To produce a successful trailer, a practitioner must combine
multiple elements and adhere to conventions. These elements are narrative,
lighting, camera angles, editing and straps, mise-en-scene (costume, make-up,
props etc.) and sound. When used together, these elements can either terrify an
audience into watching a horror movie if used correctly or completely turn them
off when not.
Drag Me To Hell is an
example of these elements coming together successfully as Sam Raimi has
effectively used them to haunt and frighten the audience into watching his
film. The story is of a young woman named Christine Brown who, in an attempt to
gain value at the bank of which she is employed for a possible promotion,
declines an extension on a mortgage for a decrepit old, eastern European woman.
Seeking revenge for being shamed by Christine, the old woman, Mrs. Ganush, sets
a curse upon her that, after three days, will send her to hell. The plot of the
trailer follows that of the movie very closely, however the audience is shown
just enough to tantalise and not to spoil. Trailers conventionally follow
Todorov’s narrative structure to the third stage, equilibrium, disruption, then
reaction and repair, as does Drag Me To Hell; the audience is shown the
reaction and attempts at a repair, but as is conventional, they are not shown
the new equilibrium or the repair coming to fruition.
The
trailer begins with crane shot of a busy American highway to establish the
scene as a normal, average day. The sun is shining, and natural lighting is
used to make the scene immediately relatable to the audience. This relatable
nature continues as a medium close up is shown of an average woman driving a
car.
With
blonde hair, brown eyes, light make-up and a plain hair style, the woman,
Christine, is instantly accessible to the audience as the women can place
themselves in her shoes, and both genders can recognise her to be like someone
they know. Whilst the scene set so far is typical, the overlaying non-diegetic
soundtrack of creepy piano, lullaby-like, music adds a mysterious quality to
the scene. The audience can instantly realise that this woman is important, and
something bad is going to happen to her. As she calls after a man who the
audience would presume is her superior, as he is wearing a suit and glasses;
stereotypical for a managerial role, the audience see her costume that is as
plain as her hair and make-up. The clothing is simple yet feminine, and whilst
the gold necklace draws the male eye to her neckline and slightly unbuttoned
blouse, it is not overtly sexual. This would be so in a slasher film, however
as this movie is a supernatural, women are slightly less obviously sexualised. The
setting of a bank adds to the realism of the scene as it is an every-day
location, and the busy atmosphere enhances this.
As Christine and her manager talk about a promotion, the
scene cuts to her looking forlornly at a desk before it cuts to the sign
outside the empty cubicle. This not only tells the audience what it is that she
is wanting for, but her gaze shows the audience that it is something that she
wants desperately, and will perhaps do anything to get the role. When the scene
cuts back to their conversation and the “new guy” is mentioned, the audience
feel sympathetic to the main character and an emotional bond is created. By
creating this bond between character and audience, when the supernatural
happenings occur to the woman, the audience will be much more scared and afraid
for Christine as they can identify with her. The message put across by her gazing
at the empty desk is reinforced as she is told that the Stu is “not afraid to
make tough decisions”, to which she replies “I’m perfectly capable of making
the tough decisions.” This foreshadows the coming scenes and shows the audience
that Christine feels like she needs to prove herself.
The
scene cuts to institutional information, signifying that the previous clips
were the introduction, and now the storyline is going to ‘hit its stride’. The
diegetic dialogue is played over this institutional information, and it is
clear that the voice belongs to an old woman. The audience are lured into a
false sense of security by this as they would assume that the old woman would
be of a stereotypical “Old Age Pensioner” look, and is therefore unsettled by
the old woman put before them. With a shawl around her head and a disfigured
eye, the audience will immediately assume that she is a gypsy, and her eastern
European accent reinforces this however the natural and available lighting of
the bank gives her a more human quality than in the rest of the trailer.
She appeals to Christine, and the audience feel
sympathetic towards her, again luring them into a false state of security. The
non-diegetic orchestral music is quietened to a low hum of violins at this
point to give focus to the dialogue, but to add an emotional depth to the
scene. A close up of Christine is shown to see her reaction to Mrs Ganush, a
sympathetic one, just as the audience would have. She agrees to help, and the
non-diegetic music begins to tense as her boss tells her that it’s her decision
to make as a point of view shot of the woman is shown from Christine’s
perspective, showing that the old woman is causing a personal dilemma in her as
she looks between both her and the manager. The audience at this point would
recall back to the previous scene as they spoke about the assistant manager
role as the manager says “It’s a tough decision. Your call.” The music tenses
at this point as the camera pushes into Christine’s face, showing the conflict
more vividly in her face. The audience can pre-empt that she is going to
decline the extension due to the building of tension by the soundtrack and the
need for a disruption in a film narrative.
Christine declines Mrs Ganush, as the audience would have
expected, and the audience would feel very sympathetic towards her as she
grovels to Christine. With everyone in the bank staring, the audience would
feel second hand embarrassment for Christine and the emotional tie is
strengthened further. As the old woman
cries and gropes at her, the music tenses, signalling a pivotal moment coming.
The stab of sound after Mrs Ganush says “you shame me” indicates this as the
scene cuts to black. Christine yelling for security shows that the old woman is
in fact dangerous, and her tone of voice before the stab reinforces this. Her
hissing voice is almost demonic and adds to the tension of the scene.
Christine’s
shoes echo in the empty parking lot, a stereotypically dangerous place to be in
horror movies. There is only available lighting from fluorescent bulbs above
her, only radiating a dim light, giving a dark, foreboding tone to the scene,
along with the lack of non-diegetic sound. The lack of other cars and her
echoing footsteps show the audience that she is alone in a dangerous place, and
the audience would be considering her to be a “stupid blonde” for going out
alone after the old woman had acted in that manner. The diegetic sound of the
car door is enhanced to add to the idea of solitude, and the twist and push in
of the camera into a close up of her calm expression lulls the audience, yet
also builds tension through lack of action; the audience are waiting for the
jump.
A
cut and stab is used to Mrs Ganush raising what seems to be a cinder block and
smashing Christine’s car window in. As Christine
cowers in fear from Mrs Ganush, the audience fear for her life as the
orchestral music swells. When she is dragged from the car, her skirt is pulled
up and her bare legs are shown in the process, sexualising Christine when she
is vulnerable showing just how helpless she is, the quick cuts showing the
frantic nature of the scene and reflecting a racing heartbeat. The low angle
camera on Christine and the high angle on Mrs Ganush show a clear contrast in
power between the two characters and shows that Christine is at her mercy. When
Mrs Ganush steals the button, there is clear confusion written on her face that
would reflect the audience, strengthening that bond between character and
audience further, and as the old woman sets a curse on Christine, the
stereotype of gypsies laying curses on well-meaning, innocent women is
perpetuated.
The close up of her yellowed, dirty teeth removes any
remainders of the previous misconception
that she was a sweet old lady losing her house, and brings focus on the button,
showing that it is a central part of the narrative. The high angle shot in
combination with the backlighting of the fluorescent bulb gives Mrs Ganush a
supernatural, powerful representation that reinforces the control she has over
the situation and over Christine. The close up of her eyes is a slightly
blurred point of view shot from Christine, possibly from the effects of the
curse that shows a clear contrast between her good and bad eye, emphasising her
disfigurement. A staple in her forehead is seen, relating back to the
stationary that Christine was seen carrying to her car, and the bloodied eye
shows defensive wounds made by Christine, highlighting the violence of the
previous scene. A close up of the young woman’s face is shown and the old woman
is seeming to have a drug-like effect on her as the camera shifts focus to
create a “trippy” effect from Christine’s point of view, as if she is woozy. A
more focused close up of Mrs Ganush’s eyes are shown, and sue to the better
focus, her eyes seem darker, as is she has more power after cursing Christine,
or that there are evil forces running through her. This is enhanced by the
non-diegetic eerie noises being played as the younger woman looks up at her
confused and seemingly weak. This weakness is reinforced as Mrs Ganush tells
her “soon it will be you who comes begging to me.” The close up is almost like
a tilt shift as the focus is altered on the lens. The cut to Christine’s eyes
show the contrast between each of theirs and the confusion that clouds hers.
Mrs Ganush’s voice is almost taunting towards her, adding to her evil image.
There is the stab of sound on the strap that
occurs on each one throughout this trailer. This strap features “From Sam
Raimi” on top of a plain black ground with a spotlight at the centre that
shifts towards the end of the short strap as the brass instruments of the
non-diegetic orchestra music sound. This can be seen to reflect Christine as an
average, pure, innocent woman being approached by darkness and shadow. By
featuring a well known director, the audience will recognise the name and
immediately become more attracted to the film as the y may have seen his other
works. A male hand is seen lifting Christine’s as the scene cuts, and the
darker complexion and beaded male jewellery would immediately signal to the
audience that his hand belongs to a fortune teller, psychic or medium, as is
stereotypical in all films; most characters with a darker complexion are wise,
exotic people. A medium shot of Christine and the medium is seen, confirming
the audience’s assumptions.
Despite being dark from only using the available lighting
from the lamps, the audience can make out the knick-knacks covered the man’s
desk, the older books that litter the bookshelves and the worn furniture. These
props would tell the audience that this man is the “helper” as seen by Propp’s
character types. He will aid the main character in ridding herself of the
curse. The small cloth covered table is stereotypical to psychics, and the
light tone of the fabric is bold in the dark room, and highlights their joined
hands. The close up of Rham’s face adds to the stereotype of a mystical exotic
foreigner that knows more than a simple American with his beard, wild hair and
dark eyes that make him seem dark and mysterious. There is once more a cut to
Christine’s concerned and scared expression before he explains what he knows of
the curse. As he does so, the scene cuts to a darkened street lit by available
lighting of street lamps as the non-diegetic orchestral music begins to swell
and create tension. The wind blowing leaves around suggests an invisible
mystical force or some form of witchcraft, and the camera pushes in and lifts
slowly before the scene cuts to Christine who, in a close up, turns her head
sharply, as if she had heard a noise, and the scene cuts back to outside where
the wind is picking up. The music tenses further and stabs as the gate is flung
open by the wind and makes Christine jump, as seen in the following shot. The
wind breaching the gate makes it seem as if there is no escape for Christine
and the supernatural force is invading everything around her.
A tab of sound is heard and a strap shown displaying
“Director of Spiderman”, reinforcing the fame of the director and ensuring that
those who may not know him by name, would recognise him by his famous pieces of
work. In this strap, unlike the last several, the font of the “I” drips down
slightly, reminiscent of blood or connoting the curse that is running through
her veins. The flicking pages of the books that follow after a cut show ages
pages, signifying that the curse is of an older magic, making it scarier. There
is an scary, unknown quality that comes with looking into history. With tales
of witchcraft and curses in every nation’s history, the audience have been bred
to fear such things. The flicking of pages stops on a page detailing the curse.
Whilst in real life it would seem unlikely that the person you seek help from
just so happens to have an old book on a curse from an eastern European woman,
as it is a film, the audience accept an altered reality where such things can
happen and they don’t question it.
With the details of the curse revealed to the
audience, the trailer begins to present the effects of the curse by using a
canted camera angle to reflect the main character’s fractured state of mind.
The shadow on the curtain is a convention of older horror films seen primarily in
the 1940’s, that used suggestion to create fear. The suggestion however is more
blatant than subtle in this trailer as the audience is shown a demon-like
shadow paired with a beastly cry, then a quick cut of the creature at the
kitchen window before it cuts back to a quick shot of Christine turning away
with a gasp.
With
a short, slow paced tracking shot, beginning to circle the couple in bed,
making it seem as if the camera is a point of view shot from a demonic
predator. The strap of “And the Evil Dead Trilogy” slows down the pace for a
moment to keep the audience on their feet, with eerie noises overlaying the
soundtrack of orchestral music and the narration from the donor continues over this as the soundtrack
begins to rise in volume. There is a close up of a fly to ensure that the
audience know where to focus on in the forthcoming scene, leaving the couple in
the blurred background in the transition from deep to shallow focus. A close up
of Christine’s mouth follows, once more to show clearly where the audience’s
attention should be as the fly lands on her lip.
By cutting to Christine talking to the donor, the tension of the scene is raised by introducing a new scene that continues with the narrative, to create dramatic tension by pausing the action yet continuing the fast pace and tense music. The medium-close-up shot of Christine with a person hidden in the foreground shows the character as desperate, therefore increasing the pressure. Christine’s headband in addition to the bright, yellow lighting makes her seem innocent, however the dark tone of her clothing makes it seem as if she is going to a funeral, perhaps her own. The scene cuts once more and the fly enters her mouth as the orchestral soundtrack reaches a crescendo as she flies upright in bed. With the windows in the bedroom open, the audience would wonder at this point whether it was a dream, or whether it was in fact reality and the fly had flown in. The stabs of the brass instruments before the cut increase the heart rate of the audience before it cuts to black.
By cutting to Christine talking to the donor, the tension of the scene is raised by introducing a new scene that continues with the narrative, to create dramatic tension by pausing the action yet continuing the fast pace and tense music. The medium-close-up shot of Christine with a person hidden in the foreground shows the character as desperate, therefore increasing the pressure. Christine’s headband in addition to the bright, yellow lighting makes her seem innocent, however the dark tone of her clothing makes it seem as if she is going to a funeral, perhaps her own. The scene cuts once more and the fly enters her mouth as the orchestral soundtrack reaches a crescendo as she flies upright in bed. With the windows in the bedroom open, the audience would wonder at this point whether it was a dream, or whether it was in fact reality and the fly had flown in. The stabs of the brass instruments before the cut increase the heart rate of the audience before it cuts to black.
The short silence before the
donor says "To burn in hell"
emphasises the sentence, and the fade in of images from a seemingly
ancient text of demons also serves the same purpose. The camera zooms in on
Christine’s terrified face with dark, almost pitch black eyes before the fade
to a pan across the book. The fade to a following shot of Christine going back to sleep is to slow
the scene down and to show deep contrast that in turn accentuates the grotesque
horror of the old woman lying beside her. The demonic noise as the old woman
roars at Christine is a sharp stab that makes the audience jump just as they
were lulled into a false sense of security.
A quick cut to a strap is shown with a quick fade in of the text "This May", which features more distortion on the font showing the transition through the trailer, and how the film is getting more intense. This strap features more brass music to maintain the level of tension and to retain the audience as it cuts to an over the shoulder shot of the young couple as the narrative says "It's coming for me" before a shadow of hands creeps across the bare floorboards as a non-diegetic demonic groan sounds. The bare floorboards represent bare bones in this section, and just as the demon's shadow encroaches and takes over the floor boards, it will take over her too, to her very core.
By using a well known actor, Justin Long, along side a non-well known actor, Alison Lohman, the movie both fits the convention of horror using unknown actors, but also appeals to a wider audience who may be fans of Justin Long and will therefore see it even if they don't like horror films. Clay Dalton, Long, is shown as a sweet and caring boyfriend to Christine over a series of fast cuts. By doing this, it is clear the Clay is only a sub-plot, and not the main storyline. The low angles show him as vulnerable and confused, not stereotypically associated with males in film, however within this plot, the main female character doesn't need to be saved by a man, as in other genres, as she needs to be preyed upon by the supernatural being for the entertainment of the audience. The low angle shot of Christine followed by the high angle of the skyline with the continued imagery of the hands reinforces this. By cutting back to Clay telling Christine "There is nothing coming for you", the audience immediately know that there is, and that it is coming soon; the denying acts as foreshadowing.
The strap of institutional information that follows is quick in both length of clip and action of fading to reflect the pace of the trailer with a slight stab in orchestral music to reflect the tension. There is then a conventional seance, that is common in supernatural films, around a circular table with a geometric design set out by the floor tiles in a similar shape of a pentagram below them, a shape long connotated with the devil. They hold hands and chant, surrounded by candles, as the darkness seems to surround them through key lighting that focuses on the characters' faces only. The pan of the seance members make it seem as if they are being watched, and the cut to a high angle shot of a shaking chandelier makes it seem as if an evil spirit is with them. The donor is then showed again as the trailer begins to come to it's climax so as to tie the story lines further together and entice the audience.
The distortion on this strap on the stab is reminiscent of wings on the P and T, however due to their colour and the tone of the trailer, they are more likely to be demon wings, or a fallen angels. A fast whip pan moves through the characters as a chanting chorus swells with the orchestra, representing the rising tension as the climax approaches.
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