Enemy Of The State Analysis

By Marcus Lea

Enemy of the State opens with a hieroglyphic like font crediting the director etc. The font has strong connotations of secrecy because in todays world hieroglyphs are treated as codes. This therefore conveys the idea that the film is has themes of secrecy and spying. The font also further connotes danger because the ‘o’s are drawn like crosshairs, therefore reaffirming the genre of the film, as guns are a key code and convention in the thriller genre. It also suggests spying because the use of crosshairs convey the idea of snipers and telescopes, therefore, one could infer from the opening credits, that the protagonist is going to be spied on. The font also has connotations of sororities because of the Greek connection to hieroglyphs. This therefore suggests pacts and friendships but also loyalties and hierarchies. The scene fades into focus, like the audiences eyes are opening for the first time. This conveys the idea that the audience is spying on the Hammersley, which furthers the idea of secrecy and foreshadows the shocking action that is going to happen.

The music that the film opens with has a steady drumbeat. The drumbeat has strong connotations of life and death, because it is reminiscent of a heartbeat. It also suggests excitement and action, because of its quick pace. The drumbeat also has strong tribal and primeval connotations, which one could argue that the primitive connotations foreshadow the primitive and extreme actions that take place in the opening, and throughout the film. The music has the sound of an electric keyboard in it. The sounds are high-pitched and human-esq and therefore suggests pain and danger. Because the high-pitched sounds are electric, they suggest the science-fiction genre. This therefore has connotations with technology (because of the nature of the science-fiction genre). Therefore, the high-pitched sounds foreshadow the high-tech technology that is shown in Enemy of the State, and suggest the power and superiority of those who control this technology. The high-pitched sounds are made by minor keys. The sound of minor keys are more discreet than the sound of major keys, therefore, one could argue that the fact that minor keys are used for the soundtrack suggests secrecy and spying.

The scene opens with an establishing long shot of the park. The camera angle is at the same level as the car, this means that the cars are blocking the cameras view of the lake. Because of this, one could argue that the camera angle foreshadows that something unnatural is going to happen, because the natural lake is hidden behind the man-made cars. Also, the establishing shot shows an unrecognizable man. Because this man turns out to be the killer, therefore one could argue that his job is all consuming, that being a spy is his entire life, that he has no other identity than his job.

The next camera angle of importance is when the camera cuts to a close up of the Hamersley and then cuts to Reynolds. The fact that the passage ends with a close up of Reynolds suggests his dominance over Hammersley, and, it could be argued, nature as the camera sticks to him rather than surveying the surrounding area as it had done before. Because the camera angle is a close up, the idea is conveyed of obtrusion; not only Reynolds interfering with the Hamersley's weekend, but also the idea that Reynolds and people like him are interfering with the law, the course of justice and nature. The camera angle shows the reaction of Hammersley to Reynolds statement ‘five minutes.’ His facial expression suggests his unwillingness to oblige to Reynolds statement, but also his resignation that he has no power over the matter. The close up of Reynolds, however, betrays nothing of his thoughts or feelings. This therefore implies that he is a man of secrecy, and that he has many secrets. The lack of facial expression also suggests a lack of humanity, because he does not understand his rudeness. This lack of humanity conveys the idea of danger; that Reynolds will do anything to further his gain. This therefore foreshadows Hamersley's murder and Reynolds’ unfaulting plot to destroy Dean’s life later in the film.

Reynolds’ is dressed very smartly, conveying the idea that he is business-like in demeanor. He is also dressed in black, this therefore suggests danger and sin. Because of this, the audience has inferred that he is conniving and malicious before he does anything of the sort. Hammersley’s clothing is completely different. He is wearing a tan jacket over a darker tie. This suggests that he is relatively normal and relatable, that even though he is a politician (hence the tie) he is still normal (hence the jacket). His casual attire suggests his demeanor and therefore makes him more likable. He is also slightly scruffy, with his jacket crumpled, which once again contrasts him with the pristine suit of Reynolds.

The sounds in this passage are minimal, the dialogue being the main sound. Reynolds says ‘Five minutes, Mr Chairman.’ Because he says this as he walks off, the idea of malice is conveyed. ‘Mr Chairman’ is said at the end of the speech, almost as an afterthought. This suggests Reynolds confidence, that he feels that he doesn’t have to address Hammersley politely. It also because slightly malicious, because of its lateness, almost like a parent addressing a child formally when threatening them. This therefore conveys the idea of Reynolds’ superiority of Hammersley. The only other sound present in the passage is the sound of Hammersley’s dog barking. The blunt, natural sound could be argued to symbolise the cry of nature and foreshadow that Hammersley is going to his death, and that Reynolds and his team are going to do something unnatural. The editing used are matched cuts. Scott uses them to show the reaction of the characters to the conversation taking place. The simple cuts could also imply that Hammersley simply has to do what Reynolds wants to survive.

The next camera angle of note is a close up Reynolds, with the flask of coffee in shot. The close up camera angle suggests his dominance over Hammersley, but also over the camera. This conveys the idea that Reynolds’ opinion carries more weight and has more power than Hammersley’s. As before Reynolds facial expression is blank, adding to the doubts about his humanity. Reynolds’ glasses suggest that he is intelligent, but also cover his face slightly, making him less-trustful. In this shot, the audience can just see the edges of Reynolds’ red scarf poking out of his coat. This conveys the idea that he has committed or commissioned violence under the guise, or to further his power as a politician. The tea is just in shot throughout the passage, implying that Reynolds is at ease and comfortable having the conversation. This once again suggests his superiority, that he is the one keeping calm throughout the argument. It could be argued that the coffee also becomes a symbol of business and corruption, with Reynolds happily drinking it, and in fact taking it with him wherever he goes, and Hammersley refusing to drink it.

The sound is diegetic throughout this exchange. The background sounds are of nature: bird calls etc. Because the dialogue can be heard over nature, one could argue that Scott is conveying the idea that man is dominant over nature. Because the sounds of nature are muted throughout the dialogue - only sounding in the pauses in the speech - one could argue that Scott is not only conveying the idea that man is dominant over nature, but also that man mutes nature. This is made more powerful by the fact that Hammersley had gone to the park to play with his dog, it was Reynolds that came talking about business and expressed his dominance over nature and Hammersley.

The editing and cuts are slow. This could suggest how comfortable and superior Reynolds feels to Hammersley, and how he is in absolute control at this point: he can take all the time in the world and Hammersley cannot do anything about this. This could be argued to foreshadow the unveiling of his team, that he has backup ready to step in and get him what he wants. The slow editing also creates a false sense of security, suggesting to the audience that there is nothing ominous going on, just two politicians who disagree. Alternatively, this could imply Hammersley’s lack of control, that he cannot stop Reynolds taking his time, even though he (Reynolds) has interrupted Hammersley in the first place. This is backed up by Hammersley realising too late that he is going to be killed.

The next camera angle of note is when the camera pans around Hammersley after Reynold grabs him. This conveys the idea that Hammersley has realised his that he is in danger if he does not do what Reynolds wants. The effect of the panning camera angle is the background spinning around Hammersley’s head. This can be interpreted literally, that with the realisation that he is in danger, Hammersley’s world is spinning. The fact that the background is blurred and his central position in the frame suggests Hammersley’s role as a hero, that he is still going to stand up for justice and what he believes in. The spinning could also suggest confusion and regret. The fact that the background is blurry could, once again, suggest men's dominance over nature, and that even Hammersley - who at this time is presented as our protagonist - is viewed as more important than it. Alternatively, because Hammersley is still in the light, one could argue that Scott is suggesting that Hammersley still has a chance to survive, that if he gives into Reynolds’ blackmailing he can still survive. Because he doesn’t give in, even with the chance of survival, Scott conveys the idea that Hammersley is heroic to the end.

The sounds in this passage are eerie and ominous. This suggests Hammersley’s realisation that he is in danger. It also foreshadows the danger that he is in by suggesting that something ominous is going to happen. It could also be argued that the tense music suggests Hammersley’s nerves now that he knows he is in danger. The sounds of nature are still present, though muted, this could be argued to suggest that nature is always there, even if man ignores it or is dominant over it. Because the sounds of nature are muted, only the most abrupt and loud noises can be heard, this therefore makes them reminiscent of shouts or screams, which could be argued to suggest nature’s appall at what is about to happen. The editing here is invisible, which suggests that the film takes place in reality. This makes the film more powerful because Scott is saying that the things that happen in the film could happen in real life.

The next camera angle of note is when the camera tracks Hammersley’s car (with an unconscious Hammersley in it) as it rolls into the lake. The angle of the shot is low. This conveys the idea of the audience observing something they should not. THis is emphasised by the fact that the camera angle is a long shot. This makes the passage more powerful because the camera angle is suggesting that what is happening is wrong, as well as the audiences common sense and moral code. It could also be argued that because the low camera angle is reminiscent of someone hiding, the camera angle foreshadows the realisation later in the film that something in fact was recording the incident. Because the camera is still tracking Hammersley, even after he is dead (or unconscious) conveys the idea that his heroics in standing up to Reynolds has gained him the dominance of the camera. It could also be argued that Scott is making a point that good will triumph over evil, that even though Hammersley is dead, he has taken Reynolds’ dominance with him. The fact that the dog follows the car into the water suggests the effect that Reynolds’ actions have caused: the effect on any family, friends etc. and the effect on the lives of Hammersley’s constituents. Because the camera angle is so humanistic, it suggests that the audience and the general public are at least partially responsible for the murder that they have witnessed. The cars journey is obscured by trees. This could be argued to suggest that Reynolds and co. are trying to hide Hamersley's body in nature. However, because the trees are blurred in the shot, one could infer that their efforts are in vain. The car itself is hearse-like: it is black and nondescript.

The music is sad and sombre, conveying the idea that a great wrongdoing has been done. The music is quite dramatic, perhaps foreshadowing the drama and action that could entail as a result of it. Throughout the passage the dog is barking loudly. This suggests how little control Hammersley had. It also could suggest the lack of hope there is now to stop Reynolds from doing what he liked. The dog barking is also quite emotive, conveying the desperation that the people who loved him, and also the people who depended on him feel. The science-fiction like keyboard music is played through this scene. One could argue that the science-fiction codes and conventions included in the film suggest how unnatural what has been done is.