Horror Film Nine Frame Analysis Clip used is the final scene of The Devils Rejects, directed by Rob Zombie.
An extreme long shot shows the The desolate place fits in with the soundDevils Rejects driving through vast track used for the scene. The song “Freedesert land, making it seem as Bird” by Lynyrd Skynyrd also adds to thethough they may actually escape image that the trio are free to makethe retribution people seek for the their escape, and as though they arecrimes that they committed. now free to restart life in a new place.The car travels at whatseems like a relaxed pace The high key lightingfor people who are trying gives the impression ofto outrun the police. This positive times lyingsuggests that either they ahead for the .thingsare tired of running and around, giving themfighting or that they their chance to escape.believe themselves to be This gives the audiencesafe now. the view that the Devils Rejects may deserve a Tracking shots of the car reveal both that and the Devils Rejects new life, despite their to look shoddy, untidy and dis-shelved, with all three passengers crimes, causing the being injured somewhat, with blood stained clothes and audience to emphasize exhaustion in their faces. This combined with the slow paced with them. editing makes the audience sympathize with the criminals, despite knowing them to be cruel and unforgiving.
The shot is also almost an Both characters shown are not only exhausted but both over the shoulder shot from covered in blood, as is Otis, who is seen just before this Otis, alerting the audience to shot. This reveals that they have already had a difficult the others being in the car night before, in which they were attacked for the crimes with him, seemingly being in they had committed, and this is shown more with the a worse condition. bright light constantly on them.This shot is a point ofview shot from Otis Again this shot has alooking into the mirror fairly slow pacedof the car to check on editing technique,Baby and Captain with little, if anySpaulding who are transitions used, insleeping or order to stick with theunconscious in the slow rhythmic flow ofback of the car, the song used tomaking the audience emphasize the Devilsquestion how badly Only the rear view mirror and the Rejects escape andinjured they are. reflection of Baby and Captain their bid for freedom. Spaulding are in focus in this shot, with everything else being blurred to specifically draw attention to the center of the shot.
Otis’ face is covered in blood, which is most likely his own, due to the bandages he has on his hand revealing The way Otis’ is gripping the him to have been previously hurt in the film. Otis’ hair wheel reveals him to either is also matted with the blood, which now seems to be afraid of something or to flow from a cut somewhere on his head. preparing for something serious, as his grip subtly tightens.A close up of Otis beingcentrally framed in the The pull focus drawsshot reveals a look of even more attentionfrustration and to Otis, as all of theexasperation in his, background is nowshowing all is not well, blurred out to thecombined with the fact audience, meaningthat he brought the car Otis is now the onlyto a halt. thing in focus in the whole shot, which It is at this point when the soundtrack for the scene seems to draw more (Free Bird) seems to no longer be appropriate as attention to his something is wrong, preventing the Devils Rejects expression. from actually being free, almost being ironic, as though mocking the family.
A long shot is used here, to reveal why OtisIt is at this point in the scene that the stopped the car: because a barrage ofsong “Free Bird” seems to becomeironic, as it seems impossible for the officers have formed a barricade to preventtrio to escape now, suggesting that they the Devils Rejects from escaping to safety, causing Otis to become distressed and wakewill either be captured or killed, so the others.anything but free. Centrally framed is theHigh key lighting is an officer who is armed,used to show the aiming at the trio, withimportance of the more around him. Thisofficers, making them again makes it seem lesslook like the positive likely that the trio willstrong characters, escape, and leaves thecompared to the now audience pitying theweak and broken Rejects who are nowRejects. This again greatly outnumbered.causes the audience The flashing sirens can be seen but not heard as theyto sympathize with are muted out by the song, although it is possible to seethe trio, almost pitying officers shouting at the Rejects, presumably tellingthem. them to turn themselves in as it is clear they have no chance of escape, portraying the trio as the victims, not the killers they are known to be.
All the Devils Rejects seem much more like an The high key lighting of this ordinary family, being shown laughing and shot seems more in support messing around like all families do. This is of the happy image, to show contrasted by the previous and following scenes the playful carefree time, in which the families spirit is broken and they unlike the previous shots, seem emptier now. where it seems to beat down upon the trio, almost punishing them.This shot is a flashback ofthe trio, showing them inhappier less serious The editing of this scenetimes, where the song is again slow, but this“Free Bird” seems to fit time it is to keep withmore. the relaxed atmosphere as witnessed, showing the family to be happy and peacefully, All of the characters look a lot more well groomed than contrasting to the other they are seen earlier, despite wearing the same clothes, scenes. all typical of the seventies, when the film was set. None of the characters is covered in blood or injured, suggesting this may not be a flash back but a flash forward to what could happen should the family escape.
The shot is centrally framed showing Otis loading the gun quickly despite having to also drive while firing, and being injured, again making theA close up shot of Otis’ audience almost pity the characters, keeping theloading a gun scene filmed in a way that victimizes the Devilspreparing for an Rejects.assault on the policeofficers despite being Otis’ hands areseverely outnumbered. bandaged, althoughThis after a faster the blood seems topaced edit of handing have seeped, makingBaby and Captain his bandages lookSpaulding their guns, worn and slightlyshowing that they also useless, as theyhave to fight. expose his continuously bleeding hand. This shows Otis’ The low key lighting adds a seriousness to the shot, to be able to handle which hasn’t been seen yet, although it also makes pain , making his seem it look as though the Devils Rejects are desperate brave and slightly to stay free and despite knowing they cannot win heroic for wanting to this fight, they would rather die trying. help his family while being hurt.
The trio are centrally framed in the shot, showing them raising their guns in preparation to shoot at the officers,This shot also shows Baby despite being severely outnumbered, informing theand Captain Spaulding audience that they would rather die fighting to be free,seemingly more awake than go to jail for their crimes, making the song “Freethan they have been Bird” again seem fairly appropriate.before in the scene, againemphasizing the strengthof the characters, making The shot seems to alsothe audience support focus on the screechingthem for their bravery. tires of the car as they drive towards the officers showing their determination and will to fight despite theirA tracking shot follows the injured state.car as they speed towardsthe police officers, makingtheir last stand and bid for In the scene Baby can also be heard shouting andfreedom, suggesting that swearing at the officers as though it is a final actthey are all either brave or of defiance, condemning them to the officers, andunafraid of death. pretty much sealing their fate.
Fast paced erratic editing to show the Pull focus shot of Captain Spaulding, speed of the scene, almost as if from an having been shot by the police, showing action film, not a horror, emphasized by him in detail, continuing to return fire, the barrage of bullets flying towards the showing his lack of fear. trio in the car, from the barricade of officers.The shot also The sound of theshows Captain scene is a mixture ofSpaulding being hit firing guns, screechingby shards of glass tires and images offrom the shattered people on both sideswindscreen of the shouting althoughcar, with the shards their voices cannot bealso being in focus heard in thein order to draw commotion, althoughthe audiences the scene seems toattention. slow down so it is The gun in the shot is centrally framed, in what possible to lip read seems like another attempt to remind the what is being said. audience that despite being greatly outnumbered and having no chance of success, the Devils Rejects would rather die fighting than be taken alive.
High angles are used in this part of This shot comes after a fast paced action the scene, to look down on all the sequence in which the Devils Rejects are Rejects, almost to symbolize how bombarded with bullets from the officers who much they have fallen, no longer are determined to prevent their escape. This is being the strong characters they aided through the use of fast jerky movements were to start with. to mimic the bullets hitting the trio.Baby is seen here Along with the fastcovered in bullet holes, paced editing, thebleeding relentlessly, at lighting seems towhich point the dim slightly,audience can tell it’s signifying the endthe end for the Devils for the trio, while itRejects and that their also becomeslast stand is all but over. erratic, with dark transitions in quick succession of each All of the Devils Rejects are seen yelling in pain at being other, to again repeatedly shot, as seen here with Baby, who looks show how even more exasperated than before, almost as if she destroyed the has lost the will to fight back, although all three rejects Devils Rejects have are seen to carry on shooting at the police officers now become. while they themselves are being seriously injured.