This nine frame analysis summarizes the final scene of the film The Devil's Rejects. It begins with the Devils Rejects driving through the desert, appearing free to escape. However, they are confronted by police officers setting up a barricade. Despite being outnumbered and injured, Otis loads a gun and the trio speeds toward the officers for a last stand fight. The scene uses lighting, editing, and shots of the characters' injuries to elicit sympathy for the criminals from the audience. It culminates with the Devils Rejects being shot repeatedly until they are destroyed, having fought until the end rather than surrender.

1. Horror Film Nine Frame Analysis
Clip used is the final scene of The
Devils Rejects, directed by Rob
Zombie.

2. An extreme long shot shows the
Devils Rejects driving through vast
desert land, making it seem as
though they may actually escape
the retribution people seek for the
crimes that they committed.
The desolate place fits in with the sound
track used for the scene. The song “Free
Bird” by Lynyrd Skynyrd also adds to the
image that the trio are free to make
their escape, and as though they are
now free to restart life in a new place.
The high key lighting
gives the impression of
positive times lying
ahead for the .things
around, giving them
their chance to escape.
This gives the audience
the view that the Devils
Rejects may deserve a
new life, despite their
crimes, causing the
audience to emphasize
with them.
The car travels at what
seems like a relaxed pace
for people who are trying
to outrun the police. This
suggests that either they
are tired of running and
fighting or that they
believe themselves to be
safe now.
Tracking shots of the car reveal both that and the Devils Rejects
to look shoddy, untidy and dis-shelved, with all three passengers
being injured somewhat, with blood stained clothes and
exhaustion in their faces. This combined with the slow paced
editing makes the audience sympathize with the criminals,
despite knowing them to be cruel and unforgiving.

3. This shot is a point of
view shot from Otis
looking into the mirror
of the car to check on
Baby and Captain
Spaulding who are
sleeping or
unconscious in the
back of the car,
making the audience
question how badly
injured they are.
Only the rear view mirror and the
reflection of Baby and Captain
Spaulding are in focus in this shot,
with everything else being blurred
to specifically draw attention to the
center of the shot.
Both characters shown are not only exhausted but both
covered in blood, as is Otis, who is seen just before this
shot. This reveals that they have already had a difficult
night before, in which they were attacked for the crimes
they had committed, and this is shown more with the
bright light constantly on them.
The shot is also almost an
over the shoulder shot from
Otis, alerting the audience to
the others being in the car
with him, seemingly being in
a worse condition.
Again this shot has a
fairly slow paced
editing technique,
with little, if any
transitions used, in
order to stick with the
slow rhythmic flow of
the song used to
emphasize the Devils
Rejects escape and
their bid for freedom.

4. A close up of Otis being
centrally framed in the
shot reveals a look of
frustration and
exasperation in his,
showing all is not well,
combined with the fact
that he brought the car
to a halt.
Otis’ face is covered in blood, which is most likely his
own, due to the bandages he has on his hand revealing
him to have been previously hurt in the film. Otis’ hair
is also matted with the blood, which now seems to
flow from a cut somewhere on his head.
The way Otis’ is gripping the
wheel reveals him to either
be afraid of something or to
preparing for something
serious, as his grip subtly
tightens.
The pull focus draws
even more attention
to Otis, as all of the
background is now
blurred out to the
audience, meaning
Otis is now the only
thing in focus in the
whole shot, which
seems to draw more
attention to his
expression.
It is at this point when the soundtrack for the scene
(Free Bird) seems to no longer be appropriate as
something is wrong, preventing the Devils Rejects
from actually being free, almost being ironic, as
though mocking the family.

5. A long shot is used here, to reveal why Otis
stopped the car: because a barrage of
officers have formed a barricade to prevent
the Devils Rejects from escaping to safety,
causing Otis to become distressed and wake
the others.
High key lighting is
used to show the
importance of the
officers, making them
look like the positive
strong characters,
compared to the now
weak and broken
Rejects. This again
causes the audience
to sympathize with
the trio, almost pitying
them.
It is at this point in the scene that the
song “Free Bird” seems to become
ironic, as it seems impossible for the
trio to escape now, suggesting that they
will either be captured or killed, so
anything but free.
Centrally framed is the
an officer who is armed,
aiming at the trio, with
more around him. This
again makes it seem less
likely that the trio will
escape, and leaves the
audience pitying the
Rejects who are now
greatly outnumbered.
The flashing sirens can be seen but not heard as they
are muted out by the song, although it is possible to see
officers shouting at the Rejects, presumably telling
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.

6. This shot is a flashback of
the trio, showing them in
happier less serious
times, where the song
“Free Bird” seems to fit
more.
All the Devils Rejects seem much more like an
ordinary family, being shown laughing and
messing around like all families do. This is
contrasted by the previous and following scenes
in which the families spirit is broken and they
seem emptier now.
The high key lighting of this
shot seems more in support
of the happy image, to show
the playful carefree time,
unlike the previous shots,
where it seems to beat down
upon the trio, almost
punishing them.
All of the characters look a lot more well groomed than
they are seen earlier, despite wearing the same clothes,
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 editing of this scene
is again slow, but this
time it is to keep with
the relaxed atmosphere
as witnessed, showing
the family to be happy
and peacefully,
contrasting to the other
scenes.

7. A close up shot of Otis’
loading a gun
preparing for an
assault on the police
officers despite being
severely outnumbered.
This after a faster
paced edit of handing
Baby and Captain
Spaulding their guns,
showing that they also
have to fight.
The shot is centrally framed showing Otis loading
the gun quickly despite having to also drive while
firing, and being injured, again making the
audience almost pity the characters, keeping the
scene filmed in a way that victimizes the Devils
Rejects.
Otis’ hands are
bandaged, although
the blood seems to
have seeped, making
his bandages look
worn and slightly
useless, as they
expose his
continuously bleeding
hand. This shows Otis’
to be able to handle
pain , making his seem
brave and slightly
heroic for wanting to
help his family while
being hurt.
The low key lighting adds a seriousness to the shot,
which hasn’t been seen yet, although it also makes
it look as though the Devils Rejects are desperate
to stay free and despite knowing they cannot win
this fight, they would rather die trying.

8. A tracking shot follows the
car as they speed towards
the police officers, making
their last stand and bid for
freedom, suggesting that
they are all either brave or
unafraid of death.
The shot seems to also
focus on the screeching
tires of the car as they
drive towards the
officers showing their
determination and will
to fight despite their
injured state.
The trio are centrally framed in the shot, showing them
raising their guns in preparation to shoot at the officers,
despite being severely outnumbered, informing the
audience that they would rather die fighting to be free,
than go to jail for their crimes, making the song “Free
Bird” again seem fairly appropriate.
This shot also shows Baby
and Captain Spaulding
seemingly more awake
than they have been
before in the scene, again
emphasizing the strength
of the characters, making
the audience support
them for their bravery.
In the scene Baby can also be heard shouting and
swearing at the officers as though it is a final act
of defiance, condemning them to the officers, and
pretty much sealing their fate.

9. Pull focus shot of Captain Spaulding,
having been shot by the police, showing
him in detail, continuing to return fire,
showing his lack of fear.
The shot also
shows Captain
Spaulding being hit
by shards of glass
from the shattered
windscreen of the
car, with the shards
also being in focus
in order to draw
the audiences
attention.
Fast paced erratic editing to show the
speed of the scene, almost as if from an
action film, not a horror, emphasized by
the barrage of bullets flying towards the
trio in the car, from the barricade of
officers.
The gun in the shot is centrally framed, in what
seems like another attempt to remind the
audience that despite being greatly
outnumbered and having no chance of
success, the Devils Rejects would rather die
fighting than be taken alive.
The sound of the
scene is a mixture of
firing guns, screeching
tires and images of
people on both sides
shouting although
their voices cannot be
heard in the
commotion, although
the scene seems to
slow down so it is
possible to lip read
what is being said.

10. This shot comes after a fast paced action
sequence in which the Devils Rejects are
bombarded with bullets from the officers who
are determined to prevent their escape. This is
aided through the use of fast jerky movements
to mimic the bullets hitting the trio.
Baby is seen here
covered in bullet holes,
bleeding relentlessly, at
which point the
audience can tell it’s
the end for the Devils
Rejects and that their
last stand is all but over.
All of the Devils Rejects are seen yelling in pain at being
repeatedly shot, as seen here with Baby, who looks
even more exasperated than before, almost as if she
has lost the will to fight back, although all three rejects
are seen to carry on shooting at the police officers
while they themselves are being seriously injured.
Along with the fast
paced editing, the
lighting seems to
dim slightly,
signifying the end
for the trio, while it
also becomes
erratic, with dark
transitions in quick
succession of each
other, to again
show how
destroyed the
Devils Rejects have
now become.
High angles are used in this part of
the scene, to look down on all the
Rejects, almost to symbolize how
much they have fallen, no longer
being the strong characters they
were to start with.