How does ‘Bleak House’ build up suspense and tension and mystery in this extract?

“Bleak House” is the motion picture representation of Charles Dickens’ ninth novel, a dark and dramatic story that conveys well on screen as a period drama. “Bleak House” is created (like most period dramas) by the BBC, however it differs considerably as it challenges previous Nineteenth century era dramatizations with an undertone of modernity, allowing its genre to be redefined due to it galvanizing the audience with thriller conventions (creating tension and suspense), instead of presenting a subdued, monotonous depiction of Victorian or Regency life. It achieves this with a significantly contrasting mise-en-scene to that of a traditional period drama, with the use of; camera angles, lighting, sound and editing techniques to instill a contemporary feel to an arguably outdated narrative.
The audience are immediately introduced to the bleak surroundings as the drama begins, the actual “House” appearing on screen as the title fades to black. Dingy lighting is created by the overcast sky that the audience instantly see, creating an unwelcoming feel as the drama begins, again supporting the word “Bleak” in the title. The string score from the title sequence carries on through to the first scene, though changing in pace as it interweaves with the action, creating both pace and adding to the tensions of the scenario. Suddenly the camera zooms in to its subject; a horse and cart (confirming the drama’s context) accentuating its importance. An array of varying camera shots is then used used, with the majority being handheld, giving the audience a first person sensation and creating an atmosphere of chaos as a non-diegetic thunder clap is hastily included to create pathetic fallacy. Already the audience can interpret “Bleak House” isn’t a conventional period drama as these sudden camera shots and editing techniques are generally unused in the genre. With this action already occurring, the audiences attention is diverted to a character cloaked in a black hood and a large black box that a character dressed in generic Victorian era costume is stumbling to deliver. This mise-en-scene fuels the audiences curiosity as the mystery is heightened in the scene. The cloaked character is again displayed on screen and unveiled as a young woman appears from under the cloth, in the cabin of the cart, the mayhem ceasing along with the music, which pacifies promptly. This chiaroscuro setting uses the dark backdrop and the light upon the female character’s face to contrast her femininity with the masculine havoc of the previous setting. This momentary tranquility is short-lived however, and the action of the cart returns, traveling briskly through the woods with a tracking shot creating pace and tension for the audience. This follows a close up of a horse’s features and a crescendo of non-diegetic thunder and panic-stricken whinny.
Later on the in the episode we are introduced to another set of characters. A close up of a woman’s face is focused on, with depth of field used to blur the character she is talking to, who sits behind her in a chair. No music is used here, only the diegetic sounds of the crackling fire to add a sense of realism into the setting. This allows the audience to focus on the conversation, therefore heightening tensions and curiosity. As she speaks a characters name the shot cuts to a low angle tracking shot of two sets of legs walking up a flight of stairs. These legs are partially obscured by the ironwork of the banisters, creating a sense of voyeurism for the audience, a common technique used by the directors of “Bleak House” to incorporate the audience within the epoch. This is accompanied by eerie non-diegetic sounds that generate a sense of suspense for the viewer. Eventually this shot also cuts, when the both characters’ features have been exposed by the camera and they enter the room which was the subject just moments before. The depth of field is still employed to highlight the female character’s emotions, and with it shadows and a blue hue to the camera are added, producing an unsettling tone to the surroundings. Here the music is again removed, making way for the dialogue of the characters to guide the narrative.
Voyeurism of the audience is again used here as objects obscure full vision. This gives the effect that the audience are in the action of the scene, just out of the character’s line of sight. This could imply that the truth is in actuality being obscured, with one of the character’s being doubled by a glass object, perhaps indicating that his character is duplicitous. As the conversation continues it is obvious that “Bleak House” does not follow the conventions of lucid 180 degree shots, instead utilizing avant-garde methods with the use of handheld cameras and depth of field.
The camera shots follow the narrative as the character becomes aware of a name on a letter. With a sped up zoom that heightens the importance of the name on the letter and a sharp, non-diegetic sound effect that echoes those used on Alfred Hitchcock’s 1960 thriller, “Psycho”. This emphasises her emotions as she discovers the name and increases tension is, forging an edge of seat moment for the audience.
As the narrative continues, the camera becomes blurred as it attempts to focus on the text again and the male character’s voice is given the editing technique of “reverb”. As the character faints, the blur and the echoes of the mise-en-scene allow the audience to experience her fate. This editing technique is another example of “Bleak House” not following period drama conventions, as in others such as “Pride and Prejudice” there would be no need for the use of this editing, as it would merely distort the program’s portrayal of basic Victorian life.
As the fainted character recovers she, and the maids (who again support the context of “Bleak House”) that follow cross in front of the camera, enforcing the voyeurism again. The male character retrieves the document she was reading and stares after those who have left the room with a piercing glare. This is slowed down to connote his sinister personality and coupled with a crashing non-diegetic sound effect that links the scene with another.
The new scene brings with it again new characters, including a man who is being shouted at from the bottom of a spiralling staircase by another. Low and high angle shots are used here to connote the protagonist who is climbing the stairs. This character escapes through a door, which is zoomed into by the camera as he enters. A close up of his face follows, allowing the audience to become familiar with his features and his emotions; a visage of uncertainty and anxiety. This shot follows on as it tracks him to another position. This time, the film is cut in several places as he fondles with keys, building tension as the film is not continuous, the audience question “what is he doing?”. This interesting editing technique is not one that would usually be associated with a representation of a Victorian drama. An eerie sound provides the backdrop to this action, increasing in volume as it links to another scene.
The new scene is entered with a further serene undercurrent, though mystery is still highlighted as the camera uses an extreme close up to view what the female character is looking at as a plot device. It is filmed as the character is sitting a dressing table, the mirror being used as the centre of action as it displays what she is doing, due to her actions being obscured by her back to the camera. This experimental camera angle provides the viewer with a feeling that they are in fact spying on this character, with the theme of voyeurism again explored.