Drive: Sequence Shot Analysis - Cinematography and Mise-en-scene

This report offers a detailed analysis of the cinematography in the neo-noir film 'Drive', specifically focusing on a sequence of five scenes. The analysis examines the use of camera angles, including medium close-ups, eye-level shots, medium long shots, and low angles, and how these choices contribute to the film's visual storytelling. The report highlights the importance of lighting, both soft and diffused, in enhancing the mise-en-scene and conveying the emotional states of the characters. The author emphasizes the effective use of deep focus and the alignment of the plot, scene, and shots, which ultimately contributes to the film's success. The report also references the use of quadrants in composing shots. The report concludes that the effective use of cinematography has significantly contributed to the film's critical acclaim and director's reputation.

1
Sequence’s Shot Analysis: The Context of the Movie “Drive”
For a neo-noir crime thriller film like “Drive,” the infusion of an effective script and
cinematography is a requirement of paramount importance. The shots in the concerned
sequence of five scenes refer to the immaculate utilization of cinematography both from the
theoretical and practical perspectives.
In respect of the use of camera in the scenes under analysis, it must be taken into
account that the incorporation of the quadrants for developing a tightly composed sequence
has been masterly done, and this has rendered the movie with dauntless efficacy (Marine,
2015). In the first shot the use of medium close up and a straight on angle is observable with
the inclusion of soft lighting from the right hand side, which, despite being artificial, fits
naturally to the scene, enhancing the quality of the deep focus continuing momentarily.
Moreover, quite interestingly, in a shot-reverse shot sequence, the first shot deserves special
mention due to its mise-en-scene in which the body language of the actor embodies the
reality of the situation. Furthermore, in the second shot, which should also be considered as
an eye level-angled medium close up shot; the deep focus continues for about four seconds
and in terms of the mise-en-scene the smile of the protagonist amplifies the objective of the
shot, paving the way for the audience to delve into the psychological aspects of an individual
who has committed a crime. Also, in the second shot too, the use of artificial soft lighting
synchronises perfectly with the mood of the scene.
In the third shot an exuberant mixture of medium long shot and low angle can be
witnessed. The use of soft, diffused light from the front and the deep focus eventually
embodies a sort of premonition which is accompanied by a perfect mise-en-scene constituted
of a casual attitude of the protagonist. A smile on the protagonist’s face and his casual
gestures is effectively highlighted by the lighting used. Besides, in the fourth shot a medium

2
close up with an eye level angle has made the mise-en-scene more effective. The smile on the
face of the woman affirms the persistence in her love for the other man, and this emotion of
the woman is laminated by the perfect use of the soft fill light from the left side. Moreover, in
the fifth shot, which should be considered as an amalgamation of medium long shot and low
angle, the soft lighting (accompanied by a deep focus) has increased the degree of quality of
the mise-en-scene which depicts the stubbornness of the protagonist who is determined to
commit a crime essential to free his love from the shackles of agonies. His casual look and
his defiance, all are at sync with the lighting and the use of camera. This has again enhanced
the coherence of the sequence in a logical and rational manner. And it is due to such
alignment between the plot, the scene, and the shot that the movie has achieved the feats that
have helped the director to make a class of his own in the sphere of American cinema.
(511 words)

3
References
Marine, J. (2015). How the Cinematography of 'Drive' Utilized Quadrants for 'Tightly
Composed & Weirdly Unpredictable' Frames. Retrieved August 12, 2017, from
http://nofilmschool.com/2015/01/nicolas-winding-refn-quadrants-cinematography-
drive-tony-zhou