The Diving Bell and the Butterfly analytical entry

The most striking element of the film The Diving Bell and the Butterfly is most certainly the cinematography. The majority of the film is shot from the perspective of Jean-Dominique Bauby's eye. This creates some very interesting and dynamic shots. I found the first couple scenes particularly interesting. When the film begins, Mr. Bauby's eye slowly opens and looks around the room. The Camera is extremely out of focus and blurry. It immediately draws you deep into the film. As people begin to take notice of Mr. Bauby's awakening the shallow focus becomes more obvious. People's faces are blurry until they move as close as possible to the camera. As the film progresses, the depth of field progressively become deeper. As Mr. Bauby's vision becomes clearer, so do ours. The attention to realism and detail in the film is the most important part of it. The purpose of the attention to detail is clear; the film invites us to become fully immersed in the experience of Jean-Dominique.

Later in the film we are kicked out of Jean-Dominique Bauby's perspective rather abruptly. The cinematographer makes some really unique stylistic choices throughout the film. For example, the scene in which Mr. Bauby is driving in his convertible soon before his stroke, the camera moves often and abnormally. Sometimes the camera focuses upward at the sky and the tops of buildings from inside the car. While many different symbols and other things can be inferred from this stylistic choice, it at the very least sets the film apart from the norm.

As with any film, a combination of cinematography, directing, and editing make a film work or fail but “The Diving Bell and the Butterfly’s” cinematography creates a unique and intriguing feel to the film that draws you in and never lets go, even when it kicks you out.