man falls over board but also uses the same technique for the killing of the dogs, which is actually the same dog but just in different angles. This short sharp action builds up the suspense and excitement, as the audience cannot completely see what is going on, they are left to work it out for themselves. Another good shot is the hand on the snow.
This is another use of colour as the hand, a shade of pink/brown, reflects of the snow with its clear, fresh whiteness. This affect would give that short scene more affect on the audience as it would not go unnoticed, and because it is done so fast it could even shock. The Matrix uses the same affects, with short, quick camera shots to build the apprehension of the scene easily, but efficiently. The Matrix uses it many on the roof for the run over the buildings and also when the shots are being taken. Another technique well used, is slow motion.
Employed on the fight scenes, it brings the audience attention to that part, as if to say the next bit was really worth watching, it is then followed through with accelerated fight scene where the actions are faster, than it seem, physical possible. Scene like that heighten the excitement or the adrenaline for the audience keeping them glued to what is going on. Sound is one of the most important parts of a films and plays, even the most exciting of scenes would not even raise an eyelid if it was not for the dramatic music which is no doubtable playing in the background.
Not only can music get a heart racing but it can also lighten a mood for romantic moments of jerk a rear for a sad one. A good director will know the right time to place a piece of music. Both films use music cleverly to aid with the dramatic tension, but whereas the Matrix continuously kept the music the whole way through the beginning, even if it is only a ringing phone, Frankenstein did not. It might change from loud, fast and full at the most exhilarating moments to only a monotone ringing in others but there is always something there, something in the background.
Whilst Frankenstein could have loud textured pieces in thrilling parts, it will have none in others only maybe sound effects of chopping wood, or dogs whining, the contrast works well to keep the audience involved, as the same pitch of music can get tedious after a while. The sound effects on both films work well too. The constant ringing on the Matrix, not only intrigues but like the music and the camera shots, adds to the tension.
The creaking of the boat is another good example of a well used sound effect it really helps the audience to place itself in the film. The yelping of the dogs and the mystic growl in the fog are very cleverly used, as the fog takes away one of the senses, sight, the other need to improve, so they can understand what is going on, again increasing the audiences involvement in the film. Both films use arrangements of techniques to not only keep the audience but to stimulate and appeal to them.
The two films are very different in many ways, the settings, the time periods, and the layouts and maybe even their respected audiences, but they both start with extremely thrilling beginnings to rival each other. Not only is colour used in both, but also messages on the screen, costume and camera shots as used heavily in aid of the tension running through the two. The beginnings are successful, and intrigued and stick the audience so they have to find out the end.