Film studies - What Lies Beneath reading of the film

1. How can we ‘read’ this film?How can we ‘read’ this film?
Film writer David Bordwell has putFilm writer David Bordwell has put
forward 3 significant factors in theforward 3 significant factors in the
audience’s reading of film:audience’s reading of film:
1.1. How we are able to ‘perceive’ orHow we are able to ‘perceive’ or
read what is going onread what is going on
2.2. Our prior knowledge andOur prior knowledge and
experiences (of film or otherwise)experiences (of film or otherwise)
3.3. The material structure of the filmThe material structure of the film
itselfitself

2. How do you think the film works?How do you think the film works?
Write down 5 of the most importantWrite down 5 of the most important
techniques you think are used in the film –techniques you think are used in the film –
think about why it was effective and howthink about why it was effective and how
the filmmakers achieved this…the filmmakers achieved this…

3. The basic story is simple really…The basic story is simple really…
Clare’s daughter leaves for university, and ClareClare’s daughter leaves for university, and Clare
becomes preoccupied with her new neighbours, thebecomes preoccupied with her new neighbours, the
Feuers, becoming convinced the husband has disposedFeuers, becoming convinced the husband has disposed
of his wife.of his wife.
Gradually it is revealed that there is nothing sinisterGradually it is revealed that there is nothing sinister
going on next door, however theregoing on next door, however there isis a secret within thea secret within the
Spencers’ marriageSpencers’ marriage
The viewer learns that a spirit of a missing woman isThe viewer learns that a spirit of a missing woman is
present in the house; Clare becomes obsessed with herpresent in the house; Clare becomes obsessed with her
and tries to solve her disappearance.and tries to solve her disappearance.
The film ends with Norman Spencer revealed as theThe film ends with Norman Spencer revealed as the
murderer of this young woman, lying beneath the lakemurderer of this young woman, lying beneath the lake
outside their house, and consequently Norman is killedoutside their house, and consequently Norman is killed
after attempting to murder Clare.after attempting to murder Clare.

4. The title and themeThe title and theme
The film titles appear beneath dark blue water,The film titles appear beneath dark blue water,
supported by a chilling score.supported by a chilling score.
Within the water, the viewer can spot the first clue – aWithin the water, the viewer can spot the first clue – a
dead girl’s face can be seen floating in the water anddead girl’s face can be seen floating in the water and
then there is a dissolve to Clare’s face, as she lays in thethen there is a dissolve to Clare’s face, as she lays in the
bath.bath.
The transition between the two faces is significant laterThe transition between the two faces is significant later
on in the film when Clare is possessed by the spirit of theon in the film when Clare is possessed by the spirit of the
dead girl, and also takes her place as Norman’s nextdead girl, and also takes her place as Norman’s next
intended victim.intended victim.
The actual title of the film has several meanings: whatThe actual title of the film has several meanings: what
lies beneath the water; what lies exist beneath thelies beneath the water; what lies exist beneath the
veneer of their marriage; what lies beneath Norman’sveneer of their marriage; what lies beneath Norman’s
calm exterior, etc.calm exterior, etc.

5. There are more subtle references to the title ofThere are more subtle references to the title of
the film throughout:the film throughout:

The name of the pub in the town of Adamant, ‘TheThe name of the pub in the town of Adamant, ‘The
Sleeping Dog’, alludes to Clare not being able to ‘letSleeping Dog’, alludes to Clare not being able to ‘let
sleeping dogs lie’sleeping dogs lie’

The name ‘Adamant’ alludes to Norman’s consistentThe name ‘Adamant’ alludes to Norman’s consistent
denial of any involvement in Madison’s disappearancedenial of any involvement in Madison’s disappearance

The basement psychiatrist’s office lies beneath theThe basement psychiatrist’s office lies beneath the
streetstreet

The key beneath the grateThe key beneath the grate

The writing beneath the steam on the bathroom mirrorThe writing beneath the steam on the bathroom mirror

The fight for life under water in Clare’s bathtubThe fight for life under water in Clare’s bathtub

Madison’s murder beneath the lakeMadison’s murder beneath the lake

The couple’s final struggle beneath the water at theThe couple’s final struggle beneath the water at the
close of the filmclose of the film

The real plot that lies beneath the ‘Feuer plot’The real plot that lies beneath the ‘Feuer plot’

6. Score – it changes how we read a filmScore – it changes how we read a film
The score is somewhat selective and does not cue everyThe score is somewhat selective and does not cue every
event, which unnerves the viewer somewhatevent, which unnerves the viewer somewhat
The lack of score increases the sense of isolation andThe lack of score increases the sense of isolation and
showcases emotion and fear through body languageshowcases emotion and fear through body language
The narration is omniscient and is focalised through Clare –The narration is omniscient and is focalised through Clare –
she appears in almost every scene – this puts the viewershe appears in almost every scene – this puts the viewer
‘inside’ Clare’s emotional rollercoaster‘inside’ Clare’s emotional rollercoaster
During the scene where the door opens by itself, uneasinessDuring the scene where the door opens by itself, uneasiness
is conveyed not by music, but by Clare’s body language: sheis conveyed not by music, but by Clare’s body language: she
feels uneasy in the house, and therefore so does the viewerfeels uneasy in the house, and therefore so does the viewer
Natural elements are utilised in place of score: theNatural elements are utilised in place of score: the
thunderstorm conveys intense fear, the wind moans and thethunderstorm conveys intense fear, the wind moans and the
house creaks, adding a chill to the atmosphere in the househouse creaks, adding a chill to the atmosphere in the house
The sound levels are enhanced, a technique that directorThe sound levels are enhanced, a technique that director
Zemeckis calls ‘hyper-foley’, to ensure the viewer feels theZemeckis calls ‘hyper-foley’, to ensure the viewer feels the
intensity of this effectintensity of this effect

7. How do we get pulled in?How do we get pulled in?
Initially, some scenes seem insignificant; Caitlin leaving for Uni;Initially, some scenes seem insignificant; Caitlin leaving for Uni;
Clare’s preoccupation with the neighbours; the bedroom sceneClare’s preoccupation with the neighbours; the bedroom scene
between Norman and Clare – there are no immediate cues.between Norman and Clare – there are no immediate cues.
The scene in the garage with its sad musical score is the first sceneThe scene in the garage with its sad musical score is the first scene
to evoke a sense of some kind of ‘sinister past’to evoke a sense of some kind of ‘sinister past’
At this stage the viewer knows less than the character which mirrorsAt this stage the viewer knows less than the character which mirrors
Clare’s later feelings of frustration and confusionClare’s later feelings of frustration and confusion
The viewer is encouraged to focus on the Feuer storyline (whichThe viewer is encouraged to focus on the Feuer storyline (which
later turns out to be a Macguffin)later turns out to be a Macguffin)
We are placed literally in Clare’s place at this stage when Clare isWe are placed literally in Clare’s place at this stage when Clare is
peeking through the fence to see Mary crying, we also see thepeeking through the fence to see Mary crying, we also see the
restricted view of herrestricted view of her
In the thunderstorm scene the camera follows Clare throughout theIn the thunderstorm scene the camera follows Clare throughout the
house, as if on her shoulder, the viewer experiencing her emotion.house, as if on her shoulder, the viewer experiencing her emotion.
The lights going out and the sound and light from the thunderstormThe lights going out and the sound and light from the thunderstorm
are coded within the thriller genre, so the viewer is aware thatare coded within the thriller genre, so the viewer is aware that
certain things may happen…certain things may happen…

8. Clare is in the window frame watching the neighbour’sClare is in the window frame watching the neighbour’s
house and through her subjective viewpoint we seehouse and through her subjective viewpoint we see
Warren acting suspiciously, but when Norman joins herWarren acting suspiciously, but when Norman joins her
at the window, he is goneat the window, he is gone
This is the first indication that Clare may be an unreliableThis is the first indication that Clare may be an unreliable
narrator, and places doubts in the viewer’s mind as to henarrator, and places doubts in the viewer’s mind as to he
mental stability, clearly increasing the suspenseful effectmental stability, clearly increasing the suspenseful effect
of the film; she later says to Norman ‘maybe I am losingof the film; she later says to Norman ‘maybe I am losing
my mind’, and ‘I’m fine, right?’my mind’, and ‘I’m fine, right?’
This missing girl and the neighbour’s wife having theThis missing girl and the neighbour’s wife having the
same initials also form confusion in the viewer’s mindsame initials also form confusion in the viewer’s mind
when they appear on Clare’s computer, and at thiswhen they appear on Clare’s computer, and at this
stage, the girl not yet identified, encourages the readerstage, the girl not yet identified, encourages the reader
to assume the presence as that of Mary Feuer.to assume the presence as that of Mary Feuer.

9. Clues throughout the film also encourage theClues throughout the film also encourage the
reader to try and construct the fabula (story)reader to try and construct the fabula (story)
from the szujhet (what we see in the order it isfrom the szujhet (what we see in the order it is
presented):presented):

The focus on the photo frameThe focus on the photo frame

The gradual aggressiveness Norman displaysThe gradual aggressiveness Norman displays

The history between Norman and MadisonThe history between Norman and Madison

The trauma that Clare sufferedThe trauma that Clare suffered
The growing suspense is also broken intentionally atThe growing suspense is also broken intentionally at
intervals to frustrate the viewer and delay hypothesesintervals to frustrate the viewer and delay hypotheses
about the fabula – usually when we just start toabout the fabula – usually when we just start to
believe Clare’s hypothesis, we are shown howbelieve Clare’s hypothesis, we are shown how
unreliable she is and our doubts return – an exampleunreliable she is and our doubts return – an example
of this is the scene with the séance and the dog,of this is the scene with the séance and the dog,
which uses comedy to break the tensionwhich uses comedy to break the tension

10. Particularly effective are the scenes between Clare andParticularly effective are the scenes between Clare and
her psychiatrist which show her mental self-doubt andher psychiatrist which show her mental self-doubt and
decline, and Norman’s consistency and normality,decline, and Norman’s consistency and normality,
eliciting trust from the viewer.eliciting trust from the viewer.
Although linear in time, the one flashback scene towardsAlthough linear in time, the one flashback scene towards
the end of the film, shows Clare, possessed by Madison,the end of the film, shows Clare, possessed by Madison,
witnessing what she had seen a year before – herwitnessing what she had seen a year before – her
husband and Madison intimate together.husband and Madison intimate together.
Here, the viewer and Clare simultaneously discover aHere, the viewer and Clare simultaneously discover a
huge piece of the puzzle – and the pace immediatelyhuge piece of the puzzle – and the pace immediately
quickens, with Clare and the viewer discovering the finalquickens, with Clare and the viewer discovering the final
clues together.clues together.
As Clare remembers her husband’s infidelity, and theAs Clare remembers her husband’s infidelity, and the
trauma she suffered in the subsequent crash, the viewertrauma she suffered in the subsequent crash, the viewer
is also able to piece together the clues.is also able to piece together the clues.

11. DialogueDialogue
Dialogue is used effectively in the film to:Dialogue is used effectively in the film to:

Make us believe in the initial Feuer plot’sMake us believe in the initial Feuer plot’s
validityvalidity

Shed doubt on Clare’s reliabilityShed doubt on Clare’s reliability

Foreshadow later events:Foreshadow later events:
‘‘she can’t move but she knows what’s going on’she can’t move but she knows what’s going on’
‘‘there’s no signal until the middle of the bridge’there’s no signal until the middle of the bridge’
‘‘my marriage ismy marriage is finefine’’

12. AppearancesAppearances
Film gets gradually darkerFilm gets gradually darker
Season changes from Summer to WinterSeason changes from Summer to Winter
Weather worsensWeather worsens
House lighting gradually diminishesHouse lighting gradually diminishes
Mirrors are used in the opening montage and the mirrorMirrors are used in the opening montage and the mirror
becomes a signifier for reflection and observation in thebecomes a signifier for reflection and observation in the
filmfilm

Reflections on the pastReflections on the past

Mirror image between Clare and Madison’s appearanceMirror image between Clare and Madison’s appearance

Clare’s ‘reflection’ in the bath water is MadisonClare’s ‘reflection’ in the bath water is Madison

The car scene uses 2 visor mirrors to show both faces at oneThe car scene uses 2 visor mirrors to show both faces at one
time in the shottime in the shot

13. TranstextualityTranstextuality
Transtextual references toTranstextual references to Rear WindowRear Window
(Hitchcock:1954), and other Hitchcock films are the most(Hitchcock:1954), and other Hitchcock films are the most
prevalent here:prevalent here:

Voyeuristic scenes looking out of the window to the neighboursVoyeuristic scenes looking out of the window to the neighbours

Using binoculars, and the shot where Feuer sees her, magnifiedUsing binoculars, and the shot where Feuer sees her, magnified

The ‘private investigation’ that ends in threat of lifeThe ‘private investigation’ that ends in threat of life

The ripping of the shower curtain as Clare falls out the bath (refThe ripping of the shower curtain as Clare falls out the bath (ref
toto PsychoPsycho))

The name NormanThe name Norman

The ‘speculations’ between Clare and Norman that mirror thoseThe ‘speculations’ between Clare and Norman that mirror those
inin Rear WindowRear Window between Lisa and Jeffbetween Lisa and Jeff

The score in the final scene when Clare flees the house isThe score in the final scene when Clare flees the house is
almost identical to Hermann’salmost identical to Hermann’s PsychoPsycho scorescore