Alfred Hitchcock 1963 classic drama/romance, “The Birds,”
In this film, Alfred Hitchcock utilizes many different cinematic techniques and tools to create the disquieting films he is known for. In his 1963 classic drama/romance, “The Birds,” tightly orchestrated classical editing leads the viewer through the intersection of the major characters’ stories and builds up to the terrifying bird attacks. One sequence in “The Birds,” which stands out for masterful editing, is when Melanie delivers the lovebirds to Mitch’s home via a small boat, then escapes in the boat back across the bay. The playful, flirtatious interaction between Melanie and Mitch in this scene, even though they never speak to one another and never actually share the frame, is created through tightly structured editing conveying the characters’ increasing romantic interest in one another through the continuous flow of movement from shot to reaction and change from one character’s perspective to the other’s.
This scene, through classic narrative editing, jumps from views of Melanie to views of Mitch, conveying their awareness of and interest in one another without a single word exchanged between them. The scene begins with a medium shot of Melanie sticking her head out of the front door of the Brenner house, clandestinely looking around, then shutting the door and walking quickly down the walk; she is shown in profile so that the viewer can look past her in the direction where she last saw Mitch. Her quick pace and darting look signal that she is doing something she does not want to be caught doing. The shot cuts to the front of the barn and the barn door, which puts the viewer into the role of watching for Mitch to appear, just as Melanie is. The next shot is from behind Melanie as she hurries down the gangplank of the dock; Melanie is shown looking behind her, and then cuts to the barn door again, continuing to give the viewer the perspective of “the lookout.” Melanie is next shown getting into the boat and paddling away. The shot, a medium shot facing straight on, shows Melanie with a mischievous look on her face; she is getting away with the surprise she planned. The shot cuts to a long-distance look from the water at Mitch appearing in the door of the barn. Cutting to Melanie, the shot shows her crouching down behind the motor to observe Mitch’s actions; again, the shot cuts to Mitch as he goes inside the house. Even though the viewer does not see Mitch finding the lovebirds, Mitch’s reaction tells the tale; still shown from long distance, he runs out of the house and checks the road for a car or a clue as to who had left the gift, then he suddenly notices her boat in the distance. The shot, still from long distance and from the perspective of Melanie, follows Mitch as he grabs binoculars to see who is in the boat. Several seagulls flutter in front of the shot from the boat to the Brenner house, which offers a foreshadowing of the attacks to come. This is the first time seagulls or any other type of bird has appeared during this sequence. With the next shot, the viewer now sees as if through Mitch’s eyes. This is established by the medium shot of Mitch, looking through the binoculars. The shot jumps to Melanie as seen through Mitch’s binoculars, starting the outboard and powering away. The scene cuts back to Mitch in a common reaction shot as he smiles. The shot cuts to Melanie’s view of Mitch jumping into his car. Without the use of dialogue, Mitch’s intent is clear; to meet her on the other side of the harbor. The next shot is a close up of Melanie, her hair fluttering in the wind and with a flirtatious half-smile. However, the feeling of the scene starts to change at this point; storm clouds gather behind Melanie as if suggesting there will be dark and stormy times ahead. The shot cuts to a view of the approaching fishing dock where she will return the boat. Next, the shot cuts to a close up of Melanie looking ahead almost dreamily when suddenly a seagull rockets into the frame from the left side and strikes her in the head. The next shot, a close up of her glove after she touches her head, shows a single drop of blood, is the final turning point from the feeling of lighthearted romance to one of serious jeopardy. The 180-degree rule is strictly adhered to in this sequence; this consistency and the crisp editing communicate that Melanie and Mitch are starting a relationship without ever actually being in the frame together as the shots cut from Melanie to Mitch and back again, the axis stays consistent with the characters remaining in the right of the frame even though the shot jumps back and forth between them. This creates continuity and a meaningful flow of the story. All of this action takes place without dialogue or background music; the only sounds in the sequence are Melanie’s footsteps, the water, the boat’s motor, and finally, the cry of the seagull that attacks Melanie.
“The Birds,” despite being primarily seen as a suspense film, does include a romantic angle. In the sequence where Melanie leaves the lovebirds in Mitch’s home, the flow of images, despite a great deal of cutting from one scene to the next, is an excellent example of using classical editing technique to precisely communicate the feelings of Melanie and Mitch without the devices of dialogue, music or sound effects. This sequence features editing, along with the body language and facial expressions of Mitch and Melanie, as the sole tools used to elegantly and communicate the story to the viewer.
The impact of The Birds (1963) in the film industry
Not only is this film a terrifying Horror Story, it very much starts as a beautiful love story about people that actually can’t stand each other but also can’t deny the attraction that exists between them. Therefore here, Hitchcock incorporates the use of love in horror movies. This sets the pace to the current horror and zombie filmmakers, who can’t miss to include an element of love in their films.
Hitchcock’s influence on horror filmmakers