An Inspector Calls stars Alastair Sim as Inspector Poole who comes to visit the Burling Family to investigate the suicide of a woman that each member has had an encounter with and even played a role in her suicide. I've loved this film, well story, ever since I read it at school, it's a great mystery that comes with an interesting twist at the end.
Whilst watching it though, I realised that the way that perspective is used is a little bit different to previous examples that i've watched and even contemplated. It revolves around the Burling family's perspective of the one character, but for extra measure and story telling purposes, it altered the timeline of events slightly in how the life of Eva Smith was told. It was an interesting concept of story telling but it didn't offer much in varying the character of the woman. The woman had different alias' but i'll just call her the main one, Eva Smith. Now for a quick run down, each member's interaction with Eva Smith had a big implication on her life making life more difficult for her.
- Arthur Burling sacked her at his factory because she questioned why she was not allowed a raise
- Sheila Burling had a store manager fire her because she was jealous that she looked better in a hat she was trying on and for smirking at her
- Gerald Croft had an affair with her over a previous summer until it came to an end
- Mrs Burling refused to give her money from her charity due to the fact she lied about having a husband and saying her name was Mrs Burling, despite the fact she was pregnant
- Eric Burling had met up with her on a few occasions and got her pregnant
Now in this timeline, it adds a twist, even if it became slightly obvious seeing as Eric was the last member to be asked questions by the inspector.
From watching this, I didn't feel like I learned anything that would aid my masters project sadly, maybe because I had already seen it before and it affected my initial idea of perspective or because it doesn't really fit very well with my idea of dealing with perspective for The Wardrobe.
In other news, I did get a brain wave earlier when I saw a cable that I bought to import tapes last year. I could take a look through the rushes available in the Editing base room and see if there's anything that I could use to show editing can change a perspective. Now an initial idea is to return to the Bournemouth Nightclubbers footage and try applying perspectives roles in documentary as well. I will have a discussion with Maike tomorrow at our tutorial, but that would give me something fresh to add to my portfolio rather than over stretching The Wardrobe. I should also probably choose how i'm going to do the perspective of Mike's film, probably limit it to three films, including Mike's final edit. Initial thoughts for me have it looking something like this:
- Director's Edit
- Editor's Edit
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- Parent's POV
- Sam's POV
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- Rushes POV 1
- Rushes POV 2
That looks like a nice healthy amount to be honest, especially as Maike says the films I add don't all have to be the same running time. So the first two will be around the same running time, the second batch would a bit shorter depending on the material I get, Sam's I think I would have to limit to a 5 minute film so cut some scenes out. The final section of films can be anything really, just the same rushes that give off a different message. I'll be intrigued for tomorrow, I gotta say! Also, I need to find a student composer that can knock up some different music for the two smaller perspectives for The Wardrobe, either that or just rob it from somewhere, which to be honest would be a lot easier. Another thing to ask Maike tomorrow.
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