Codes & Conventions of Gangster/Crime Film Genre April 2, 2009

Motifs of The Gangster Genre

1. The hero is an immigrant who dislikes his low status in life and wants more.

2. Unlike the Western, this story takes place in the big city. The wide open plains have been traded in for the seedy alleyways and wharves of the urban jungle.

3. The gangster can only gain power by taking it. It is survival of the fittest, and the only law is the law of the jungle.

4. The only loyalty the gangster feels is for his own immigrant roots.

5. Success is measured in material goods – flashy cars, expensive clothes, and mansions. Women are measures of success as well.

6. The hero’s antagonist is society, and the enforcers of the law. The police, the FBI, the CIA represent the enforcers of societal status quo.

7. The end justifies the means.

Useful links – crime/gangster research/reviews March 27, 2009

http://www.influx.co.uk/wordpress/videos/gangster-lean/

Real Life Criminal ‘Gangsters’ March 25, 2009

Al Capone

Commonly nicknamed ‘Scarface’, was born in 1899 in Brooklyn, USA, parented by two South-West Itilian imigrants. Al Capone was an Itlian-American criminal who began his career in Brooklyn yet eventually moving to Chicago and becoming the ‘boss’ of the criminal organisation the ‘ Chicago Outfit’.

Al Capone became infamous for the bootlegging and smuggling of liquor, which at the time was a banned substance. He is also well known for the St. Valentines Day massacre, which took place in Lincoln Park, Chicago in 1929. The massacre was Capones effort to try and dispose of the rival crime organisation led by ‘Bugs’ Moran. Seven of Capones enemies were killed using Submachineguns and shotguns and was supposedly led by a number of Capone’s henchmen. The massacre left outrage within the public.

This has influenced many modern day films, such as Scarface taking the name from Capone’s nickname. Other films based on Capone include The Untouchables and Al Capone.

Kray Twins

Both born in 1933 Reginald and Ronald Kray were identical twins whom went on to become infamous criminals of the East-End of London during the 1960’s. Better known as ‘Reggie & Ronnie’ well well known organised criminals dealing with armed robberies, arson, protection rackets, violent assualts (including torture) and were responsible for the murders of Jack’The Hat’McVitie & George Cornell.

The twins were also West End nightclub owners and frequently mixed with big stars such as Frank Sinatra. Both were eventually voncited to prinson being charged of the murders of jack McVitie & George Cornell.

Films which are based on The Krays include;  The Long Good Friday & The Krays.

Advance Production – Location shots. February 12, 2009

Black Cash (Film Script – 2nd Draft) January 23, 2009

BLACK CASH

Opening Scene
Int. Office

[Grainy, old, flashback style effect. The Mob Boss is laying on the floor, bloody and bruised, leaning against the wall. Breathing heavily, he is looking up at someone. The camera cuts to show a man standing and holding a gun, from the chin down. See the man mouth something in-audiable, then the camera cuts to black as a gunshot is heard.]

Title Sequence
Ext. Streets

[Background music - Booker T & the MG’s - Green Onions. 2 people walking side by side, wearing suits. Camera shows close ups of arms, hands, legs, feet and backs. Titles are overlaid on the screen. The 2 people walk around a corner and up to the door with the camera tracking after them. As they push the doors open, the camera cuts to inside the building to see doors swing open, and people walk towards the camera and past it. They walk towards a table in a dark room, with 1 person sitting at it while 4 others stand around him. The man holds out his arms to welcome the 2 people as they approach him.]

1st Scene

MOB BOSS
Ah just the two people that I wanted to see. Stevie. JT.

[He nods to each of them respectively. Camera cuts to show Stevie and JT from the front, who glance at each-other before returning their gaze to the man.]

[Holding out hands, smiling] Right. So how about my money, ay? Where is it? eh? Where’s my money lads? I think your bothmissing the point, what you dont seem to understand is the not any Tom, Dick n’ Harry could have got you out of that situation. [Shouting, slams desk] So Where is my GOD DAMN MONEY!

JT
[Apologetically] Look, we don’t have the money. If you just… gave us a little bit more time, and we will ave’ it for you, all of it.

[Secretary walks over and hands the MOB BOSS a piece of paper. The MOB BOSS scowls at her, then bashes the paper away with his hand.]

MOB BOSS
[Shouting]What is this?! Cant you see i’m busy! Go bother someone else. Bloody …
[Smiling and giggling, walks around desk and sits on the desk in front of JT and Stevie.] Well boys, Tell me why I should give you more time? What makes you think I am nice enough to give you more time? I need my money. Simply as. If you ask me to bail you out, I expect to be repaid. What is to stop me from having your bloody legs broken right now?

JT
Look. If you just give us a little more time, the money will be yours Boss.

MOB BOSS
[Mood changes, looks as if he had an idea, agrees.] Alright. Okay then. I’ll let you go, as long as you bring me my money. Or you’ll be a lamb to the slaughter, the both of ya! Now get the hell out of my sight. [waves them away]

[JT and STEVIE look at eachother quite shocked, then turn and walk out. As they are a small way away from the door, the camera cuts back to the MOB BOSS who is sitting down in his chair. He signals for one of the people behind him to come closer, who leans down and the MOB BOSS whispers in his ear. He nods, then stands back up and signals to the other 3 people. They all walk out of shot leaving the mob boss sitting down at his desk alone. fades to black]

2nd Scene

Ext. Streets – Day

[JT and STEVIE are walking back down the streets, but opposite direction. They cut through a small alley and then as they exit, the 4 mobsters that where behind the boss step out from the bushes and circle them. JT and STEVIE look shocked.]

MOBSTER 1
[Smiling] ‘ello ‘ello ‘ello, what have we got here then?

JT
[Confused] What do you want?

MOBSTER 2
We have come to collect the Boss’ dosh. So hand it over.

STEVIE
[Angry] We already told him, we don’t have his bloody money.

MOBSTER 1

[Confused/agressive] You what?

STEVIE
[Angry] We don’t have the money! Understand?

MOBSTER1
Well lads, I am afraid thats not good enough. [MOBSTER all laugh, MOBSTER 3 hands MOBSTER 1 a Baseball bat] So, you have left us with one option.

[MOBSTERS walk closer to JT and STEVIE, cracking knuckles and hitting bat into palm. Fast camera cuts. STEVIE punches MOBSTER 4 in the face, making him fall to the ground. JT tries to hit MOBSTER 2, who grabs JT’s arms and struggles with him. MOBSTER 3 grabs JT from behind, and the two throw him to the ground and start hitting him. STEVIE turns round to help JT, when the baseball bat swings out and hits him the the face, knocking him out. Camera goes to a first person view when bat is swung, cuts to black on impact.]

3rd Scene

Ext. Streets – Day

[Camera fades in from black, showing JT sprawled on the floor. Camera cuts to show JT’s face, who slowly awakens and tries to sit up, and calls out in agony. Both JT and STEVIE are heavily bruised and cut. He looks up, and sees a familiar feminine figure standing over STEVIE, helping him to recover. Camera cuts to a long shot. She turns and notices JT moving, and runs over to him.]

MARA
[smiling] Oh your awake. I thought you could take more than one hit, maybe I was wrong.

JT
[Struggling to get up, Sarcastically, smirking] Ha ha, very funny. Maybe you could give me hand up then?

[MARA helps JT up, and walks him over to the wall. Camera cuts to show STEVIE rising to his feet.]

STEVIE
[Hurt] Ugh, we were jumped by a bunch of  donkeys. God Damn it. [Looks to JT] Are you alright mate?

JT
I’ll live. [Looks to MARA] So, are you going to tell us who you are then? You seem familiar.

MARA
Yeah, well I suppose I would. I ‘worked’ for the MOB BOSS as his secretary. [Flashback shows her handing him the papers] Until I heard what he was going to do with you guys, which is why I followed his goons out of that place, and then that is when I found you here.

JT
[understanding] Alright. He is taking the biscuit, that is the final straw! Well we have to think of a way to get back at him. Tomorrow, I reckon we should break in and teach him a lesson or two. No one mucks about with us.

STEVIE
[Angered, smirks] Oh, I can not wait for this.

MARA
Well you ain’t going to get very far just breaking in. You will have to sneak in under cover of darkness, then try to confront him directly.

STEVIE

Are you having a laugh? That place is smothered with dogs at night.

MARA

Look, I know of a secret entrance around the back of the building, hardly anyone uses it. That would be your best bet.

JT
Alright. Well lets go and get some rest, and we can do this tomorrow.

MARA
[Nervously] Okay, but I have to get back before he realises that I am gone. Do not mess it up! Good luck.

[MARA runs off around the corner, JT and STEVIE look at each other and look back towards where MARA ran. Camera fades to black.]

4th Scene

Ext. Mob Hideout – Night

[JT and STEVIE are shown sneaking around at night, hiding behind corners and avoiding MOBSTERS walking around. They duck down an alley and use an old, disused door. They sneak inside it and JT pulls out a gun from his jacket. They sneak past 1 other guard, and get to a guard standing by a door.]

STEVIE
Wait ere’, leave this to me.

[STEVIE walks over to the man, who looks up and sees him, and STEVIE quickly dispatches with one punch, sending him knocked out to the ground. STEVIE and JT step over to the man, and opposite the door.]

JT
On the count of three. One, Two, THREE!

[JT and STEVIE both kick down the door and charge into the room, JT in front holding the gun up and pointed at the MOB BOSS, STEVIE behind him.]

MOB BOSS
[Grins] Oh, very clever. I wondered when I’d see you again. I was hoping it would be at the undertakers. I’m suprised. I didn’t think you two weeds would be able to get past a few brainless guards. [smiles] Maybe I should have invested more money in my building’s security.

JT
[Shouting] Shut your mouth! We’re ere to teach you a lesson.

BOSS [laughs]

JT

DO NOT to mess with us! Stevie, go show him.

[STEVIE walks over to the MOB BOSS in his chair, and punches him in the face sending him sprawling to the floor. The camera is looking up at STEVIE punching past the camera. after a while, STEVIE stands up and goes back behind JT.]

JT
[Looks at STEVIE] Watch the door.

[Stevie walks over and stands in the doorway, while JT takes a few steps towards the MOB BOSS, who is now laying  propped up against the wall, now bloody, cut and breathing heavily. JT slowly raises the gun up to the MOB BOSS, and looks down at him.]

JT
[Quietly] That will teach you to mess with us.

[JT shoots the MOB BOSS off camera, and stands looking at him for a few seconds. Police on my back - The clash begins to play quietly. Stevie walks up behind JT.]

STEVIE
[Smiling] Looks like we better call the cleaners.

[JT smiles, and they both turn and walk out. Music gets louder and the camera fades to black.]

Advance Production – Film (A2Media) January 16, 2009

Critical Evaluation

During my Foundation Production during my AS Media course my group decided to produce a four minute opening for a new children’s television programme for children aged 5-12. My groups production was titled ‘The Calcium Kid’ and used educational facts along with fun to encourage children to stay healthy. The Idea was to create a super hero (The Calcium Kid), a normal boy whom when drinks milk gains super strength and speed. These ideas were taken from current and former popular children’s television programmes during our research.

In the first year programmes such as Final Cut Pro and Photoshop were used and the development of our skills to use these have increased much to allow us to use more advance camera and editing techniques for the advanced production.

For my Advance Production my new group have this time decided to create a film with an action/crime/gangster genre

Our brief for Advance Production is to create a 5 minute short film. As a two man production team we decided that crime, action and gangster were the genres that were to define our film.

This style was chosen as the group as a whole are avid action film followers and felt that taking our own knowledge of films would help within the research and pre-production of the film.

The personal brief was therefore to create a 5 minute short film in the style of a British, action, gangster film.

Research was undertaken looking at examples of films of the same genre, such as; Sexy Beast, Snatch and Get Carter, as well as looking at other examples of amateur films within the same genre such as ‘Sacrifice’ an action, gangster film produced by University Film Production students. Before research began, the production team was not sure on which culture of this genre to focus on. For example, whether to create an American or British style film, both of which have many different conventions and a different feel to each other. (As can be seen within the research).

Taking ideas from the research it was noted that American gangster and crime films tend to be set within areas of the U.S.A such as Chicago and New York, highly built up areas. Characters tend to usually come from the same background, from white American-Italian/Sicilian families and the more traditional films are set within the early 1900’s of America during the prohibition era. However more recent films of the same genre have tended to stray away from this style and use modern day plots, which can be seen to be more similar to the usual British film conventions.

On the other hand the British crime/gangster films tend to use other conventional traits, such as over the top swearing, almost psychotic characters (such as the schizophrenic Kray Twin, see research) and the over use of regional accents. (mainly London/Cockney).

As a group we decided to base the video in two major locations: Outside, garage area (dirty, suburban, crime rife area) and the Boss’ headquarters (well secured, warehouse) primarily inside. This allowed for both narrative and action to be centered in both locations to help produce a realistic story line and to keep the audience’s interest. The video would be simple with many different camera techniques and shots; including more complex shots such as juxtapositions and whip pans. This would again allow for the ‘unique feel’ of the genre as well as engage the audience in with the action.

Locations were chosen on the basis of where filming could realistically take place. With a low, self-contained budget an time restrictions it limited filming locations. Ideally a built up, urbanized area and an abandoned warehouse would have been the best locations to use, as seen within the research, most films of the same genre are based in these types of locations. However using a set within the college, parts of Harlow college and remote suburban areas still allowed for a realistic film as editing techniques and camera techniques allowed for a sense of specific wanted ‘environments’ or locations.

During the research, films of the same or similar genre were watched and discussed. It was noted that many cuts are used to distinguish a movement rather than using many long shots. One shot in particular was a medium shot, tracking back shot of characters as if they are walking towards the camera and the camera is moving. The continuity of the films also seems to be important as without this the narrative would not be put across to the audience very well. This also creates a realistic impression of the action. The narrative within these films also tends to be quite complex and sometimes hard for the audience to understand all of the narratives and sub-plots. Former events seem to always be mentioned yet never in great detail to give a hint of mystery. As a group we decided to try and implicate the mystery element of the genre into our film by deciding to use a flashback at the beginning of the video.

In many of the films and real life gangsters looked at in research, main characters tend to either work alone or in twos, with rival gangs/criminal organisations working in large numbers with a centre figure (i.e – a boss), as a group we decided to have two main ‘crime’ characters as banter between the two could be created as well as their personalities reflecting each other, allowing for the specific feel that was set out to be produced.

After deciding the characters and designs that would be within our film, we held rehearsals for actors to play the roles. During the rehearsals we realised that using a Black-British actor, with other cultural origins would enhance our film to the modern market. We felt this would benefit the film as todays audience within the Western society represents multi-cultural society and not a biased White working-class/middle class society. The decision to also use younger actors rather than the traditional middle-aged white men, was also another that we felt would benefit the market and our film as it helps to represents todays gang culture which is portrayed by the media.

We decided on other characters such as ‘The Boss’, the traditional typical gang leader which is generally a concept and basis of the narrative in most films of the same genre. The narrative tends to revolve around a criminal event such as a bank robbery or kidnapping and usually tends to be due to the actions of the gang leader.

Rehearsals took place after the actors had been cast, to allow for organisation and for the actors to learn their roles and lines efficiently ready for filming. This also highlighted their weaknesses and strengths so that the characters could be manipulated to suit the actors abilities.
A rough storyboard was created before filming to show what shots were going to be needed and which order they would fit in to help with the organisation during editing. This also helped us to plan our shots and know where to fit dialogue from the script into the film. It showed what camera shots and angles were to be used. A script was also produced    in the style of the action/crime genre, helping to define character roles. The script was given to all actors with shot/camera techniques used stated to allow for time efficiency when filming. However during filming decisions were made which changed certain shots and dialogue as we found that certain aspects did not work as well as planned. For example, the decision to use a whip pan instead of a still, long shot in the outside scene was beneficial, as it not only gives the film more variation but allows for a pan of the area to almost establish the shot. Reduction of many dialogue was also used as it allowed for less footage and to allow the film to be ‘short’.

One major change within the actual filming was the decision to take out the character Mara. The film was first schedule with the character within the film with her taking a large role within the narrative. The decision to have this character within the film was to portray a modern masculine female. As the film is primarily about male criminals we felt that using this character would enhance the film as it would not show sexist bias and help to portray equality between male and female roles within society. However this did not work as problems with acting ability and availability drove us to manipulate the plot, to a more basic  story line. The decision was also made to allow for the audience to follow the narrative more easily as before reactions showed that the narrative shown was weak. Problems with keeping the film ‘short’ also gave us problems with fitting in a complex narrative and so the exclusion of the character allowed for this.

The decision to not use swear words within the film was enforced as although shown within other films we felt that it may demean the film as we were not there to show off or prove a point.

Many shots were also changed or re-shot as problems occurred with some audio when capturing the footage. Many shots were changed and re-shot for various reasons: availability of actors, as a group being unhappy with the quality of footage dialogue or generally being unhappy with particular shot decisions.

During research we noted that more laid back characters tend to be more naive and speak more nervously or quietly whereas confident characters tend to be loud spoken and almost arrogant, tending to use slang words in speech. Although a minor issue the decision to give the more confident characters (i.e – JT) and more confident actors more dialogue as it allows for the dialogue and narrative to be put to the audience more clearly and assertively.

In the film many quick, cut shots were used during the action scenes, especially the fight scene. We gathered this from the research on other action films as the quick, short shots help to gather a sense of tension and suspense, engaging the audience.  Other shots used included, a POV (point of view within this scene to show Stevie’s downfall.),whip pan medium shot, close ups, medium shots, tracking shots as well as an odd juxtaposition shot.

The opening sequence sees the Boss get shot. During this scene we decided to place opera music over the top and deliberately didn’t place sound effects of diegetic audio into the shot. This was to create a juxtaposition, a contrast of something irrelevant (i.e – opera music) with something within the story line. (i.e – the shooting) Both the sound and camera shot oppose each other, however it creates an authentic feel and notifies the audience of the genre.

In the film there are many fair reflections of Propp’s character archetypes. For example the  Boss character is portrayed as the villain, who struggles with battling the hero. However the protagonists within the film are less noticeable as there is no ‘good guy’ as almost all the characters are criminals. Although the two main characters of JT and Stevie are seen as protagonists and the ‘heros’ as they battle the villain and accept advice from the donor character, who in this case was originally Mara, yet this was eventually changed, leaving one of the two main characters to reflect as the donor or helper character. The donor according to Propp is usually the character whom gives advice to the hero.

There are also a reflection of Todorov’s narrative analysis present within the film. The narrative analysis according to Todorov has a basis of five stages, stage one is when a state of equilibrium is defined, stage two being the disruption of the equilibrium and the other stages eventually recover the disequilibrium. This can be seen within Black Cash, with the equilibrium being the settled nature between JT, Stevie and The Boss. Then the disequilibrium taking place when JT and Stevie get beaten up by the mobsters. This equilibrium is then re-established when JT shoots The Boss.

Research also helped us to decide on what music to use within the film, as non-diegetic sound. Most importantly the music used for the walking scene is most effective as it builds the rhythm of the film and helps to engage the audience. It also adds to the light-hearted quirkiness of the film as well as giving it the style in particular of the gangster/crime films from the 1960’s and 1970’s. The song choice at the end of the song is a remix of a song from the 1970’s, however the remix has the basis of modern music and so blends the modern gang and music culture with the traditional element, this reflects the film as a whole.

Clothing of the characters was quite brief, as most films of this genre see characters clothed in either every day clothing or basic black and white suits. Therefore the decision on costume design was not too difficult, as the actors even wearing their own every day clothing in particular scenes still showing realistically. This is shown in the deliberate costume designs of each character. The Boss wears a suit in all scenes, which is black. This replicates a sense of importance within his character, within the scene of his death, his jacket is taken off showing a sign of vulnerability. Stevie wears a suit with braces to show his style and naiveness, whereas JT has a more unique style, mixing casual clothing with a suit jacket and shirt, this reflects the flair within the character.

The use of slight high and low angle shots were used frequently within the film to help to establish vulnerability and power within characters. For example when JT is lying on the floor injured, a high angle shot is used to show the characters vulnerability.

In the opening scene the colour was desaturated and black and white was decided upon during the edit. We felt this would work during our planning as it helps to create a sense of mystery and highlight that the scene is in fact after the current events, almost like a flash forward.

Freeze frames are also used within the film, the decision was taken from research. During the walking scene there are freeze frames of JT and Stevie, with titles appearing at the bottom of the screen to tell the audience who they are. This again helps to give the film its unique style and the idea was taken from british gangster films and television ‘cop’ show such as Snatch.

When researching gangster and crime films, we noted that many have used a grain or specific lighting techniques. This led us to desaturate the colour of our entire film apart from the walking scene, as it gives it the traditional, ‘sophisticated’ look of many films of the same genre. It also gives the film a uniqueness establishing it from other films. Also a slight grain was placed on the footage during the edit, to give it an old film look. This will help the film to stand out against competitors as the audience will immediately recognise Black Cash from any other film of the same genre.

The text used within the film was deliberately chosen to be white after trial and error of other colours. We felt that white was the best as it could be seen more clearly over the moving images. This is not the same however to the films title. This was deliberately chosen to be  grey with a black outline as the grey seemed to blend into the background, so using a black outline allows the title to stand out.

The film was stylized to a film produced by the British Film Industry. It has the traditional feel and major cultural conventions and codes of many British films. For example using dialogue such as ‘any Tom, Dick and Harry’ gives it a distinct British feel as this is a typical South-East English phrase.

Actors were directed to either use their own accents (Southern-East England) or a slight London Cockney accent, to reflect the yob culture seen in many cities. The slang and sayings were deliberately wrote into the script or directed to give off a sense of working class/ middle class background of the characters.

Our film would work well within its market and audience. Black Cash has a funny edge which will amuse most people and would keep audience members who wont typically watch or enjoy gangster/action films. As the film follows the major conventions of a gangster film, British in particular, fans of this genre would enjoy the film as they know what to expect to an extent and can make an assumption that they would enjoy the film.

From our feedback group we found that most people enjoyed the film yet were slightly confused towards the narrative. This may be due to audio loss on the outside fight scene, where voice overs had to be used. The most favourite character from the audience came to be Stevie, this may be due to him having his own scene where he takes out three mobsters. The least favourite character turned out to be The Boss, this may be due to it being a villainous character, who are traditionally hated by an audience. Many of the group suggested improvements, with these mainly including a change of actors or few references towards the narrative not being as strong as it could be. Overall  Black Cash gained an average of 8 out of 10 on feedback surveys. Many also suggested that media organisations such as Warner Brothers and British companies (both large action film producers) would produce this film, giving a fair reflection of the understanding of the genre from the audience.

Black Cash (Script 1st Draft) – A2 Media Crime/Gangster Film Production November 26, 2008

BLACK CASH

Opening Scene
Int. Office

[Grainy, old, flashback style effect. The Mob Boss is laying on the floor, bloody and bruised, leaning against the wall. Breathing heavily, he is looking up at someone. The camera cuts to show a man standing and holding a gun, from the chin down. See the man mouth something in-audiable, then the camera cuts to black as a gunshot is heard.]

Title Sequence
Ext. Streets

[Background music - Booker T & the MG’s - Green Onions. 2 people walking side by side, wearing suits. Camera shows close ups of arms, hands, legs, feet and backs. Titles are overlaid on the screen. The 2 people walk around a corner and up to the door with the camera tracking after them. As they push the doors open, the camera cuts to inside the building to see doors swing open, and people walk towards the camera and past it. They walk towards a table in a dark room, with 1 person sitting at it while 4 others stand around him. The man holds out his arms to welcome the 2 people as they approach him.]

1st Scene

MOB BOSS
Ah just the two people that I wanted to see. Stevie. JT.

[He nods to each of them respectively. Camera cuts to show Stevie and JT from the front, who glance at each-other before returning their gaze to the man.]

[Holding out hands, smiling] Right. So how about my money? Where is it? Well? Where is my money? [Shouting, slams desk] Where is my GOD DAMN MONEY!

JT
[Apologetically] Look, we don’t have the money. If you could just give us a little bit of time, we will have it for you.

[Secretary walks over and hands the MOB BOSS a piece of paper. The MOB BOSS scowls at her, then bashes the paper away with his hand.]

MOB BOSS
[Shouting] Cant you see i’m busy! Go bother someone else.
[Smiling and giggling, walks around desk and sits on the desk in front of JT and Stevie.] Well boys, Tell me why I should give you more time? What makes you think I am nice enough to give you more time? I need my money now. If you ask me to bail you out, I expect to be repaid. What is to stop me from having your bloody legs broken right now?

JT
Look. If you just give us a little more time, we will be good for the money. I promise you.

MOB BOSS
[Mood changes, looks as if he had an idea, agrees.] Okay. Okay then. I’ll let you go, as long as you bring me my money. And make it sharpish. Now get the hell out of my sight. [waves them away]

[JT and STEVIE look at eachother quite shocked, then turn and walk out. As they are a small way away from the door, the camera cuts back to the MOB BOSS who is sitting down in his chair. He signals for one of the people behind him to come closer, who leans down and the MOB BOSS whispers in his ear. He nods, then stands back up and signals to the other 3 people. They all walk out of shot leaving the mob boss sitting down at his desk alone. fades to black]

2nd Scene

Ext. Streets – Day

[JT and STEVIE are walking back down the streets, but opposite direction. They cut through a small alley and then as they exit, the 4 mobsters that where behind the boss step out from the bushes and circle them. JT and STEVIE look shocked.]

MOBSTER 1
[Smiling] ‘ello ‘ello ‘ello, what have we got here then?

JT
[Confused] What do you want?

MOBSTER 2
We have come to collect the Boss’ money. So hand it over.

STEVIE
[Angry] We already told you, we don’t have your bloody money.

MOBSTER 1
Well lads, I am afraid thats not good enough. [MOBSTER all laugh, MOBSTER 3 hands MOBSTER 1 a Baseball bat] So, you have left us with one option.

[MOBSTERS walk closer to JT and STEVIE, cracking knuckles and hitting bat into palm. Fast camera cuts. STEVIE punches MOBSTER 4 in the face, making him fall to the ground. JT tries to hit MOBSTER 2, who grabs JT’s arms and struggles with him. MOBSTER 3 grabs JT from behind, and the two throw him to the ground and start hitting him. STEVIE turns round to help JT, when the baseball bat swings out and hits him the the face, knocking him out. Camera goes to a first person view when bat is swung, cuts to black on impact.]

3rd Scene

Ext. Streets – Day

[Camera fades in from black, showing JT sprawled on the floor. Camera cuts to show JT’s face, who slowly awakens and tries to sit up, and calls out in agony. Both JT and STEVIE are heavily bruised and cut. He looks up, and sees a familiar feminine figure standing over STEVIE, helping him to recover. Camera cuts to a long shot. She turns and notices JT moving, and runs over to him.]

MARA
[smiling] Oh your awake. I thought you could take more than one hit, maybe I was wrong.

JT
[Struggling to get up, Sarcastically] Ha ha, very funny. Now can you help me up here?

[MARA helps JT up, and walks him over to the wall. Camera cuts to show STEVIE rising to his feet.]

STEVIE
[Hurt] Ugh, they damn jumped us. God Damn it. [Looks to JT] Are you alright?

JT
I’ll live. [Looks to MARA] So, are you going to tell us who you are? You seem familiar.

MARA
Yes, well I suppose I would. I ‘worked’ for the MOB BOSS as his secretary. [Flashback shows her handing him the papers] Until I heard what he was going to do with you guys, which is why I followed his goons out of that place, and then that is when I found you here.

JT
[understanding] Alright. Well we have to think of a way to get back at him. Tomorrow, we should break in and teach him a lesson for  messing with us.

STEVIE
[Angered] Oh I can’t wait for this.

MARA
Well you aren’t going to get very far just breaking in. You will have to sneak in under cover of darkness, then try to confront him directly. I know of a secret entrance around the back of the building, hardly anyone uses it. That would be your best point of entry.

JT
Alright. Well lets go and get some rest, and we can do this tomorrow.

MARA
[Nervously] Okay I have to get back before he realises that I am gone. Good luck.

[MARA runs off around the corner, JT and STEVIE look at each other and look back towards where MARA ran. Camera fades to black.]

4th Scene

Ext. Mob Hideout – Night

[JT and STEVIE are shown sneaking around at night, hiding behind corners and avoiding MOBSTERS walking around. They duck down an alley and use an old, disused door. They sneak inside it and JT pulls out a gun from his jacket. They sneak past 1 other guard, and get to a guard standing by a door.]

STEVIE
Leave this to me.

[STEVIE walks over to the man, who looks up and sees him, and STEVIE quickly dispatches with one punch, sending him knocked out to the ground. STEVIE and JT step over to the man, and opposite the door.]

JT
On the count of three. One, Two, THREE!

[JT and STEVIE both kick down the door and charge into the room, JT in front holding the gun up and pointed at the MOB BOSS, STEVIE behind him.]

MOB BOSS
[Grins] Oh you two. I wondered when I’d see you again. I didn’t think it would be easy for you to get in here though. Maybe I should have invested more money in my building’s security.

JT
[Shouting] Shut up! We have come to teach you a lesson, NOT to mess with us! Stevie, go show him.

[STEVIE walks over to the MOB BOSS in his chair, and punches him in the face sending him sprawling to the floor. The camera is looking up at STEVIE punching past the camera. after a while, STEVIE stands up and goes back behind JT.]

JT
[Looks at STEVIE] Watch the door.

[Stevie walks over and stands in the doorway, while JT takes a few steps towards the MOB BOSS, who is now laying  propped up against the wall, now bloody, cut and breathing heavily. JT slowly raises the gun up to the MOB BOSS, and looks down at him.]

JT
[Quietly] That will teach you to mess with us.

[JT shoots the MOB BOSS off camera, and stands looking at him for a few seconds. Police on my back - The clash begins to play quietly. Stevie walks up behind JT.]

STEVIE
[Smiling] Looks like we better call the cleaners.

[JT smiles, and they both turn and walk out. Music gets louder and the camera fades to black.]

Media A2 Coursework – Gangster/Crime Film Research November 7, 2008

5 minute + Crime/Action filmGangster elements.

Research into other productions/films of similar genre.

Sexy Beast

Synopsis (taken from http://www.imdb.com/title/tt0203119/plotsummary )

Gal, Deedee, Aitch and Jackie, having left behind respective lives of ill-repute, bask in the sun of Spain and in the most essential brand of leisure. A hazy yarn of barbecues, beer and botched hunting expeditions make up their retirements, until a sudden and unforeseen disruption emerges from their past. Enter the childishly violent and hilariously edgy Don Logan. Through a series of side-splitting negotiations and irrevocable acts, retired crook Gal is forced to shake off the rust and accept one last mission, put forth by the menacing Logan, his ex-mentor. A heist of legendary proportion and personal implications, this job should make for one hell of an encore.

Uses main conventions of usual british gangster films, such as the cockney accent, guns, cheesy lines and suits. However as it is set in Spain the main character is a retired gangster who is forced to come out of retirement, it doesnt have the same feel and style as many of the films of the same genre contain.

Sacrifice

Lots of £££ (money), guns & strutting. (The camera movement for this uses a camera facing towards characters as they move, following them in front, to give a pace effect.

Most characters wear suits and jackets, shirts & ties, sunglasses, chains & jewelerry.

Some almost slow motion shots used, to show punches/fighting in more detail.

Loud music over the top even when dialogue.

Lots of cuts to distinguish one movement, rather than one long shot. Again pace, gives more tension to the action.

Soft beats used within background (base) when talking/arguing. (important dialogue only) .

Blood & bruises involved, when hit/punched.

Complex story line, not much known about former events BUT is mentioned.

Boss like character. 2 characters come to see the boss, but run into trouble. ‘Take Care of Jimmy’

Boss has several hitmen/guards & lots of fighting and use of guns between two groups.

2 main characters start to get beaten (looks as if they will lose) however they eventually win.

Camera techniques used to make look as if they have been impacted far, as if they are flying. Move through air significantly when punched/kicked. (almost martial arts)

Choreographed acrobatics used to pull off moves when filming.

Loud Sound effects used (gunfire/punching)

Fast paced music, to keep upbeat with action, almost classical.

Situated in a big warehouse/room

Story line is all about someone owing money or are out for revenge.

Other Films General use.

Actors used generally within these films tend to be ‘hard men’, big, rough, tough looking men.

Use hard accents. Accents which show a more working class upbringing. For example British = usually cockney/mancunian. Whereas American Mafia films use a more Italian/American accent.

Most films tend to be situated around money, drugs, kidnappings, violence or revenge.

British Film Examples – Brighton Rock, Lock Stock & 2 Smoking Barrels, Snatch, Get Carter.

American Examples – Godfather, Scarface.

Actors well known for playing ‘hard man’/gangster roles within gangster films – Ray Winston, Bob Hoskins, Michael Caine, Vinnie Jones, Al Pacino, Robert DeNiro.

Get Carter

Get Carter

Review/Synopsis – As bleak as it is hard and viciously uncompromising, “Get Carter” is one of those films that has become increasingly interesting over time. Just as the new remake is attracting decidedly mixed reviews, the original suffered much the same treatment with one reviewer describing it as being “like drinking a bottle of gin before breakfast”.

It was hardly a proud representation of Britain at the time, with the unrelenting seediness of the Newcastle locations being less than glamorous. Despite this, Caine’s performance as Jack Carter has gone on to become the epitome of cool, with his measured and ruthless portrayal of a man consumed with revenge.

He’s come up North from his London haunts to find out what happened to his recently expired brother. His arrival provokes the type of consternation in those around him that reeks of guilt and foul play. Delving into the seamy local underworld, he’s soon embroiled in a web of lies and deceit that leads to one particularly sordid discovery, which sets him out on a trail of destruction.

Jack Carter is a one-dimensional character. Caine plays him ruthless to the hilt with anger replacing any trace of compassion. Elsewhere, John Osborne is unruffled as his silky-smooth nemesis, while Britt Ekland adds a touch of glamour as one of the distinctly throwaway female characters of the movie.

Director Mike Hodges keeps the pace fast, while cinematographer Wolfgang Suschitzky creates a world as bleak and dark as the tortured souls that scheme in it. It’s an absorbing concoction that remains far more effective than the slick and empty gangster films of today.

Taken from (http://www.bbc.co.uk/films/2000/10/17/get_carter_1971_review.shtml)

Pros & Cons of making a British Gangster Film

Pros:

Costumes are day-to-day clothes; smart/casual wear with trench coats, or other long coats – these are comonly found in the wardrobe of the average male therefore there is no need to purchase new costumes,

Locations are readily available – backstreet loactions, perhaps a view of the london skyline,

No special effects needed as British Gangster filma are created in a realist style

Characters would include an average looking middle-aged man, aged 30-45 years old – this is a pro as normal or little known actors would be used to play the characters due to the realist style,

Cons:

Often weapons such as guns are widely used in this genre of film – convincing replicas are difficult to source (source taken from http://kimhowsam.wordpress.com/2008/11/18/pros-and-cons-of-making-a-british-gangster-film/)

Character Design – Black Cash A2 Film Production November 7, 2008

Film – Black Cash

Boss Character (name Not Mentioned) – Black shirt & Suit, with Black Tie. Black Shoes. Smart looking, but a bit rough.

Jimmy-T (JT) – Calm minded, gets to the point, however can lose his rag. Black & White suit, possibly without jacket/ rolled up sleeves to counter-act with his to the point personality.

Stevie – Small, cocky & Crazy, can lose the plot. Black & White suit as well, but always dressed up in any situation.

Bouncers/Guards (behind Boss) – Again either suited up or wearing dark colours to reveal their bad persona. Hold weapons, or stand as if they are security guards. Within first scene wear sunglasses, blacked glasses so parts of facial expressions hidden. Does not allow audience to associate with these characters as they get killed off and are ‘bad’.

Female Character – Rough looking, looking for fight. Not the traditional female role, takes a more dominant stance. Wears less feminine clothes than expected from a female character.

 

Boss Character

 

Boss Character - Actor (Aaron Francis)

Prop List – Black Cash – A2 Media Production November 7, 2008

Props needed within film:

Fake Blood – Red Food Colour, heat syrup, coffee/blue food colour. = £1.80

Fake Gun – From Renier

Wad of Cash – Two £5 notes either side of a wad of paper.

Makeup – For Scars/cuts/ bruises = £2

White Shirts/ ties – £2 

Sunglasses/Shades 

Costumes for each characters which is shown within costume part (drawings & described)

Chairs/Tables

Lamp

Telephone

Mobile Phones

baseball bat/cricket bat

crow bar or equivalent

Documents for Boss’  table.