Mise-en-scène is the essence of film making. Originating from the placement of actors and scenery on stage from theatre. Evolving into film where there are a lot more elements in play. It involves what can be seen and where.
Fury (2014) follows a tank crew in their campaign across occupied Germany at the end of World War 2. Having lost their gunner, a young intellectual typist with no experience of war or violence replaces him. Being such a tight-knit unit the team struggles to accept him, especially in terms of his naivety of war and not sharing the awful collective experiences they have had.
At this point in the film, the new gunner Norman Ellison, has been living the horrors of war whilst simultaneously gaining the respect of the crew members. After a successful series of battles, the crew receives an order to capture and hold a crossroads, but the tank is immobilised near a farm. Norman scouts a nearby hill from which he sees a large number of German soldiers approaching. Despite the immobilised tank the commander decides to stay and fight and tells the others to leave. Naturally the rest of the team decides to stay even though it is likely to be their doom. The crew then prepares the tank and the area. Disguising the tank to look destroyed and abandoned.
Norman spots something in the distance, but we are not shown what. Only the expression on his face.
We do hear however hear soldiers in the distance.
We still don’t know what Normal has seen, isntead he is shown running in the centre of the shot. Creating a sense of immediacy and desperation. This adds to the apprehension of learning what the danger is.
We finally see what Norman saw. Almost from his perspective. A shot with a low depth of field with soldiers extending beyond the front and back of the frame. We cant see the beginning or end of the soldiers line adding to the feeling of overwhelming numbers. The fact that this shot is shown after we see Normans reaction means that it is almost like we are seeing what is in his head as he runs as opposed to an establishing shot.
The use of an anamorphic lens is highlighted here with the distortion fall off towards the edges of the frame and the soft focus around the subjects.
The tank commander is shown standing in front of his crew, out of focus in the background. Creating an aura of leadership and responsibility. Being centre frame emphasises his role as the decision maker.
After all deciding to stay and fight a shot of hatches closing demonstrates the characters in their vulnerable, locked in position. The weight of the tanks hatches closing mirrors the weight of commitment they have all made to likely die.
Mise-en-scène analysis
The following shots are shot from “inside” the tank. It shows the crew in tight focus with components inside the tank directly in line of site obstructing the focus of the shot.
The shots are graded blue crating a cold mechanical atmosphere. The film was shot on real film which adds to the grain and feel of the shots. The colour in generals are muted and dreary, with the weather wet and cold, filmed in Hertfordshire, England. A pathetic fallacy of the threat to come.
Tight close up shots of the crew add to the feeling of claustrophobia. With elements coming in and out of frame. The comradery and apprehension is demonstrated and the proximity is tangible. The lighting is very low. The sounds of objects from inside the tank being passed around are heard with no music adding to the tension.
The colours as shown are dark with blue hues. Cold, mechanical and restrictive in the low light. The little light there is in the scene only reflects off the faces of the characters, where the tank itself is muted and matte. Focusing the audiences attention on that characters, with the ever present character of the tank becoming baked into the scene.
The men are dirty, sweaty with no “beautifying” of their skin or uniforms, creating a gritty realism. Costumes are realistic but non distinct.
Jaunty, uncomfortable skewed and obstructed shots add to the discomfort and disorientation experienced inside the tank.
Don “Wardaddy” Collier is shown at the highest point in the tank, with the camera aimed up. Signifying his role as the leader and source of hope and courage to the crew. After sipping some whisky the light washes over his face. Highlighting this act of righteousness and perhaps foretelling his upcoming demise.
After all the preparations are made. The crew share a few moments of peace and comradery. Designating the war name “Machine” to Norman. Who is shown in the lowest point in the tank, signifying him looking up to his more experienced and older crew members.
A tight close up of Norman reflects the moment of acceptance. Shared by the entire crew.
The blues in the scene, despite being cold, also create a sense of tranquillity.
“Blue calls to mind feelings of calmness or serenity. It is often described as peaceful, tranquil, secure, and orderly.”Cherry, K. (2020). How the Color Blue Impacts Moods, Feelings, and Behaviors. [online] Verywell Mind. Available at: https://www.verywellmind.com/the-color-psychology-of-blue-2795815#:~:text=The%20Psychology%20of%20Blue.
This secondary aspect to the blue, means that in this moment, despite the likelihood of death, the crew are at peace. If they are going to die, they are happy to go alongside their friends and in a selfless act.
I think it encapsulates the unspoken bond human beings develop with each other in experiences such as war, where one can find peace, love and self acceptance, in the most awful of circumstances.
Audio clip
Melancholic music is softly played in this delicate moment. Soaring vocals muted in the background as Normans war name is cried, in a moment of triumphant defiance. Five friends celebrating each other and their duty, declaring “Best job I ever had”. Slowly fading away as the inevitable arrives.
Each character shown, with nearly all in the centre of the shot as the enemy is now directly ahead. Being in centre of the frame the shot feels less cinematic and more “first person”. The reality is now unavoidable and inevitable.