Funny Games U.

S (2007)- Analysis

Funny Games U.S is a very close remake of the original Austrian film, Funny Games (1997). With both films directed by Michael Haneke the films are almost shot-for-shot in similarity. This version of Funny Games includes a cast of Naomi Watts, Tim Roth, Michael Pitt and Brady Corbet starring the main roles. The film is about a family that are planning to stay in their lakeside house for the holiday, but as they get there they meet two boys who take them captive and torture them in a series of games. Funny Games is like no other film. Michael Haneke said he wanted to abolish all the rules that apply when making what is considered a traditional film. The timescale and pacing of this film does not follow the conventional rules. Haneke leaves in all the normal, awkward silences we have in normal life. As viewers we have grown accustomed to films of constant action and movement; there is always something going on. Normal blockbuster films will rarely have periods of either no dialogue or no action. Haneke constantly peppers in silences that seem to last a few beats too long. By bringing us into this unknown territory we feel instantly out of our comfort zone. I personally found it agonizing, even when watching a character prepare dinner in a completely normal manner I would find myself become tense and extremely uncomfortable. This was due to things such as the constant silence (lack of music) and very slow moving camera that always seems to leave some of the setting out of frame, for the audience to wonder if something is there or not, watching the family.

Some scenes in this film can last up to three minutes. These extremely long scenes are what an audience of a normal film will never have experienced before. The very slow scenes completely contrast with what we usually consider a film to be like under this thriller/slasher genre. In these long scenes, there may only be 10 seconds of dialogue and then the majority of the scene will be completely silent, every now and then we would hear the hiss of a broken TV, or the sound of a character interacting with a prop, such as a phone. Despite the plot of the film looking like a sadists bloodshed pleasure, the film shows us no violence: all of it happens off-screen. Haneke purposefully removed all the violence from the film to bring up the moral issue of the audiences bloodlust when watching a film. There is one scene in the film in which we see Watts character shoot one of the two evil characters. The dead persons accomplice then proceeds to find the TV remote and rewind the last two minutes of the film, bringing his friend back to life. This shooting is the first violence we see on screen, Haneke then punishes the audience for enjoying it. We, the viewers, are supposed to be infuriated by this scene because we want to see Watts character kill them and escape. Though people will have come into this movie expecting to see people being tortured, thus creating hypocrisy within the audience, a contradiction of emotions. The rewinding of the scene also acts as a symbolic reversal of Hollywood happy endings, as this movie serves as the antithesis of a happy ending. Haneke uses this scene to give the audience a glimmer of hope, and then punishes us by replaying the scene. The mise en scene for this film is also very interesting. For example, Haneke makes sure that there is only one powerful light source in most settings. The living room is the most prominent and effective use of this one light source. As we can see in the picture, to the right of the frame there is a small table lamp. The very symmetrical composition of this frame would usually require another lamp on the other side of the sofa but Haneke makes sure that the set is not perfectly symmetrical. The lack of the desk lamp on the left of the frame in itself feels quite unusual. When juxtaposed with the bright lamp on the right, the lack of symmetry unnerves us for some strange reason. In most of the scenes the harsh light from one source slowly becomes more of an eyesore the more it is noticed, making the

viewer uncomfortable. The use of harsh light in itself is not at all flattering and creates very interesting shadows, which also bring out odd features on the characters.

Austrian version (above) Haneke even decides to break the fourth wall. There are extremely heartstopping moments as the most powerful of the terrorising duo turns towards the camera and talks to the audience. By doing this Haneke has given the two characters extreme power as they are aware of the audience watching and the fact that it is a film. As well as giving the character a sinister amount of knowledge, by talking to us and breaking the fourth wall we seem even more engrossed in the film and as though we, the audience, are taking part in these funny games

U.S version (above)

There is a whole group of other techniques and effects Haneke used that I could go into, but alas I want dinner. I got a new loaf of rye bread, Nuray bread. Ryan Still, Signing Out

Useful Links. Rewind Scene http://www.youtube.com/watch?v=R8eQ55lzNhA Intro sequence of the film http://www.youtube.com/watch?v=t3t5ho0eifo Example of shot to shot accuracy http://www.youtube.com/watch?v=xx-kGHIy08o