2.2 The Quiet American Flashcards
Introduction
“The Quiet American” - Phillip Noyce explores shocking sequence of terrorist bomb attack.
1950s Vietnam, film depicts rising tension between Fowler (cynical journalist), Pyle (idealist USA aid worker)
Key sequence of bomb is turning point: reveals Pyle as CIA agent, forces Fowler to take sides in war.
Use of sound and variety of camera techniques creates sense of realism to make bomb scene more shocking.
Scene depicts key theme of film: danger of American power + its failure to respect other cultures.
Paragraph 1- Sound
Sound of bomb sequence creates sense of shock
Contrast: Earlier in film, setting full of diegetic street sound of heavy traffic. Build up to bomb, diegetic background sounds filtered out. No music is heard either. Creates a sense of expectation; audience are waiting as contrast in soundscape adds tension.
Dialogue: Fowler as an observer overhears two American women who leave square early remark “Joe Tunney” told them to leave square by twelve.
Sound effects: Sound of bomb used for shock. Sound is slowed regularly to evoke this sequence as a nightmare which there is no escape from. Slow clanging on Heng’s bike when arriving on scene and throwing it to ground. Deep swishing sounds accompanied by rapid moves of hand held camera, evoking Fowler physical shock at disturbing scene.
Paragraph 2- Camera editing
Camera’s POV switched to add impact to shocking scene
Objective POV establishes setting- The Hotel Continental- shows us full carnage of bomb in the square. Objective shots show Fowler rushing across street to act decisively for the first time to save Phuong. He realises she isn’t where he thought as she was advised to stay away from the square.
Hand-held camera conveys Fowler’s POV when rushing across the square. Juddering side to side and close up reveals graphic scene: dead baby, legless torso and man with left leg missing are seen in flashes of camera movement showing shock felt by Fowler. Camera shutter speed increased creating staccato effect, increases intensity of images of wounded Vietnamese.
Shutter speed is also slowed to create strobe effect further emphasising Fowler’s shock. In this moment a steady-cam is used as well as over-cranked shutter speed creating slow motion. Both techniques evoke sense of his vision floating in this never ending carnage.
Paragraph 3- Flashback
Flashback conveys full psychological shock on Fowler
Fowler is forced to take sides at a key scene in film. Key moments shown through serious of rapid flashbacks, helping Fowler, in shock, uncover truth about bombings.
Fowler’s POV creates mise en scene of Pyle’s entrance onto the scene: framed on both sides of image by flames from explosion. Image seen 3 times in medium shot; these images are accompanied by drum motif as music reaches a crescendo. We are given clear idea that Pyle is visually and politically at centre of these events.
We are shown close-ups of 3 key details: Pyle speaking Vietnamese “like his native language” contrasting with his characterisation earlier where he only knew two words. He directs a photographer into taking shocking photos of carnage. Finally, close-up used to show Pyle wiping blood from his trousers. Symbolism is vivid: Pyle and America fail to appreciate full consequences of their actions.
Climax of this sequence of flashbacks occurs in close-up when Fowler washes blood from hands. Water motif suggests Fowler’s spiritual rebirth: Heng informs Fowler that Pyle works for CIA and he reinforces the significance of bomb and its emotional aftermath: “sooner or later one has to take sides, if one is to remain human.”
Conclusion
Terrorist bomb sequence is central to effectiveness of film.
Effective us of sound and camera techniques help shows Fowler’s change in character from shocking effect of bomb.
Bomb acted as catalyst for this: he decides to betray Pyle and allow communists to kill him.
