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Dramatic tension, a fundamental cinematic attribute found in film, draws in audience interest through calamity, mystery, action, or anything attention-grabbing. However, without proper shot staging, the scene will not portray the dramatic tension in the intended way. Therefore, the filmmaker must take staging into account when producing a scene which involves dramatic tension. Shot composition became a big deal in cinema from the beginning, as it could make or break the mood of a scene. For example, a film can cause a feeling of odiousness by using low camera angles and medium close-up shots. Combine that with scary music, and you have yourself a dramatic segment in a film. In the film, The Maltese Falcon, dramatic tension is produced through staging shots in specific ways to convey anticipation, surprise, and mystery.Anticipation is a distinctive type of dramatic tension that can add significant suspense to a film, however, anticipation must be accompanied by the correct shot staging and music chorus to be most effective. When considering the office scene between Spade and Cairo, anticipation is clearly evident when Cairo decides to search the office, and check whether Spade is armed. You will please clasp your hands together at the back of your neck. I intend to search your offices, Mr. Spade. I warn you, if you attempt to prevent me, I shall certainly shoot you.Anticipation is most noticeable right after Cairo draws his gun, and right before Cairo gets himself punched out. The anticipation in this segment is caused by interesting shot compositions, which are superimposed over an exciting music track in the background. The shot depicted above is an over-the-shoulder medium shot with Cairo pointing his gun at Spade. The shot is interesting, but not quite unexpected, in that such a shot puts the viewer into Spades shoes. The shot gives the viewer an idea of what Spade sees, a gun directly pointed at his chest, thus enthralls the viewer in the film. However, that is not was makes this shot essential, the most important aspect about this shot is that it also serves as a transition point between Cairo having power over Spade, and then Spade coming back and taking control over the situation. The first shot (not shown) when Cairo instructs Spade to put his hands behind his head, shows Cairo's control over the situation. Then, as Cairo tells Spade to stand up and move forward (as to allow Cairo to conduct a search,) a sense of classic cinematic anticipation will be experienced by the viewer. In other words, the music and the shot composition will make the viewer realize something important is about to happen. The shot composition in this segment makes the characters seem almost ominous, because the camera angle is positioned so that it looks up to them from a low angle. These shots were revolutionary, as this was one of the first movies to use such composition. Thus, this shot segment conveys a sense of anticipation, because the shot composition, along with the music track, exemplify the tension that is about to unfold, as Spade moves in on Cairo.
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Surprise is thrown into the mix when Cairo is caught off guard by Spade, most specifically by the quick moves Spade pulls to easily disarm Cairo and knock him out cold with one quick punch to the jaw. It is interesting how the shot composition and dramatic music effect come together to produce an exciting feeling of surprise as Spade retakes control over the situation. In the shot pictured, once again, a dramatic low angle shot is taken, and placed within a medium close-up shot on the screen. This shot composition works very well here, as it needs to add viewer suspense and satisfy the anticipation the viewer experienced as Spade moved in on Cairo. The shot is maximized with a loud musical note exactly when Spade makes the move and knocks the gun out of Cairo's hand to the ground. Once again, this adds overall effect to the segment, as Spade turns the tables on Cairo. However, things get really heated as Spade starts moving in on the newly disarmed Cairo. This segment utilizes the same camera angles and music; however has one new and important component. The lighting, which maximizes the amount of surprise, and causes a second level of anticipation, as the viewer knows that Spade will do something drastic. As the segment pans Right to Left, the lighting across Spade makes his face look even more ominous and powerful then it did before. The three effects (shot composition, music, and lighting) come together fantastically in this portion of the film, and give the viewer a real sense of anticipation and surprise.Once Cairo is unconscious on the sofa, Spade decides to empty the contents from his pockets. Now that the danger appears to have been suppressed (Cairo is unconscious,) the music slows down, and the camera angles and shot compositions change dramatically to produce a mysterious type feeling in the film. The shots are now mostly composed of Medium Close-ups to Extreme Close-ups, because the film wants to focus on the actual contents Spade uncovers. The music too, changes, and now utilizes slower beats, and softer symphonic melodies. This is an important part in the film, as the plot must show the viewer exactly what Cairo is about. Here are the contents that Spade finds within Cairo's pocketsA Greek passport with Cairos name and pictureOther passports - French and British An orchestra seat ticket to the Geary Theater in San Francisco for the evening performance on Wednesday the 18th (that evening) A wallet containing a wad of money A scented silk handkerchief $5,000, the price that Cairo offers to pay, isnt thereIt is interesting how these parts come together, to create either a mysterious, surprising, or anticipatory effect over the film. The camera angles, the shot composition, the lighting, and the music play important roles when staging a shot from dramatic tension. The way the camera is positioned, and the amount of lighting, can easily change the mood that is placed into a segment. The music can make or break the mood, and is usually added as the last layer to a completed film. Audience interest can be manipulated in an infinite number of ways; consequently, it is always possible to get the desired reaction out of an audience, whether it is anticipation, mystery, or surprise. In the Maltese Falcon, it is evident that shot staging was a very important part when it came to creating dramatic tension.
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