Scene Analysis: True detective season 1, episode 4.
https://www.youtube.com/watch?v=7TvFv3bAEwY
In this piece, I will only discuss this scene for its initial 2 minutes and 30 seconds of the entire clip.
In this scene from True Detective season 1, Director Nic Palazio employs a one-take freehand shot to increase the suspense and drama of the scene. Specifically, the shot follows the shows protagonist detective Rust Cohle played by Matthew McConaughey as he works through a house during a drug raid. Utilising both the shot type itself alongside specific camera angles and blocking decisions Palazio creates a tense scene. It is especially successful in building a tense piece of action which acts to add to the characters and narrative arc of the season.
The most evident examples of techniques used to construct this scene are two examples of blocking. The chosen blocking, combined with the camera angles and movements, successfully act to both identify the rivalry between the two groups whilst simultaneously enhancing the tension. Specifically referring to the camera angle of McConaughey peering through the blinds to see a group of gangsters moving in towards the house (00:00:44). As McConaughey’s character registers these figures as a threat to him, the audience is positioned almost at his point of view. The camera moves into a close-up, with McConaughey’s head filling half the screen and the window through which he sees the gangsters consumes the rest. This use of blocking essentially acts to highlight the two parties of this scene, that being McConaughey and the incoming gangsters.
Blocking is again used to represent these two parties and build the tension between them. Specifically in the shots which positions McConaughey between the two rooms occupied by police and gangsters (00:01:05). Whilst the camera’s movement pans and moves left and right, displaying the action in both rooms, Mcconaughey remains between the two areas. This perfectly captures the duality of the action. In the right room, the policeman ‘Ginger’ succeeds in finding the drugs responsible for the raid, celebrating the bust. In the left room, however, the gangsters shown in the aforementioned shot are shown to be at the front door as silhouettes in the window. Mcconahay is deliberately placed in the centre of this action, dividing it visually. Representing both the near success of his objective whilst providing a steady increase in tension.
The second way this scene’s coverage is enhanced is by the shot type itself. The use of a single take, freehand camera movement which follows McConaughey acts to confine the audience’s view of the action to entirely within the house. This restricts an omniscient view which would be provided by a sequence which cuts between the two parties. Instead, the restriction to what can only be seen taking place in the house presents an unknown but seemingly imminent threat. The audience’s suspense is built in the same way as the characters. Not by what is covered or in the frame but rather what is left out of frame. The audience is aware of the threat however is only given glimpses of the gang’s movements, representing McConaughey’s own experience.
References
Karman D, True Detective I Six minute single take tracking shot…, YouTube, 22 November, Youtube, viewed 12 March 2020, <https://www.youtube.com/watch?v=7TvFv3bAEwY >.