Contrasting Images during the Opening Credits of Murder in the First

There is a significant number of contrasting and graphic images illustrated throughout the opening credits of Murder in the First (1995). The film opens with no images, but rather the chaotic mixture of sounds, including sirens blaring, footsteps running, and voices yelling. The sound of two gunshots is herd, followed by a voice saying, “I give up Mr. Glenn. Please don’t hit me.” This beginning part is ended with “Call the press!” Beginning the film in this manner is impactful and powerful, but it is strange that amid all of the chaos and disorder, the media and the press is on the mind of Mr. Glenn.

The next scene is a very sharp distinction from the opening of the film. The scene shifts dramatically, as it goes from the confusion of the attempted escape to a news report depicting the escape. However, the music accompanying the news report seems inappropriate and unsuitable, as the music sounds triumphant and somewhat cheerful, even though it is describing a very serious event. The news portrays the death of two of the escapees in a very light manner, as he says that those two prisoners were “destined for the morgue.” The news report then shows an image of one of the dead bodies with a guard standing next to it, waving and smiling at the camera. In addition, the news reporter describes the warden as “proud” and explains how he “congratulates” the guards for catching the escapees. This scene seems very unfitting and out-of-place in relation to the seriousness and atrocities that are illustrated throughout the rest of the film.

The following scene switches to a grotesque image of the body of Henry Young huddled on a slab of concrete in his solitary confinement cell. Once again, contrasting images are prevalent throughout this scene. After Young is thrown a small amount of food in his dark, tiny cell, a scenic view of Alcatraz and the Golden Gate Bridge is presented, then it flashes back to Young attempting to slit his wrists on the brick in his cell. This constant change from Henry Young’s solitary confinement cell to the world outside of Alcatraz creates an emphasis on the horrific treatment of the prisoners of Alcatraz.

Furthermore, the next part of the film shows a prayer being said, but quickly switches to an unsettling image of the associate warden, Mr. Glenn, whipping Henry Young, while a guard stands outside the cell with a neutral and indifferent expression on his face. Moreover, Young is shown eating his measly pieces of bread inside of his dark, filthy cell, while an image of the guards eating sandwiches outside by the water on a bright day is presented immediately after.

These constant opposing images create a strong impact and powerful depiction of the horrifying treatment of the prisoners of Alcatraz and the gruesome conditions that they were forced to endure.

~A.B.

Morris’s Arrival

Since we already know of his dramatic exit from Alcatraz, it is fitting to make Frank Morris’s entry to Alcatraz more theatrical. From the novel Escape from Alcatraz, J. Bruce Campbell wrote, “No newspaper had reported his arrival, but he would leave in a blaze of front-page banner lines.” This statement holds true for the film adaptation. The film uses various ways to heighten the drama, employing tactics such as weather and music.

A transfer at night adds a level of secrecy, using the cover of darkness as a way to hid from the press. The dim lit scene causes the viewer to play close attention to the few things in that you can clearly see, like Morris and his escorts’ faces. The first close up we see of Morris’s face coincides with the first close up view of Alcatraz. He stares at the island for a while, making the viewer wonder what he is thinking about, wondering if he could potentially be thinking of a way to escape. When he finally arrives on the island, the darkness gives reason for the guards to turn on the large spot light. From the moment he steps foot on Alcatraz, everyone is watching Frank Morris like a hawk.

The music for the opening scene also adds a heightened sense of suspense. The drumming beats are reminiscent of a solider going off to war, like during the Civil War. In a way, Morris is going off to battle, a fight against the prison its self, some of inmates, the warden, and the guards. The drumming continues until he reaches the insides of the prison, where it is replaced by orders from guards.

Another aspect of drama in these opening scene is the weather. The heavy down pour of rain adds another veil of secrecy to the transfer. For the opening, along with rain comes thunder and lightening. The different claps of thunder and flashes of lightening happen in very prominent instances of his transfer. As he turned the corner to the cell block there is a clap of thunder. The thunder is alerting the other prisoner of the new inmate coming down the cell block. As he makes his way down the corridor, the are shadows moving towards the bars of the cells, trying to catch a glimpse of the new man. The final thunder clap come directly after the guard says, “Welcome to Alcatraz.” The last flash of thunder and lightening are a bit cheesy, however also ominous.

For such a quiet man, soft spoken man, Frank Morris took his peaceful transfer to Alcatraz and turned his exit from the island in to an event that has been talked about for years.

~J.G.