how you turn my world, you precious thing.

Part C;

Category Four - Music;


The music used in the selected opening is titled Underground, written and sung by David Bowie. This piece was commissioned especially for the film soundtrack, but only a portion of the full song is used in my extract.
(for a link to the full six minute version click here)

Underground was a musical experiment for Bowie, but it did an excellent job of portraying the mood the way Jim Henson envisioned it.
The song uses a lot of electronically created sounds. In addition to the basic acoustic piano, blues guitar played by Albert Collins and a rhythm section, Bowie has made great use of the Hammond organ - an electronic organ used for jazz, blues and gospel music, amongst a few others.
Keyboard, as well as programmed xylophones, flute, drums and harp were used. Underground also featured a saxophone (in the extended version) and a large gospel chorus. The piece is heavily synthesized in some parts and also very ornamental, with the use of scales, trills, glissandi, etc.

The selection of instruments picked for Underground, whether they be live or electronic, echoed and mirrored the fantasy genre perfectly. Flute and harp used together effectively imitates old Celtic tunes, which has a very mystical and sometimes dark sound.The large gospel chorus used to back up David resonates the reflection idea in an aural form. The piece as a whole sounds magical and deep, and depicts the strong visual elements of the film opening perfectly.

you don't even know what an oubliette is!

Part C;

Category Three - Mis-en-scene/Composition;

There isn't a lot in terms of mise-en-scene in the opening of Labyrinth, but the use of space is very effective.
After we see the Tri-Star production logo, the actual opening begins with a swirling blue mist that whirls around the words. As the credits begin to roll the mist twists into a crystal ball which floats into the distance like a bubble and a barn owl flies from it. As the drum in the music beats a whole labyrinth (a maze) is projected quickly beneath the owl, sort of like a flash of lightning (as shown above). The owl then reflects so that there are three flying through the air. One flies out of view and the two still on screen, mirror images of each other, fly forward. Another flies out of shot and the remaining owl is shown in a close up shot as it flies toward the camera. This owl flies around as the credits roll and it is often reflected. The owl flies into the distance of the shot into what looks like an invisible pool of water, causing ripples to come from the centre as the title 'Labyrinth' appears. All of this is done in shades of blue on a black background.


After the animation of the owl flies into the scene there is a long/wide shot  to establish the setting. We are in some kind of park or meadow with a large pond but it is secluded and no one else is around. There is a bridge which is reasonably expected of this genre, as often in fairytales and other fantasy films trolls and similar fictional creatures live under or are somehow associated with bridges. Another reflection is used as the main character Sarah runs in over the bridge and she is reflected in the water. As we zoom in on her we see that the structures surrounding her are made of stone, another commonality in the fantasy world, evoking the thought of castles with moats. There is also a graceful white swan drifting downstream which is a fairytale reference. 

All these reflections, mists, crystal balls, swans and owls are codes of the fantasy genre. Putting them together in this context just creates one large symbol of the fantasy world. There are distinct differences from the real-world, but at the same time there are many points of reality. This overlap is the audience appeal as they have something they connect to in the film. Sarah is a big point of connection as she appears to be 'sitting on the fence' between fact and fiction. As she hears the clock chime in the distance, running off in the horror and disbelief that it is "seven o'clock!" we notice that underneath her beautiful costume she is wearing jeans with sneakers, quite a visible link between the two worlds.

for my will is as strong as yours, and my kingdom is as great.

Part C;

Category Two - Script/Dialogue;

There is no dialogue until we get to the beginning of the first scene, after the credits. Sarah runs in across a bridge, dressed in a typical costume that the viewers connect immediately with fantasy. She begins to recite a passage and as she speaks the line: "my will is as strong as yours, and my kingdom is as great!", thunder rumbles and she looks up losing her place, forgetting her line. She flicks through the red book up her sleeve, 'The Labyrinth', finding the line she can never remember, "you have no power over me."

This whole speech is recited and quoted time and time again throughout the film."I have fought my way here to the castle beyond the Goblin City.." comes back when she asks the Goblin King to take away her baby brother Toby, only to beg for him back when it actually happens. The line "you have no power over me." becomes very symbolic as once she remembers it she manages to break down the glass between the fantasy and the real-world, remembering she must save her brother.

This particular speech creates meaning effectively throughout the film because it is repeated. The audience remember it well as it is introduced at the very start and then is referred back to again and again, so they can draw easy connections. Most of the time this will make them want to watch to the end of the film, so they aren't left hanging.

sarah, go back to your room. play with your toys and your costumes. forget about the baby.

Part C;

Category One - Transitions/Colour;

The opening of Labyrinth is animated and therefore all in one shot. There are no shot transitions as such, but the way the director has run all the visual information is smooth and seamless. Jim Henson has used the swirling mist and the barn owl as transitions between the names in the credits. The mist at the very beginning twirls around revealing the producer's information. As the credits roll the owl sweeps through them, often changing the words as it flies over. The owl flies into the distance of the shot into what looks like an invisible pool of water, causing ripples to come from the centre as the title 'Labyrinth' appears. This is all enhanced by the music with accompanying scales/glissandi on the xylophone that add to the overall magical effect, enchanting the viewer.

All this is done to reinforce the genre and mood, reminding us that Labyrinth is a fantasy film.
The colour used most in this title sequence is a semi transparent blue. This is the colour of the mist and the crystal ball and labyrinth (maze) that come from it. It is also the colour of the water ripples and the font used for the title and credits. This blue against a spacious black backdrop effectively makes the opening mystical, as we wonder what hides behind the mist.

The most important transition in my chosen film opening is the link between the actual credits and the very first scene of the narrative. The barn owl that is predominant throughout the credits swoops across the screen, flying directly into the story. It lands on a perch to the right of the frame as our main character runs in. The audience are meeting her for the first time.
The barn owl is symbolic of the link between fact and fiction. Sarah lives in her own world a majority of the time, in between real-life and her imagination. This film is the story of how through a slight disruption in the real-world, she is pulled toward her fantasy world.
The owl also alludes to Jareth, the Goblin King. A barn owl is his other form and when we first see him he is in this form. The transition into the scene cleverly symbolises him 'flying' into her life and world.