Scene Analysis: Alfred Hitchcock’s Spellbound (1945)
DESCRIPTION
Context: John Brown has woken up from sleep and has been triggered by the white appliances in Dr. Alex Brulov’s guest bathroom.
The Clip: He now stumbles back into the guest bedroom, where Dr. Constance Peterson lie, asleep. Mr. Brown is ultimately triggered into an ominous trance by Dr. Peterson’s blanket. After creeping downstairs with a blade, Mr. Brown is greeted by Dr. Brulov, who offers him a glass of milk.
Total Length: Two minutes and fifty-two seconds.
Begins Around: 01:12:45:00
Ends Around: 01:15:36:00
Total Number of Shots: 9
SHOT BY SHOT
Shot One
Begins Around: 01:12:45:00
Duration: 3 seconds
The shot is pretty much straight on, slightly angled in order to balance Mr. Brown’s positioning in the center frame against the white background of the previous room. It is shallow focus, emphasizing Mr. Brown. Like most of the shots we will see in this analysis, this shot is lit with low key and high contrast lighting. The high contrast is specifically noticeable in this scene, as Mr. Brown is lit in low key lighting against a white background.
The extra-diegetic music playing is at a height of eeriness as Mr. Brown stumbles through the door. His panic is felt through the ambient music as well as his disorientation.
The shot balances the film’s two colors very well in this shot, symbolizing the internal dilemma at hand. Mr. Brown is clearly struggling to remain level-headed (quite literally, as he stumbles out of the doorway). He is in the middle of the doorway, which happens to be framed in between dark wallpaper and the light interior of the bathroom on the other side of the door. Mr. Brown is centered at the frame because he is the important subject of the shot, but he is also framed as such in order to convey his situation between light and dark (good vs. evil). He is even lit as such. The shot begs the question “Is Mr. Brown good or evil? Does he even know?”
Shot Two
Begins Around: 01:12:48:00
Duration: 4 seconds
It is lit with low key and high contrast lighting from the same direction the light source is positioned in the previous shot (when lighting Mr. Brown).
The blanket is emphasized in this shot with a slow pan upward. This is important as we will see this pattern against a white background later as an essential piece to the film’s mysterious puzzle. The music helps us identify that this blanket somehow fits in with the dramatic tension of Mr. Brown’s mental state.
The dramatic tension set by the ambient, extra-diegetic music continues with ominous low tones before the shot transforms, revealing…
The extra-diegetic music returns to the eerie sound of the Theremin reaching high pitched notes. However, they are outweighed by ominous-sounding string instruments, which are lower in tone.
The internal conflict posed by the pattern on the blanket seems to be resolved by Dr. Peterson underneath it. However, the extra-diegetic music makes us uncertain about how her presence has resolved the issue. Has Mr. Brown decided on good or evil?
Shot Three
Begins Around: 01:12:52:00
Duration: 15 seconds
This has Cut Out from the first shot of Mr. Brown stumbling out of the bathroom. However, it may be hard to discern that these shots are different due to the eye-line match being seemingly inserted between these actually very different shots. This is now a medium-long close-up of Mr. Brown. Notice that he is lit differently now. While it is still low key lighting, his face and shirt have now moved into the shadows.
The extra-diegetic music continues with a possible mixture of the Theremin and strings, setting the mood for us to anticipate something ominous is about to happen.
Hitchcock’s decision to pull the shot out allows for Mr. Brown to dramatically move somewhere and take advantage of the space at hand. This causes dramatic tension as Mr. Brown makes his first move towards whatever goal he now has in mind. Whichever direction he has internally swayed, we are about to witness the actions that result from that shift in mindset.
This stationary shot suddenly becomes a barely noticeable following shot as Mr. Brown walks towards the camera, into lighting that, once again, illuminates his face in low key lighting. As he approaches the camera, the camera follows him (by tilting up) ever so slightly in order to keep him onscreen and in the center of the frame. In this frame of the shot, the shot has, once again, become a medium close-up. Due to the distance of the camera from the background, the shallow focus becomes more noticeable, and Mr. Brown becomes even more prominent/imposing.
The extra-diegetic music becomes more dramatic as the strings become louder and the music quickens.
Naturally, his actions are dramatized through the use of similar lighting, the light almost being extinguished by the dark. We are led to anticipate something malevolent due to the mise-en-scène here. Mr. Brown’s next few moves may not be favorable.
Whatever he is doing/about to do is also being anticipated by the film’s score as it builds dramatically in this shot.
The lighting and focus are now obvious — they are the same as before: high contrast, low key lighting, and shallow focus. Mr. Brown remains centered in the frame despite the camera following him from a slight angle that favors his shadowy right side.
The extra-diegetic music’s rhythm has quickened and grown in volume.
We can now see that Mr. Brown is, in fact, still struggling with something internally. The close-up allows us to understand the actor’s performance, but we are still anticipating something bad is about to happen.
Shot Four
Begins Around: 01:13:07:00
Duration: 2 seconds
The shot is arranged the same as before, including its lighting, focus, and framing.
The extra-diegetic music has built to a large blast of music from a brass instrument that seemingly introduces the shot of Dr. Peterson in bed. The low, ominous nature of her introduction leads us to anticipate something bad may happen to her.
We see that Mr. Brown is staring down at Dr. Peterson. While the film is signaling “creepy,” Mr. Brown has yet to make a sinister move. However, the music and lighting suggests that Mr. Brown is still up to no good.
Notice that it is the same shot of Dr. Peterson as before, despite Mr. Brown’s movement. Even though this shot is an eye-line match, the repetitive nature of the shot disproves that it may be intended as a POV shot.
Shot Five
Begins Around: 01:13:09:00
Duration: 35 seconds
It is now a medium-long close-up. The source of lighting has changed slightly so that we are able to see more of Mr. Brown. However, it is barely noticeable. A major component of this shot is Mr. Brown’s position in the frame and how the camera uses the room’s space. Mr. Brown is centered in the frame, but he is imperfectly positioned between two windows — the only diegetic sources of light in the room.
The extra-diegetic brass instruments (accompanied by drums) have suffocated the strings and Theremin almost entirely as they build and then fade in volume in order to supplement Mr. Brown’s confused and volatile state.
The utilization of space has also changed as the audience has been left unaware of the distance between Mr. Brown and Dr. Peterson up until this point. Before this shot, it has seemed as though Mr. Brown has been very close to the sleeping, and vulnerable, Dr. Peterson. This is also the first shot that the blade in his right hand has become visible.
It pans to the right slightly in order to keep him balanced in the frame. The shot is in shallow focus; Mr. Brown is clear but Dr. Peterson is just out of focus. As Mr. Brown walks, he steps into the light, causing more shadows to scatter on his body.
The extra-diegetic brass instruments begin to fade away after doing their job of imposing an unsettling tone…
By keeping Mr. Brown slightly off-center, our focus is drawn to Dr. Peterson in bed as well, despite the shallow focus.
As Mr. Brown walks through the room, the lighting constantly shifts, just as our perspective of Mr. Brown does. Is he about to commit murder or is he simply confused?
He is still almost in the center of the frame, but enough space is allowed for the door to open within the frame, as well as containing his shadow cast on the wall to his right. The light source has changed; it is still low key lighting but it is coming from a different direction now — presumably the window. In any case, the actual light source is certainly extra-diegetic in order to fit in with the consistent low key and high contrast lighting, which is specific to this film’s noir-like style.
The extra-diegetic music has brought back the softer sounds of the strings, which continue to set an anxious and eerie feeling of confusion as Mr. Brown walks away from Dr. Peterson.
As Mr. Brown approaches the door, the screen grows darker, and the audience is led to once again suspect that something bad is in the process of happening.
Mr. Brown’s extremely dark shadow, cast against the wall, is so vivid that it might as well be another character in the shot. Something wicked is pulling him downstairs.
Once on the other side, however, he is lit from another unseen source in the same manner as usual. Before cutting away to the next scene, Mr. Brown makes it to the center of the frame/doorway. The editing does not allow for Mr. Brown to disappear down the stairway in this shot. Instead, we pick up in the next shot…
The extra-diegetic music slows to almost silence before cutting away to the next shot.
Mr. Brown crossing through another door may symbolize the idea that Mr. Brown has crossed through a threshold that has determined his future actions. Something has been set in motion.
Shot Six
Begins Around: 01:13:44:00
Duration: 24 seconds
He is lit well by the unseen source upstairs, still.
The extra-diegetic strings make their quick return in order to accompany Mr. Brown’s descent. They are sharp, but soft in volume.
Mr. Brown’s ominous descent allows for him to pass through different angles of lighting. This depicts, once again, the internal conflict he is wrestling with.
This time the lighting source is positioned in front of him. At this point, the shot has become a medium-long shot.
The extra-diegetic strings build in rhythm and volume as to signal an event is about to occur.
It is important to note that Mr. Brown is the darkest when he reaches the center of the frame; as if to say that he is ultimately up to no good, regardless of the good that might still be inside him.
Soon, Mr. Brown is at the bottom of the stairs. The light source(s) that began lighting him halfway down the stairs illuminates the right side of his body well (in the same manner as usual — low key and high contrast lighting) with a spot focus on the blade. The shot went from angled upward and stationary to a following shot of Mr. Brown that is now level with the floor and focused on Mr. Brown’s weapon.
This change in the shot is accompanied by the extra-diegetic music, which has a loud brass instrument that announces the blade’s presence (similar to the music in Shot 4, over the sleeping Dr. Peterson).
Off-screen space becomes important in this shot (and the next shot) as Dr. Brulov is introduced via a line of dialogue that is delivered from off-screen. This is an example of sound giving us a perspective on the spatial relationships in this scene.
The music and lighting help reveal the true intentions of Mr. Brown. Even the focus draws our attention to the blade, which otherwise could have been missed in the other scenes. Now it is clear that murder may occur.
Who is the victim? The off-screen dialogue allows us to anticipate that Dr. Brulov is about to meet his unfortunate end at the hands of his guest.
Shot Seven
Begins Around: 01:14:08:00
Duration: 1 minute & 13 seconds
The previous shot cuts away as an eye-line shot would, however, it is done in order to explain Mr. Brown’s abrupt stop. Since the previous shot did not focus on Mr. Brown’s face (or where he was looking) it is assumed he is facing Dr. Brulov due to a change in angle (this angle nearly opposes the last). This shot is also preceded by Dr. Brulov’s off-screen dialogue, which allows us to assume they are visible to one another. Dr. Brulov is seated at his desk, but this is still a long shot. Notice that the lighting is far more pleasing in this room; it still casts many shadows (as low key and high contrast lighting does) but the room is far more lit than the ones we have seen previously.
The extra-diegetic music is quiet.
The well-lit environment contrasts with Mr. Brown’s extremely dark environment as if to say that Mr. Brown is a malevolent presence, and Dr. Brulov is a level-headed presence.
The well-lit space is peaceful and bright; it conveys understanding and professionalism. However, we are unsure if Dr. Brulov has the upper hand. There are still shadows cast.
In order to keep him on screen, the camera follows him by panning to the left. It does not keep him in the center of the frame however. The movement is minimal but noticeable.
The extra-diegetic music is reintroduced via sounds of the strings and Theremin, but they are not loud enough to distract the viewer from Dr. Brulov’s now on-screen dialogue.
Dr. Brulov approaches the volatile Mr. Brown, and we are led to suspect his death. However, he remains composed and the situation remains oddly calm.
Soon, the shot becomes a medium/medium long shot as Dr. Brulov approaches the camera. As he leaves his well-lit area, he becomes encompassed by more and more shadows.
The extra-diegetic strings and Theremin continue to play softly in the background.
Dr. Brulov darkens, insinuating the circumstances will.
The extra-diegetic Theremin and strings can be heard better now.
As Dr. Brulov enters the kitchen as the camera reaches, Mr. Brown’s blade-in-hand comes back into spot focus. Mr. Brown’s hand and blade are also more lit than Dr. Brulov, despite Dr. Brulov still being lit in almost complete darkness.
The extra-diegetic music begins to slow.
The extra-diegetic music is quiet at first but then softly (and slowly) returns with the Theremin and strings.
An unseen light source, presumably diegetic (the light changes in response to Dr. Brulov’s presence), illuminates the kitchen in the background, which remains out of focus.
The tension is cut by Dr. Brulov turning on the light. He has brought the light into the dark.
He is lit from a different source than Mr. Brown, as seen in the shadows cast on his jacket and by the reflections in his glasses. Mr. Brown’s hand (and blade) remains in focus and more well-lit as the camera follows Dr. Brulov, attempting to center him in the frame as he approaches the camera. The camera follows him by panning slowly to the right as he disappears in the shadows again.
The extra-diegetic music quickens, but the volume is still low.
Mr. Brown’s hand (and blade) disappear from the shot as the camera follows Dr. Brulov through the shadows. He’s still lit enough to see him and the glass, which is presented outward to the camera.
The extra-diegetic music is soft and high pitched. The low volume of the music barely allows us to notice its presence in the scene.
The glass is emphasized in this shot, but is cut off by the framing. However, it seems intentional that the glass is faced towards the camera, and shown empty.
He is once again centered in the frame in a long shot.
The extra-diegetic continues to attempt to go unnoticed with its soft sounds.
Dr. Brulov is turned away from us (and Mr. Brown), but we are still able to understand (as much as we should, for the moment) what Dr. Brulov is doing at his desk due to the dialogue. The fact that he is not keeping eyes on Mr. Brown is frustrating in the moment, but upon re-watch, implies a sense of trust and understanding. Dr. Brulov knows what he is doing, and he’s not just pouring milk.
He approaches the camera, just as before. The shot slowly moves from a long shot to a medium-long shot. Dr. Brulov is well lit and in focus.
The extra-diegetic music is so soft that it may as well no longer be eerie. It could accompany a happy or playful scene.
Just as before, as Dr. Brulov approaches Mr. Brown (and gets closer to becoming a medium shot), more shadows are cast on his body. However, the following shot centers the full glass of milk in the frame instead of Dr. Brulov.
The extra-diegetic music softens further.
The milk is focused on to emphasize its presence in the shot. There is something important about this glass of milk that must be remembered later on in the film.
The shot has returned to a close-up of John Brown’s hand holding the blade.
The extra-diegetic music quietens.
The shot does not linger on the milk and knife for long before it abruptly cuts to the next shot…
The extra-diegetic music is (almost) silent.
The blade does not move, but the glass of milk is accepted. Notice that Dr. Brulov knows which hand he needs to pass the milk to. Does Dr. Brulov see the blade?
Shot Eight
Begins Around: 1:15:21
Duration: 7 seconds
Mr. Brown’s face is lit from the opposite direction compared to his hand and body’s lighting in the previous shot. We could assume that the source is the kitchen light (which Dr. Brulov turned on), but the lighting is too deliberate to not have an extra-diegetic source. It remains low key and high contrast lighting with a shallow focus. The background is out of focus and Mr. Brown’s face is in focus and at the center of the frame.
The extra-diegetic music is suddenly loud and sharp as Mr. Brown’s face appears on screen for the first time in a while. It is similar in its accompaniment to Shot 4 and Shot 6 in this regard, but it does not include a brass instrument.
Ominous and abrupt music introduces Mr. Brown’s face. The close-up allows us to view the actor’s facial performance, which seems trance-like.
The light and dark sides of his face suggest that there is still an internal struggle, and it is now balanced.
Dr. Brulov’s offscreen dialogue is heard, maintaining his importance to the scene.
The milk becomes an essential part of the shot once again.
Shot Nine
Begins Around: 1:15:28
Duration: 9 seconds
We are now able to see Dr. Brulov (in a long shot) in his well-lit office, but through the glass of milk (an extreme close up of the glass from within the cup). Dr. Brulov is in focus and the center of the frame before…
The extra-diegetic music builds, but is still soft. Dr. Brulov’s offscreen dialogue continues as onscreen dialogue now.
The glass blurs his image and we see a close-up of Mr. Brown’s hand through the glass.
Dr. Brulov’s onscreen dialogue continues as the music softly builds.
We get the sense that this may be the last shot of Dr. Brulov as he nearly says goodbye by toasting the camera.
Dr. Brulov’s dialogue ends as the extra-diegetic music builds in volume, including strings, the Theremin, and a few brass instruments.
The idea that Dr. Brulov is going to die is reinforced by the milk rising to drown his image out. It is also not a coincidence that the drink of choice is milk — a white substance.
The screen softens to a whiteout, which happens to be brighter than the low key and high contrast lighting of the actual milk.
The extra-diegetic music fades just as the image does.
The white milk drowns the image of Dr. Brulov completely and fades to white as if to signal his offscreen death. However, after watching the remainder of the film, we can see how misleading this sequence is, as the milk actually plays a very unpredictable role the following morning.
CONCLUSION
And that, my friends, is an analysis of the iconic milk scene from Alfred Hitchock’s Spellbound (1945).
