Inside Llewyn Davis (2013)

We are introduced to a close up of Oscar Isaac as Llewyn Davis, a folk singer who has hit rock bottom on stage at The Gaslight Cafe in 1961 performing a folk song "Hang Me Oh Hang Me" a song that by nature is quite repetitive. Singing this song is the first dialogue we have in the film that is referential to his partners recent suicide and is about mourning the dead and moving on, both of these being a theme that is often present in the songs Llewyn sings throughout this film . The sound, cinematography and editing of this performance also sets up the slow and melancholy style and pace for the rest of the film and places an importance on Llewyns emotional musical performances as a theme throughout. This is done through camera work by the first close up of Llewyn singing into a 60's era microphone and then proceeding to show shots of the silent and captured audience listening to him play from various angles such as the camera setup for a long shot behind the backs of the audience's head as they are silhouetted in the spotlight on Llewyn performing in the dark and smoky basket house. After his performance he is summoned by the manager Pappi Corsciattio who makes reference to Llewyn Davis' partner Mike Timlin, (who we find out through context later in the film recently committed suicide), previously performing that song together. Llewyn apologises for his behaviour for the previous night, which we are not shown until later in the film but we see the consequences of first . He is told that he has a friend waiting for him out back and proceeds out into the dark back alley where he is confronted by an unknown shadowed man in a suit asking him if he was "a funny boy, huh?" and that he "had to open ya big mouth" to which an unsure Llewyn replies that "It's what I do" the man after beating Llewyn walks away repeating this line as the image dissolves into the next scene, Llewyn waking up at the Gorfeins, another important opening sequence that is also mirrored in the final scenes of the movie. This opening scene in the Gaslight Cafe and the alley introduces the themes of Music portraying inner emotional turmoil and grief, Repetition and the cyclic nature of Llewyns life, Llewyns professional career stagnating, and the consequences of one's actions, all of which are made apparent through context in the film.

In the closing scene, which is almost an exact repetition of the opening scene , we are shown a few extra scenes that at first we did not know were edited out of the opening scene, the first being Llewyn performing another song after "Hang Me Oh Me"  called "Fare Thee Well" a song that we know Llewyn used perform with his partner Mike Timlin. This use of diegetic sound and editing pace an emphasis on closure for the theme of Llewyn's mourning as last this song acts as his goodbye. The cinematography and mise-en-scene of the opening performance and the closing performance are identical with the close up of Llewyn and the microphone to the camera angle being placed again behind the silhouetted backs of the audience members heads. The scene in the alley is also repeated but with some differences in sound and mise-en-scene, we have Bob Dylan singing another goodbye song called "Farewell" played diegetically from the Gaslight Cafe over an extended scene of the beating and where an injured Llewyn watches from the mouth of the alley as his attacker drives away in a taxi , delivering an "Au Revoir" as the film closes.

The themes in this scene are more apparent a second time round and with added context. We see a point of view shot of Bob Dylan singing his song at the end in the Gaslight as Llewyn transitions to the alley scene. This shows us the theme of Llewyns solo career not achieving the fame or money he has been seeking throughout the film, whereas the young Bob Dylan who is just hitting the earling 60's folk scene will certainly go onto achieve just what Llewyn has been aspiring to. The classic Coen Brother ambiguity is also present throughout the closing scene as it leaves the viewer unsure of which order events happen and whether or not it was some sort of quasi-flashback with certain elements happening different this time round . This ambiguity and use of repetition combine to show the theme of Llewyn being trapped in the never ending cycle of endless mistakes and the consequences of his actions. 

Spirited Away (2001)

The piano notes of Spirited Away's main theme "Summers Day" play non diegetically over the opening high angle shot of Chihiro lying in the back seat of her parents car. Chihiro is a spoiled little girl in a new place as demonstrated to us by the expository dialogue delivered between Chihiro and her parents and also point of view shots of her staring up at the big trees out of the windows of her parents car. This cinematography is the first time we are introduced to the technique of low angled shots being used to demonstrate to us not only a mysteriousness of the outside world but a sense of scale in relation to the characters placed on screen. Chihiro's father drives them through the woods and arrives at a large building with a black tunnel leading into it's unknown depths and a grimy statue guarding it's entrance. A high angle shot is used to show us the size of the building as the camera pans up its length. Violins play over this shot as the non diegetic score rises to portray a sense of wonder at the size and mysteriousness. Great use of mise-en-scene of the car placed beneath the building also serves to give a sense of proportion. Chihiro and her father are placed at the mouth of the tunnel in the following shots, we are shown a point of view shot looking into the dark tunnel, an ominous ambient diegetic sound is heard and a close up of Chihiro's feet is then shown as leaves and rocks blow into the tunnel past her. An ignored and scared Chihiro states "the wind is going in". Chihiro's father and mother decide to enter the dark tunnel and explore beyond. A scared Chihiro almost decides to stay behind before running after her parents. This use of film form and style give us a glimpse at the themes that are present throughout Chihiro's adventure beyond. We know that Chihiro is a scared girl and especially without her parents she has to find the determination and strength to save them. Another common theme closely related to this one is Chihiro finding the strength to let go of the world she has left behind and find her own identity. We see this later through repetition.

The closing scenes of Spirited Away also contain the main theme as we are shown a Chihiro having saved her parents and overcome boundaries to get where she is. As Chihiro leaves the mysterious world behind her and heads back through the dark tunnel she entered in the opening scenes she lingers the same way she did in the opening scenes, with a close up shot of her face, except this time she lingers because she doesn't want to leave the spirit world behind, then runs after her parents and we see a shot for shot repeat from the opening scenes, of Chihiro and her parents walking back through the long tunnel. The use of repetition in the film form and style here act as a conclusion for the themes that were introduced to us in the opening shots. The last close up of Chihiro's face and point of view shot of the dark tunnel bring the films themes to a conclusion. A once scared and spoiled little girl is no longer afraid, having found an identity. 

Spirited Away Scenes

Apocalypse Now (1979)

The greatest opening sequence of all time begins audibly with the psychedelic pounding of helicopters passing from the right audio channel to the left, proceeding this the song "The End" by The Doors begins to play as we are shown an establishing shot of a Vietnamese jungle as war time helicopters traverse by it. The now grimy and foggy shot lingers as the diegetic helicopter blades and non diegetic score merge to form something of its own atmosphere. As the song begins the vocalist declares "This is the end, beautiful friend" as we see the forest napalm bombed. The camera pans across the fire torn and smoky expanse of the forest war scene and as the editing dissolves together with a close up shot of the main character, the mentally tortured soldier, Captain Benjamin Willard, played by Martin Sheen. We see many shots dissolve together over the close up of Willard, the ceiling fan of his room which mirrors the blades of the helicopters, the fire, the forest as the lyrically and thematically appropriate song continues to assault the senses. The lighting and editing of this opening sequence shows an emphasis on duality, we see half of Willard's face cloaked in shadow as the other shots are superimposed over him as well as the shots of the shadowy jungle silhouetted by the glow of the deep orange fog and fire. As the opening music ends we are shown more close up shots of the alcoholic Willard suffering from post traumatic stress and cabin fever are shown. The dialogue delivered by Willard in this scene is dubbed over the cuts of him in his room, adding to the sense of insanity the opening sequence gives us. We see a high angle shot of Willard crouched down in the room appearing very small, this is mirrored in the overdubbed dialogue from the deep voice of Martin Sheen stating "Each time I look around, the walls move in a little tighter". The now erratic and violent "The End" slowly starts to get louder as the scenes again start to merge.  Great use of lighting is again used to shadow half of Willard's face with the ceiling fan framed over his shoulder as the scenes cut and change. This time we are shown a camouflaged and muddied Captain Willard, that we see again in the closing sequence where Willard gives into the insanity of the jungle and kills Colonel Kurtz.

These techniques are recurrent throughout the filming of Apocalypse Now, in the end sequence the editing style of merging shots together over each other is also used. Francis Ford Coppola uses repetition of the opening song in the final sequence of the film, connected to the use of shadows in this scene as well as in the opening the song and lighting represent the theme of duality and evil within. Shots of Captain Willard silhouetted in the final sequence demonstrate when he has given into this duality. The song rising in a loud crescendo as we see captain Willard bathed in shadow kill the colonel. The theme of war and blurred morality which is shown time and time again in Willard's journey up the river and through the heart of darkness is represented in this opening sequence. We see the effect it has on his psyche, the veil like editing that places scenes of war and destruction over close up shots of his face, a technique that is also repeated in the closing sequence. 

Apocalypse Now Scenes

Saving Private Ryan (1998)

The opening scene of Saving Private Ryan takes place on June 6, 1998 at the Normandy Cemetery and Memorial in France where on June 6, 1944 the Normandy landings took place during World War 2. The film form and style of this opening sequence show us shots of an old man and his large family walking among the many many white cross headstones that stretch out into the distance, visually representing to us the loss of life before we see it ourselves. The consequences of the disregard for human life that took place on D-Day is show here, which is impactful with Hans Zimmer's non-diegetic score playing over it. This location also helps to give context and acts as a frame to the rest of the film. The actor Harrison Young portraying what we later find out to be an old Private James Ryan, delivers an emotional performance as he breaks down among the headstones as he surrounded by his family and begins to have flashbacks to the landings. We are introduced here to a few themes that recur in this film. disregard for human life, the effect war has on people and the importance of family here in this opening sequence and also in the landing sequence. 

These themes are then reflected in the closing scene where we see the older Private Ryan knelt at the grave of Captain John Miller, played by Tom Hanks. The camera is placed behind his headstone and Private Ryan is placed to the right of the cross with his family to the left of the cross, representing the theme of earning the sacrifice that was made for him to have the life he does, this is also represented through dialogue delivered by Private Ryan to Captain Miller's grave "I've tried to live my life the best I could, I hope that was enough, I hope that at least in your eyes I earned what all of you have done for me." Hans Zimmer's familiar score plays over this scene as well as familiar cinematography from the opening scene. This repetition provides different contexts for the emotional impact the scene has when viewed at the start and again at the end.