He sometimes seems to use colors and sounds to link thematically related or inverted scenes.
For example, there are only two "blue scenes" in Full Metal Jacket: Pyle getting beaten by the Marines, and Pyle dishing out violence in the bathroom. In the first scene, Pyle's a big baby who rejects military indoctrination. In the second, Pyle embraces his teaching and becomes macho-violence incarnate.
Similarly, the eerie song which plays in the bathroom occurs twice: once when Pyle shoots himself, and once when Joker shoots the Sniper.
In the first scene, a total embracing of military ideology pushes Pyle toward suicide, and so, ironically, a final rejection of his training. In the second, Joker's rejection of military ideology - he wants to help the sniper, to ease her pain - pushes him toward Hartman; in this moment of compassion, Joker moves toward evil.
Similar inversions occur in "Eyes Wide Shut". In the first half of the film, the couple speak in a warm, red room, whilst striking blue light sits outside the windows and adjacent rooms. In this scene, Alice talks of a dream in which she rejects a sailor in order "to be with Bill".
In the second half of the film, however, the warm red light is seen outside the windows and doors, whilst the couple speak in a room awash with blues. In this scene, Alice talks of a dream in which she rejects Bill and makes love with both the sailor and countless other men.
It's as thought the swapping of the reds and blues mark the intrusion of Alice's unconscious desires. These desires come forward and into the room and overwhelm Bill, whilst the red (the warmth of their marriage? What they think their/a marriage is or should be?) recedes into the distance.
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