I’m really interested in the technical choices filmmakers make in order to present information about character. I would like to take the time in this initiative post to do a technical break down of some of the shots in the film ‘The Counterfeiter’ that best reflect and explore the character of Salomon Sorowittsch. How does the filmmaker Stefan Ruzowitzky represent his protagonist through the choice of specific shots and utilisation of sound? I will keep my discussion specific to camera frames and audio because this is what we have been focusing on thus far in the studio and is what I’ll primarily be focusing on throughout the next stages of my Mini Research Project. I will ask myself questions that the film raises for me about the choices I would have to consider if I was to make a drama or documentary that focuses on the story of one character, subject or protagonist.
The film opens with a wide shot of the vast ocean and classical tango music played by a harmonica. The music automatically gives a sense of the decade probably between 1920’s and 1940’s and wide shot of the ocean before a shot of a Jewish man sitting on a cobbled beach implies some sense of freedom or release. The character has perspective or experience and is reflecting on something meaningful to him. Where would I set up place to best represent what my character has experienced previously before the story even starts? Where do I place my character to most effectively offer something about their history, cultural background, state of mind or point of view before the film really begins?
The first few shots are of Sorowittsch walking through the streets of Paris after the war is over but the choice to blur his face or keep it hidden reflect a kind of detachment he has to his surroundings. He is in a stiff black and white suit with the button done up really tight at his neck. The other people around him are laughing and wear bright characters. Ruzowitzky frames him so that his surroundings don’t engulf him, if anything he is fairly indifferent to them making the audience wonder what this character’s been through.
What would my choices be for my characters in relation to their space and locations? How does the characters attitude to his/her surroundings inform the audience about their experience or history? Are they engaged, in awe, baffled or overwhelmed by the surroundings? Or are they at ease, comfortable, confident and in control within their spaces? Are they looking around nervously for somebody or something? Have they been in this space very long or even once or a hundred times before? By the way the character moves in the space you could show that they have lived there their whole life without the character even opening their mouth. For example if they are in a café, the way they are familiar with the room, their uncensored routine or the way they interact with the waiters in the café could indicate whether or not the character lives in the city.
5 years later there’s a wonderful shot of Solomon painting a wall size painting of the Nazi Soldiers on a wall outside. The way the camera is framed and looks up at Solomon, him being the same size as the soldiers he’s drawing, gives the audience a sense that he’s become comfortable and found his place and perhaps in not so much danger. He is framed comfortably in his surroundings with his painting equipment around him that he has been given in the concentration camp. This would suggest that the soldiers are making use of him and that they respect the artist despite him being a Jew. The beating of an officer that comes straight after this shot is such a surprise because the way the scene is set up, we don’t expect him to still be beaten like a “filthy pig”. This is a really interesting set up by the director to evoke shock and keep the audience on their toes.
Just from the first minute of the film we have already received a lot of information that set up place and character to then inform the story. Rather than focusing on the story to inform the action, perhaps start with the character. Isn’t it the characters that create story? In a good film it should be. Without a character the audience cares deeply about, they can hardly be invested in the outcome of the film or in the journey of the people represented on screen. The more deeply and carefully the circumstances and details of the character are explored, the more effective the film.
- ‘The Counterfeiters’, Stefan Ruzowitzky, 2007