Essex Boys

Director: Terry Winsor
Writers: Jeff Pope, Terry Winsor
Production Company: Granada Film Productions
Released: 14th July 2000
Audience: Most enjoyed by females aged 18-29 (possibly because female characters outwit male characters at the ending, promoting a positive female role-model).

Opening Scene:
The very first shot is generic of a thriller film, duly to the majority of the aspects of the mise-en-scene. For example, the first shot is in a garage, which is a very enclosed space, suggesting intimidation and vulnerability. The lighting in this shot is chiaroscuro lighting (meaning light on dark) as it is shot by a street light in the middle of the night; successfully creating a light on dark effect. This non-ambient lighting indicates a stylish interpretation of the events occurring. The garage is covered in cobwebs, which greatly increases the sense of fear within the mise-en-scene, connoting mystery, fright and danger within most viewers.

In terms of sound in this scene, ONLY diagetic sound is used. This sets an atmosphere of realistic or authentic tone, as you can hear the true events taking place as they are happening on screen. A voiceover (narration) is used to bring the audience into the story, as if they are part of the film themselves, because it seems as though he (Billy Reynolds) personally is telling the audience his story. Because of this initial narration, it establishes Billy as a protagonist within the first few minutes of the film. When narrating, he speaks with an Essex accent, quickly establishing the area in which he is from and the film is set. Still in the opening scene, there is a close-up on Jason, establishing him as the second character and another protagonist.

The opening scenes include lots of generic signifiers of thriller films. For example, the grey, miserable, unglamorous locations used for the setting of the film are notorious for thrillers, most likely because they create connotations of dankness, crime and sleaze. There is, in my personal opinion, a fantastic shot when Billy and Jason in the car are entering the Dartford tunnel at the start of the film, as it is as if they are entering a whole new realm or different section of the story. It is as if they are entering dangerous territory, because the shot of them entering the tunnel brings about connotations of the barrel of a gun… implying there is danger or crime soon to come. Another brilliant shot when they are in the tunnel is a close-up of Billy from the front, through the windscreen, when he is driving the car, where the lights from the roof of the tunnel are reflecting on the windscreen in a fashion so that it looks as though they are taking the shape of prison bars in front of Billy. This is possibly suggesting that now he has got involved with Jason’s life of crime, he is now trapped and stuck with this choice… it also again connotes claustrophobia (a signifier of thrillers, so once again establishing the film as a thriller) as if there is no escape from Jason, stuck in the car with him!It could easily also suggest where the character is inevitably going to end up if he gets involved with Jason… Prison.

Point of view shots are used in the car to position the audience in the characters’ shoes, making them engage, and almost placing the audience in the film. This for the viewers, creates a sense of nervousness and awareness because they are taking the place of Billy stuck in the car with this evil character, Jason, so making them pay more close attention. The white van they are driving in is also a generic signifier of thrillers, mainly because it really makes the audience ponder lots of different questions surrounding it’s contents… What could be in it? A body? Money? Drugs? It therefore helps keep the audience engaged by adding a sense of mystery.

When they reach their destination of the Essex marshes, you can see that the marshland suggests Jason’s society and way of life. It is a metaphor for him and his world, in the sense that the surroundings are nasty and dangerous, and the fact there is nothing there for miles and miles. Nothingness for as far as the eye can see. The marsh creates connotations of emptiness, loneliness and waste (possibly wasted dreams?). The weather is very dreary and overcast, and the scene uses purely ambient lighting, making the whole place seem miserable and grey… as this is yet another signifier of thriller films, because of it’s connotations of a life of crime.