- The opening scene establishes themes of secrecy, spying, and danger through its hieroglyphic font and crosshair shapes that suggest coded messages and violence. - Reynolds asserts his dominance over Hammersley in their conversation in the park, conveying through his pristine suit and blank expression that he lacks humanity. Hammersley realizes too late that he is in danger. - The camera pans around Hammersley's head as his world spins after this realization, capturing his role as the heroic protagonist while also showing man's dominance over nature. His car is then tracked rolling into the lake, obscured by trees, with his loyal dog following - suggesting the tragic effects of Reynolds' actions.

1. Enemy Of The State Analysis
By Marcus Lea

2. 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.

3. 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.

4. • 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.

5. 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.

6. 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.

7. 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.

8. 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.

9. 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.

10. 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.

11. 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.

12. 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.

13. 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.

14. 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.