Red Riding Hood: Opening Sequence Analysis!

The third opening sequence that I have decided to analyse for inspiration is Red Riding Hood (2011, directed by Catherine Hardwicke). While horror is only a sub-genre secondary to fantasy and mystery, this movie was clearly created with a target audience of teenage girls in mind. The main character, Valerie, is a pretty blonde teenager. A strong heroin that young girls may look to as a role model, she is also incredibly relatable. Despite living in a fictional world where werewolves plague towns and snatch children from their beds she struggles with the same everyday issues as the modern day teenager. Valerie is in love with an attractive young man (appealing to female viewers) but is forced to battle against disapproving parents. As she plans to run away with Peter, her ‘bad boy’ lover, the story almost becomes a Romeo and Juliet inspired romance. 

Due to the recent popularity of the Twilight Saga amongst young girls forbidden romance has become a fashionable and reoccurring theme in new releases.  Catherine Hardwicke seemed to be aiming to attract Twilight fans (she actually directed Twilight in 2008) to her newest project, even dressing Peter’s character in a way that reflects Edward Cullen’s style in Twilight. Similarly the setting of a dark forest also reflects the mise-en-scene of the Twilight saga movies.

 Despite, at some points, being a strong and admirable heroin, Valarie is represented as a gushing damsel in distress. Her two love interests (the idea of a love triangle was also taken from Twilight) save Valarie’s life on multiple occasions. Including a damsel in distress character was a popular suggestion in my target audience research interviews in order to make my characters more relatable. I aim to include a character that emulates Valerie in my own piece as well as including the elements of romance. Although Red Riding Hood is rated certificate 12 and is perhaps falls less obviously into the horror genre, I felt it was important to analyse to establish themes popular with my young female target audience.

The film opens with swooping helicopter shots of picturesque scenery. The snow glowing on the mountains is often associated with happiness and joy, not in keeping with conventions of the horror genre, however, frost and the cold can also create an atmosphere of mystery (e.g. in the movie Let Me In). This is pathetic fallacy (weather reflecting the mood of a narrative). It relates to the idea of a person being stone cold in death.  I could perhaps use snow, ice or frost in my own opening scene to create a creepy and mysterious atmosphere. However, I obviously cannot choose how the weather will be on the day that I decide to shoot so I must keep options open.

As the sophisticated white serif text fades in to reveal the credits the helicopter shots being to change more frequently. 

The camera moves 180 degrees, twisting and turning over a waterfall. This shot is quite disorientating and difficult to watch. 

The non-diegetic piece of music is unusual and almost medieval sounding. I prefer more conventional off-key piano and strings for use in my own opening sequence, particularly because my film will be set during modern times rather than in medieval times. Lighting in this scene contrasts to the usual low-key light of horror movies. Lens flares make the medieval village appear idyllic and the lighting shines yellow and gold. 

The colours of the setting make it appear unreal and conventional of the fantasy genre. However, in my own film I will most likely use muted and dark colours more conventional of the horror genre.

As the opening continues we learn more about the main character Valerie through her voiceover. This is a technique, similarly used in Jennifer’s Body, that I could use in my own opening to introduce the main character to the audience. We receive a mini narrative from Valerie’s childhood, watching a younger version of herself (with an appearance of innocence, blonde with rosy cheeks) race through the village with mise-en-scene to reflect the medieval setting. The audience learn that an animal must be sacrificed to the werewolf every full moon. The deaths of animals often foreshadow human deaths in the horror genre (e.g. as in Drag me to Hell and The Roommate). 

The little girl than races into the forest, the colours once again unreal and beautiful, just like a fairytale. The young girl Valerie runs amongst pink flowers and autumn leaves. Pretty cinematography would be appealing to a female target audience and is perhaps something I should consider including, although this does contradict the idea of using gore in my piece.

However, the perfect childlike image of innocent does not remain throughout the sequence as it is implied that Valerie takes the life of a white rabbit. Again, the deaths of animals suggest that human deaths are to come. 

It also implies that there is a more sinister side to Valerie. The pace of this opening sequence begins quite slowly and cuts are infrequent. Most shots used are typical mid shots.

The opening than skips ten years in time. 

We see a close up shot of older Valerie peering through the trees. This shot lingers on screen for a long time, allowing the audience to come accustomed to the main characters face. This is the first time the audience view the older Valerie (Valerie is dressed in period clothing. She is pretty and blonde, played by a-list actress Amanda Seyfried). This is something I may emulate in my own piece. 

As Valerie moves through the woods we see a series of long shots introducing us to the other characters living in the village. The non-diegetic music is quiet and uplifting as Valerie describes, through voiceover, the deep love she feels for Peter. Romance is already an important aspect of the plot.

The music suddenly becomes more ominous as we see a medium close up of a large axe, resting on a tree stump (weapons were suggested as props by a few teens in my target audience research interviews). The tension builds through non-diegetic music as the camera tracks Peter’s movement towards to log. The axe is no longer there. 

Valerie reappears with the axe and exchanges a flirtatious encounter with Peter. The camera tracks her movement around a large tree trunk allowing the audience to empathise with her every step (young girls may relate to Valarie through the uses and gratifications theory: personal identification and see themselves reflected in her character). The pretty orange trees also create an eerie atmosphere. Autumn is a season associated with movies of the horror genre due to Halloween falling within the month of October.

The sudden diegetic sound of a gong interrupts the romantic scene and creates a jump scare. Dramatically we hear the diegetic words ‘the wolf’ breathed by Valerie. The audience are kept in the dark and a sense of mystery is created. What or who is the wolf? Keeping information from the audience was suggested during my target audience research interviews in order to keep them gripped to the scene.

The non-diegetic sound now has a sinister tone and the pace of straight cuts increase. Slowly the villagers step back to reveal a long shot of the body of a young girl. She lies on the floor, two long and bloody scratches across her chest, her dress torn. Gore is a typical convention of the horror genre and perhaps something that I should include. 

The camera tracks away from dead girl, snow falling slowly and ominously with the non-diegetic music suddenly louder and mournful. 
 

This opening sequence has set up a challenge. The audience now realise that the rest of the movie will focus on finding the wolf and seeking revenge.

Red Riding Hood is the first opening to actually include a death scene. I feel that this creates a huge emotional impact. As we heat the diegetic sounds of Valerie’s despair at losing her sister we empathise, sympathise and connect with her. We see Valerie as on the side of light and the wolf on the side of darkness (in keeping with the Levi Strauss theory of binary opposites). As suggested in my target audience interviews, the viewer’s get to know the victims rather than the culprits.

I must emulate this in my own opening scene. I also feel that I should include a death scene in order for my opening to have greater impact. I now have more of an idea of how I must present my victims to make them relatable and I understand the importance of including a romance to attract young girls. However, for my own mise-en-scene I aim to use modern props, costumes and settings rather than the medieval style of Red Riding Hood in order to make my opening more relatable.

 Analysing this opening has been particularly helpful for me because it was aimed at my desired target audience. I have decided to now have a look at Black Swan which is another movie aimed at young females (the psychological thriller focuses on the life of a mentally unstable ballerina).