22/05/2014 14:54Reviews & Techincal Analysis - Senna Movie

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~ Decoding A Cinematic Wonder ~'SENNA'

I would like to take some time to explore a film which has not only achieved critical acclaim upon its release but has also become asubstantial box office success. It's subject matter is one held very dearly in the affections of many formula one fans, a majority of which

feel it has been dealt with justly and in a fitting manner.

It is also a film which has inspired a new generation of documentary filmmakers. Senna is one of those rare moments in film, it is amajestic piece of cinema which can be categorised as simply brilliant. So I want to delve a little deeper to dissect the construction of a

masterpiece.

22/05/2014 14:54Reviews & Techincal Analysis - Senna Movie

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Directed by Asif Kapadia Written by Manish Pandey

One of the many astonishing thing about SENNA is that it has broken the record for the highest grossing openingweekend obtained by a documentary in British history. It achieved this despite only receiving a limited cinematicrelease. Takings totaled £375,000 in its opening weekend which put it at six in the overall box office.

Its success continued when it was transferred to DVD as sales surpassed the 700,000 mark. This is an incredible featfor any release, let alone a documentary. The narrative of the film calls upon tremendously personal and insightful achieve footage and voice over. It chronicles three-time WorldChampion Ayrton Senna from the initial twinkle of his talent through until his death in 1994 at the hands of a Williams.

I want to look past the story and show the fans that adore this film just how complex and masterfully it has been pieced together. SENNAdoes not just tell the beautifully tragic story of a legend but it tells it incredibly well. It deserves all accolades sent its way and I hope toshow you the reasons why.

The opening titles begin with a montage of shots of a young Senna in his karting years with an accompanying voice over from him inwhich he describes that time as “…no money, no politics, real racing…” In between titles we are shown an interview with his parents,displaying concern for his safety and asking that God protect him. We are then given casual images of him in the street. Each frame servesto show us a different aspect of his life. His passion for speed, his love for his family and the fact hat he is still just a normal human being.The entire title sequence is indicating to the audience the contents of the film we are about to watch, like an index. It is also veryforeboding. All the images are dark as is the title background against the interior of a formula one car.

Following our brief introduction, we are thrown straight into action. The archived imagery of interviews and race footage used is mostlyclose up. This gives us a more personal connection on screen. It’s a convention which will continue throughout the film, granting us amore intimate insight and bringing us closer to the action.

We are then taken to Monaco where Senna, piloting a Toleman car races in the rain. It is shown to us as a critical point in his career butalso the content of the frames upon closer inspection appear almost haunting. As he rides in the spray from the track like an angelicchariot blazing to glory. The car is strikingly white as if a spot light were on it. The cars in shot behind become distorted or pale toinsignificance. A post race interview refers back to the previous voice over from Ayrton when he describes the sport as “…it’s politicaland it is money.” The recurring use of similar quotes help guide us as we build an unconscious view of the world around him.

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A series of slow motion shots, close ups and interviews blend seamlessly to take us to the next key event in Senna’s life – His race win inthe Lotus.

The use of fast paced, rapid editing conveys how quickly he became recognised as a rising talent and may also be indicative of his speedon track. An attempt to carry the viewer along and pull them into the action. In contrast, the shots of him the podium have been sloweddown. It’s as if he and the audience with him are taking it in. It’s the first real occurrence of us being placed in the mindset of thechampion.

More quick paced shots in the Lotus with a voice over. This recurring use of non-diegtic voice over is used to narrative effect and drivesthe action by guiding the shots and setting the pace.

“There’s only one thing that describes Ayrton’s style and that’sfast”

When he mentions his ability to “dance a dance with the car” themusic changes tempo to become more upbeat.

The music ceases as we are given our introduction to the rival,dressed up as the main antagonist of the story, Alain Prost. Slow

motion shots give us time to remember his face, he is a vital elementand we are required to recognise him. The blinding flashes from the

photographers indicate that he is already a star and emphasis hisstatus.

The camera angles selected for the footage of the Mclarenannouncement allows us to feel like a spectator in amongst the

gathered crowd. We are almost level with them until Senna takes themicrophone. The moment he does, the angles are lowered; we look

up to him, as many adoring fans did.

During the 1988 interview of Prost and Senna smiling and laughingthe narrative voice over returns. It assists the audience in deciphering

the power struggle and talks us through the images before us,highlighting potential body language that had previously been unseen

by the spectator.

The previous technique is repeated as we see close up interior carshots of Ayrton on the track of Monte Carlo. This voice over howeverattempts to talk us through his mindset. As Senna impacts into the barriers, the transition to slow motion footage of Prost sailing to victoryjuxtapositions the two emotions felt. The inter-cutting shots of Alain on the podium and Ayrton walking away amplifies the emotion.

Another voice over to explain the demons he wrestled in his mind guides an interview and a series of fast paced shots of race footage,podium celebrations and close ups of Senna in a still car. The quick pace of the shots displays his progression and the gives us a briefglimpse of his accolades as we are forced to keep up with his success.

For the first time shots of the fans are included for the Japanese Grand Prix as the Brazilian flag waves in the air. I believe this inclusion is

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to make us aware of the growing support he was gathering and the dedication of those supporters.

The race is shown using long shots to begin with, the use of these shots represents the distance he had to travel and make up in order to bethe victor. As the voice over commentary keeps us updated on his climb up the grid, the shots become shorter and quicker. The shortershots show us the distance to victory is reducing.

In the post race interview Senna describes how he was privy to a vision from God who guided him to victory. We are shown an unsettlingpiece of footage of the car mid race which almost appears to have wings on either side. The music beats as he crosses the finish line to adramatic finish. We then see shots of fans and his celebration on the podium in slow motion; again they allow us to take it in with him asif we are part of it.

We find ourselves in Sao Paulo, watching him interacting with the adoring fans and their opinions of him and how he has inspired them. The next selection of footage shown is of him holidaying with his family. These personal scenes help us to feel closer to him, they alsogive an insight into the man and remind us that is a mortal man with strong family ties. The relaxation he feels washes over us as theaudience and we feel, even briefly, connected to him on a personal level.

Tense music plays over shots of Prost and Senna. Including long shots and close ups, the shots aim match each other. Podium for podium,car interior for car interior, the caliber of the two drivers is matched through the use of shots. The voice over eases us from one shot toanother whilst guiding the story.

The footage from the drivers’ conference I find particularly interesting at this point. They seem to portray it like a classroom with Senna asthe smirking, bored pupil under the harsh discipline of the FIA. Prost plays the teachers pet, obeying and attentive.

We return to the Japanese Grand Prix, the voice over sets the scene for us. We ride on board with Senna as his helmet bops in and out offrame. The interior shots cease with the impact from Prost. The scene intends to place us in his shoes so that when we watch the followingscenes we feel we have been wronged as Ayrton would have felt. As Senna returns to the track, intent on finishing the race, we trail Prost.It’s almost like we’ve tipped him as he turns and the pace quickens. This section is very reminiscent of an action film in his structure andediting. As we interchange between Senna in his car and Prost on foot, we sense we are about to reach a dramatic climax.

As we await the decision, Brazilian flags, a pan out of the spectators. The music tenses with Senna’s arrival in the room. We see a closeup of Prost and his thoughts and then a close up of Senna and his silence in reflection. The camera pulls back, as if we are gently leavingthe room and him alone with his thoughts. The crash itself is then presented to us, in multiple angles and in slow motion, this affords theviewer opportunity to analyse the footage for ourselves.

The next selection of holiday footage we are given is a stark contrast to that previously explored. The shots are engineered as stolenimages, fleeting glances as he reflects, alone. A majority of the shots are long shots creating a distance between the audience and Ayrton.Possibly implying the distance he now put between himself and his family. This signals to me, the turning point in the film, a change inpace and colour, matching a change in mindset. This shot I find to personally particularly emotive as we walk with Ayrton as he returns tothe pit. We then face conflicting shots of Prost and Senna, in the manner of an edited argument.

The next scenes are particularly harrowing. It’s crash footage of Martin Donnelly and the medical attempts to help him as he liesmotionless on the track. Although Donnelly survived, the scenes depict the harsh reality of formula one and the consequences of a slip inconcentration. As we observe a delicate Senna through a close up, a voice over accompaniment attempts to delve into his mind and relayhis inner thoughts to us. It’s as if the words spoken are running through his mind as we watch. The in car footage of Senna out on the trackdepict a lonely figure, he is out on track alone and no car comes into sight until the last few frames.

Again, the Championship hinges on the result of the Japanese Grand Prix. The voice over relays key information to us before we witnessthe reading of the race rules in the driver’s conference. The close up and slightly down titled angle of Prost as Senna leaves the roomhighlight the shift in power from one to another. Through the means of voice over, we are brought up to speed as to the latest hindrance toSenna’s race. The music ups tempo as the cars take their positions on the grid. As our protagonist and antagonist sit in their respectivemachines, we see a contrast in mood. Prost laughs with a mechanic, Senna sits, focused and still, in his eyes seemingly a little lost.

As the lights go out and Prost steals the position from Senna, we view multiple angles up until the contact. Both cars spin off; Prost walksone way, Senna the opposite direction, almost casually. We are given a long shot of Ayrton alone; this image creates a sense of justice inthe viewer. The display of a candid interview only further serves to ‘justify’ the previous incidents for any viewers who may be feeling a

sense of injustice on Prost’s part. In it, Senna validates the thoughts of fans/viewers and we, the audience unit for his cause. A secondinterview with Jackie Stewart is placed in a section and shows Senna fighting back. A stark interview with Prost in which he attacks Senna

is placed and selected to show the positions of the two rivals.

At the Brazilian Grand Prix we see long shots of the crowd and accompanying chants from them as we watch in car footage of him ontrack. A tense, more commanding voice over guides us through each pain staking twist and turn as he battles the car. The chants are

drowned out by the screams of Ayrton but we are unclear whether cries of pain or joy. Most likely both. A dramatic conclusion as the editsslow and the pan shots of the fans celebrating grace the screen. The shots of him being prised out of the car watch like post crash recovery

as a voice over from Senna himself is heard. The taunt score underlying the scenes of him on the podium becomes more dramatic as hestruggles to raise his flag. With the lift of the trophy above his head, the moment is savored in slower paced shots, advising us to savor

also and take it in as a significant moment.

I will now jump to what I feel is the most emotive scene in the documentary, it is the interview with Ayrton where he discusses the hopeof finding happiness in a time after racing. “….my career could last not many years, but my life will go hopefully for many years…” It’s

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a subtle warning of events to come subconsciously suggesting the viewer make emotionalpreparations. It’s a very ominous interview and one which stirs deep emotion as we already knowthe ending.

The next series of shots selected create an unsettling and sinister undertone. We are givenintroductory shots of Frank Williams and the Williams garage. The images are much darker thanpreviously seen and the music is more unnerving and tense. The shot of the car moving down byitself I find to be genuinely quite chilling.

After a number of shots caught of Senna and his then-girlfriend and race victories we are given aglimpse of a change in pace for the relationship between our main characters. The shot is ofSenna, Prost and a fresh faced Damon Hill celebrating on the podium. All appear to be relaxed ineach others company and the shots do not favour one or the other. The scene is played muchslower as the poignancy of it becomes evident from the voice over. We are informed that it is thelast time Senna raced for Mclaren, Prost for Williams and final image of either of them on thepodium.

As we watch a close up of Ayrton in the car, the tense score first heard over the titles at the startreturns. Its familiarity indicates that we have almost reached the end of our journey. It continuesto play gently under the overlapping interviews and voice over as the cars race. The music couldbe symbolic of the approaching finale, representing the dark fate lying in wait for our protagonist.

Impressive footage of an aerial shot is used as we track the Imola circuit. A long shot of Sennaand his engineers surveying the car leads to an extremely close up shot Ayrton. As we view for

the first time Friday practice, we realise that almost all the shot of the car are close up. This technique of selecting close up shots helps todraw us into the action. We begin to feel closer to him and the machine, thus making the events unfolding even harder to observe. At thispoint, I feel that many will begin to experience a conscious willing of him not to get in the car. That moment when you feel yourselfshouting at the television for a character not to do something as the fallout from it will not favour them. The voice over falls to thesidelines as we see the frustrated figure Senna cuts in his last days.

We are given brief snippets of both Rubens Barrichello and Roland Ratzenburger, these shots help us to relate the accidents both areinvolved in and give them a more personal impact, which in turn helps us to relate to Senna’s frame of mind and we can sympathise withhow both incidents affected him. Roland’s crash is viewed as if through Senna’s eyes, he watches the footage on a television screen as dowe. This method allows us to experience it as he did. The aftermath footage and the long shot of Senna talking to Sid Watkins feels like astolen moment as we watch from afar.

With the legend ‘Sunday’ the final chapter commences. The Brazilian flag is predominant in the next shot which is followed by closeups of an apprehensive Senna and an observing Prost. The shots used display Prost to be level with our view, suggesting that with hisretirement has come a new found respect for Senna or at least the beginnings of a change in attitude towards him. He is therefore presentedto us as an equal and no longer a negative element. The voice over from his beloved sister retells one of their final conversations in whichhe told her that “God would grant him the greatest of gifts” As the protagonist moves into his final position we see a selection of extremeclose ups.

On the grid, we watch from the back as Lamy and Lehto collide off the start line. We then ride with Senna before scenes begin to cutbetween close ups of the car on track, an aerial shot of the track and long shots of the car. Tension mounts as the cuts quicken and we findourselves fearing each corner until the inevitable happens. The silent aerial view of the crash site lingers as we are given time to take in theevents before us. The uncensored imagery stirs disbelief in us as the audience. The silence and duration of the shots grants us moments toreflect and take in. As the shots become closer, chronicling the paramedics attempts to save him, Sid Watkins lends his voice to the shotsand describes what he believes to be his soul departing. We follow the helicopter as it soars with the body of Ayrton, it is shown after thevoice over so could be symbolic of his soul being carried to kingdom of his lord.

As the car is recovered and driven back to garage, somber voice over debates the reason behind the crash. The covers are thrown over thecars and the garage shutters close, symbolising the end of an era. At his funeral, we see each mourner and are reminded as to theirimportance in his life with a flashback shot, selected from the images we have already been shown.

The closing scene is touching and an incredibly clever convention – it is an interview with Ayrton in which he recounts his fondestmemory which is one of many accrued when spent karting in Europe. As footage is presented to aide with his memory, it quickly becomesapparent that it’s a section of the footage used in the opening titles. The film opened with a “Very good memory” and we reach full circleto its end. The inclusion of this particular interview and the manner in which it has been used creates a ploysemic curtain call. Cinema is asubjective topic and upon reflection, to me this closing sequence leaves me to wonder whether Senna began to regret entering theunforgiving world of Formula One to be consumed by the politics and whether that regret would have led to a potential exit from it had hislife continued past that day. Others will take it to be a sad reflection on what would have been, some may not feel any particularsignificance to it as stand alone section.

When you think of the awards won, remember that each frame has been selected for a purpose, each spoken word and accompanying trackfulfills a purpose. Audiences can often be accused of dismissing documentary cinema as a ‘copy and paste’ job but I hope that I have been

able to highlight, if only briefly how incorrect that is. Piecing together a full image of a man’s life in film is a challenging feat undernormal circumstances, couple that with the man in question, the affection for his legacy and the amount of footage available and the mere

fact that SENNA watches like in depth character study or in parts a high octane action thriller is simply incredible.

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SENNA will be a vital tool in the preserving of his legend and providing accurate insight intothe life and times of one of the most celebrated and talented drivers in Formula One’s history.

I give thanks to all those involved in the filmmaking process and all those who were strongenough to go against the grain and support its development and release; it has inspired

enthusiasm and reignited passion for those in the documentary genre as well as generating anincreased fan base for the sport.

I view the update of the upcoming Hollywood foray into the sport with a jaded outlook.Although Ron Howard is a very capable and talented filmmaker and Lauda’s story is one

certainly worthy of telling and full of inspiration, I fear the passion and realism will be lost inthe studio’s need for bums on seats. Cruelly cast aside in favour of on track action with noreal meaning or truth. Perhaps I will be proven wrong, I would like to think so. One thing is

for sure, Ron Howard has a steep hill to climb if he wants to surpass the achievements,acclaim and love for SENNA . He will certainly be harshly judged if he cannot rise to the

challenge.

CStreet 28/02/12 @carlystreet2010

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Sources imdb.com – box office www.facebook.com/sennamovie?sk=wall&filter=2 Senna Images courtesy of http://sundarf1.files.wordpress.com/2011/05/ayrton_senna1024x768.jpg /

http://www.grandprix.com/jpeg/misc/raw000958-lg.jpg /http://www.f1sa.com/images/pics/1988_F1_Ayrton_Senna_Japan_podium.jpg / http://www.thesmokingtire.com/wp-

content/uploads/2011/12/sennapodium.jpg / http://www.f1cartvideos.com/sennahelmetincar.jpg banner image - http://www.bing.com/images/search?

q=ayrton+senna&view=detail&id=83A848E57FC555AEC3D96138E7070289069975C9&first=61&FORM=IDFRIR

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