This work explores the tense and hidden emotional world of an elderly couple, amidst the hustle and bustle of a busy shopping strip. On the surface, we see the Wife's kindness and concern for bums and beggars as well as the Husband's clear disapproval of them. We are initially led to believe that the husband is miserly and uncompassionate. But as the story unfolds, we move deeper into the Husband and Wife's relationship, and partially discover a deeper more tragic reason for their behavior. There is also a chance of redemption where the Husband must decide what is more important to him: The healing of relationships or his own pride.
I am fascinated by this story because, while it may appear to be simple, there are layers of relationships that are gradually revealed to us until the last, most critical moment where an important relationship is hinted at but remains largely a mystery. The idea of information being hidden or out of reach is very strong, and that really ignites the audience's curiosity and sympathy for the characters. Revelation of the dynamics of relationships will come out directly through dialogue and action, and indirectly through silent looks, facial expressions, pauses and even the environment. The overall look would have a cartoony, stylized look where people have distinctive, easy to read shapes and faces. It would be akin to the french animation style of The Triplets of Belleville. This film would be made for an adult audience who can comprehend the subtlety of the story.
In Act 1, we are introduced to the characters and the world. Normal camera angles and ambient sounds give us a clear idea of the energetic and “everyday” consumer world. Everyone is preoccupied with shopping. There is a sense that everything seems all right. When we're introduced to the Husband, Wife and Beggar, camera angles become tighter, more personal, bringing you into closer encounter with them.
In Act 2, the camera angles will gradually build up to more dynamic, tilted and close up shots as we are confronted by the secret that the couple knows but are not talking about. Sounds of the outside world become more muffled and far away while smaller, more personal sounds are accentuated (e.g. sounds of teacups). Internal sounds (breathing, heartbeats) come in to describe the characters' internal struggles. A wider camera angle also shows the couple in relation to their surrounding world. While the couple's inner world is rocking, the outer world is oblivious to their turmoil. The sound of a plate crashing signifies a crucial confrontational moment for the couple, but is in fact just a small inconsequential event of passing interest to the people surrounding them.
In Act 3, the camera pulls out showing us the bleak end of the couple's encounter. It also telling us that we are coming to the end of our time in this couple's lives. As the camera pulls out of the shop, the couple will carry on wrestling with their problems, but we are no longer privy to what will happen. We can only guess. Sounds and camera angles revert back to the norm as in Act 1, and the audience is left with the knowledge that while we've just experienced something very intense and important to the couple (and perhaps now to us), the event has very little effect on the larger world that they are in. The world still carries on buying and selling, and the beggars still exist in the shadows.
"Man down! We have a man down! What the hell are you doing, kid??"
"But he's--"
"You three, get him out of here! We're too near the fight! Move your asses before they come back!"
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