Zodiac (Dir. David Fincher, 2007).

The scene of Melanie delivering divorce papers to Greysmith, is a pivotal and incredibly important scene in Zodiac (Dir. David Fincher, 2007). By exploring a single shot of this scene, (2:22:16 – 2:22:26) Narrative meaning emanating through the use of production elements: sound, acting and mies en scene, conveys Melanie’s discomfort in her own (former) home and signifies the end of her relationship with Greysmith.

The use of exclusively ambient sound in this shot manages audience expectations. The ambient sound of the rain falling softly on the roof creates a hypnotising and calming effect for the audience, creating an atmosphere that does not foreshadow a fierce fight to reconcile a broken marriage, but rather one of acceptance. The acceptance of the loss of a husband and consequently the ‘nuclear family’ construct for Melanie and her children.
As Melanie stands in the living room, she is still wearing her wet overcoat and handbag. With her hands holding the white envelope motionless in front of her, Melanie emits no outward intention of removing them. Once, the sequence of actions of removing her coat and handbag and putting her keys down on the bench would have been habitual (As seen in early scenes). Melanie does not do that now, consequently making her intention of not staying long clear. This is Greysmith’s space now. She is a visitor.
The prop of the white envelope Melanie holds furthers this sentiment, representing Greysmith’s copy of divorce papers; it acts as a barrier, physically taking up the space between her body and his. In a way, Melanie’s actions and overcoat act as a shield. Much like they would against the elements of the now muffled rain, they now act as a barrier against the man she loved, and in many ways, still loves. This sentiment is conveyed as Melanie asks Greysmith: “when’s the last time you ate something?” An audible juxtaposition to all else translated visually in this shot. Demonstrating an ability to care and love someone, and yet not be able to be with them.

The Fincher’s approach to Zodiac was to create a look “mundane enough that audiences would accept that what they were watching was the truth.” This theme can be noted throughout the film, Fincher’s attention to detail created a portrayal of the everyday of late 1960’s and early 1970’s America that was noted amongst critics as “exceptional”. However, the shot in discussion breaks away from the mundane and enters the obsessive, unhealthy and idiosyncratic clutter that is Greysmith’s current headspace, physically manifesting in the composition of his home.