For this entry, I'd like to use Madagascar 3 as an example. Seeing as the film was only just recently released in cinemas, the availability of choice screen shots to choose from is limited. However, I still managed to find a fair few that effectively demonstrate what I wish to highlight.
Many sources and types of light are utilized in this film, including lantern light, neon lights, subway ceiling lights, and, of course, bright and subdued sunlight. One of my favorites is the foremost of those listed here -- lantern light. At this point in the film, our four main characters -- Alex, Marty, Melman, and Gloria -- have stumbled upon a traveling circus. Hoping to blend in and hide from an animal control officer who is pursuing them, they manage to convince the performers of the animal circus to tour with them for a time.
This particular shot is interesting, because there are not one, not two, but three moods present here. Vitaly, the tiger, is critical and uncertain of the newcomers. Notice that the film-makers set him in the darkest area on this side of the train carriage, obscured by shadows and set apart somewhat from the light. Naturally, this choice results in him appearing more intimidating than the other two characters. Gia, the leopard, is more curious. (She was also the first to let the newcomers on the train.) While she remains in the background, the light illuminates her features and gives her a friendlier air. Stefano, the sea lion, is very hopeful, and, taking into account this fact, it's interesting that it is he who is holding the lantern. Notice the symbolism. You see symbols like this throughout both animated and live action films, including costumes, colors, objects, and, of course, lighting choices.
In this moment, Julien, Maurice, and Mort have stumbled inside one of the circus train's carriages, and they're not alone.... Since the characters are stationed in an old train and not a jail cell or psychiatric ward, and in a carriage with no electric sources at that, natural light had to be utilized to further emphasize the tension felt and give us the impression that we're in a seemingly unpleasant place. Although we're not exactly sure where the train is moving through at this point, we can surmise that it's either going in and out of tunnels or simply brushing through a very dense forest area where light has difficulty reaching its arms through; however, when it does penetrate the darkness, it's stark, abrupt, and invasive, cutting the walls and floor and slashing the characters' bodies. When the creature amongst them is revealed, however, we cross over to a completely different atmosphere....
What a contrast! As soon Sonya the bear is revealed, Julien falls head over heels for her, and the lighting changes from very harsh and condescending... to incredibly warm and inviting. At this point, the train has emerged into direct sunlight, and this change completely engulfs the carriage, bathing it and its characters in a soft, beautiful atmosphere.
Last of all, we have the Alps. While not the most flattering image, I absolutely love the way the sequences with the characters in the Alpine mountains was lit. It gives the place a relaxing and welcoming air and makes it seem even more open and spacious than it already is.
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When the film comes out on DVD, I will have to find better shots and go over those. In the meantime, to get the full enjoyment out of this beautiful film... go see the movie!!
-- "Mitch"
All images are © DreamWorks SKG.
