'The Lady from Shanghai' scene analysis

 The Lady from Shanghai - Orson Welles - Opening scene 

The scene opens with a tracking shot of Elsa (Rita Hayworth) in a horse and carriage with a zoom in focus on her character. The high key lighting on her in the shot, as well as the mise-en-scene of her dress being white, highlights connotations of her character seeming pure and innocent from the outset of the film. This is explored even further when she finds herself in a mugging situation later on in the scene in the park, with Michael (Orson Welles) coming to save her. This concept of Elsa being an innocent character is further explored through light connotations of Hayworth's blonde hair, a common stylistic feature in many of Welles' films, which was also a controversial decision and angered Columbia when he did it as it was a change from Hayworth's infamous red hair. The idea of Elsa being presented as pure within the start of the film could reflect Michael's view of her as being a damsel in which he must save, as well as being wholesome and good, especially as the film starts off with a narration from Michael implying that perhaps this is a world in which we're viewing from his eyes. This is further highlighted through the film being that of a film noir, a style which features a femme fatale, the character that Elsa is, and subsequently isn't as pure and innocent as she makes out, something that can be foreshadowed through the close up of the cigarette that Michael gives her during their first meeting - the cigarette perhaps connoting something dangerous and deadly through its affects on the human body. 

The scene also features a signature style of camera movement known to Welles' films, that of the high angle one shot. The tracking shot of the carriage turning the corner and following Michael walking away from it down the path after first meeting Elsa is something that is prevalent in many of Welles' films, with him being known for his innovative use of the camera from his deep-focus shots to his long one shots, the most famous being featured in his film a 'Touch of Evil'. The use of the high angle shot of Michael walking away could foreshadow connotations of him being a powerless character, especially as later on in the film he gets mixed up in the betrayal and duplicity of the characters surrounding him, and therefore the shot reflecting the concept that Michael is walking into a dangerous situation he isn't ready for, and him being blind and naive to it. This idea is even more so highlighted by the omniscient nature of Welles' use of camera movement in his films in which the camera always seems to follow the characters despite whatever actions they're doing and keeping them in the shot always, meaning there is nowhere for them to hide from the audience watching. 

Although the camera shots may present Michael as being blind to the characters and situation around him, thats not to say that his character is any more pure than that of Elsa herself. The use of low-key lighting within the first scene used on Michael, as well as the mise-en-scene of his clothing being dark and fitting into the night setting the scene features, connotes the darker side of his character and the side of danger and violence he himself has, especially as you find out within the first scene that he has killed a man in Spain. This side of Welles' character is also reaffirmed by the non-diegetic narration of Michael's character at the start and him telling the audience that he isn't a hero, despite his actions of saving Elsa in the park from the muggers. Welles taking this role for himself in the film is not surprising as he usually stars in his own films, commonly portraying the character who is most complex and corrupt. Welles' lighting contrasts Hayworth's throughout the scene, again reflecting the idea that perhaps this is a way in which Michael sees himself, especially as it could be argued he is as equally moral or perhaps more moral than Elsa herself, and also that of the character Mr Grisby, who we see partially in the opening scene wearing a light coloured suit- connoting innocence- when in reality he is one of the least innocent in the film, but Michael doesn't know this, so sees him as pure. 

The shot of Welles steering the carriage as well is interesting in analysing the presentation of characters within the scene. The one take shot of Michael at the back of the carriage talking to Elsa with the camera mostly being focused on her could connote the same idea as the previous high angle shot, in that it shows how Michael is unaware of the situation around him, and is on the outside of his relationship with Elsa and that he doesn't truly know this woman, a common theme that continues throughout the rest of the film through its duplicity and betrayal in the narrative, another common trait in a film noir thriller. This idea is further emphasised through the shots positioning of Micheal being seen through the tiny roof window, indicating him trying to uncover information about Hayworth's character but not being successful, especially as the dialogue in the scene where she tells him where she's from is rather vague.  

The use of lighting is frequent throughout the opening scene with a numerous amount of contrasting shadows being used. This use of chiaroscuro lighting was prevalent in film noir at the time as well as being a feature in German expressionism, a style in which Welles liked to take inspiration from and feature in his films. These use of shadows could connote in the film a sense of duplicity and hidden falsity hiding behind the characters, especially as it could be argued that the mise-en-scene of the characters clothing isn't perhaps as true to their moral nature as initially presented. 

Finally, the motif of smoking within the first scene is also frequent, especially at the end of the sequence with a close-up shot of Michael watching Elsa drive away from the parking garage. The smoke could connote the theme of deceit that is prevalent with the characters and narrative, as well as trying to hide behind something as not to show true intentions, seen with the character of Mr Grisby in the garage smoking a cigarette and trying to stay some-what incognito, but leaving when he is noticed, blowing a puff of smoke as he exits the shot. This stylistic choice of aesthetic in the scene is also another signature feature in Welles' films. Welles being known as the 'magician of cinema' took inspiration from techniques and motifs usually found in magic shows, like that of smoke and mirrors. Therefore, the shot of Welles smoking towards the end of the scene is a common trait found in his films, and could again, indicate the unknown and secretive tone within the opening scene, especially as that particular shot features heavy low-key lighting surrounding Welles' face, connoting the danger that is to follow in the rest of the film.