Expanding Our Roots: Close Reading Chart
Mis-En-Scene Analysis
Settings and Props
The scene starts out with Ashoke’s green car and lots of natural greenery. On the way, they make a stop in front of some trees with pink flowers. These colors are bright, a contrast to the dullness of the flashback Ashoke talks about. In his recollection of his tragic accident, the camera shows a suitcase being carried with his own name, A. Ganguli. This is an important detail because it adds to the theme of identity. Even though his name is something is something Gogol has struggled with, it came down from his father’s name, and his father was once young – and similar to Gogol – too, as the suitcase in the flashback emphasizes. The crowded train station is a contrast to the isolation Ashoke and Ashima faced when they came to America, and to the quietness Ashoke and Gogol feel in the car as Ashoke tell his story. The flashback includes vivid details of Ashoke’s travel to Jamshedpur, Mr. Ghosh, and a tattered copy of The Overcoat. As the train crashes, many objects fall to represent the chaos, and an overhead light ends up going out, to show the literal and figurative darkness brought forth by the train wreck. Gogol’s novel ultimately ends up saving Ashoke, which is shown through the bloodstained pages of the book. Although it’s a book that Ashoke cherishes in the beginning of the flashback, the blook on it shows that it also has a painful memory attached with it.
Costume, Hair, and Make-up
In the car ride, the clothing of Ashoke and Gogol are very noticeable due to the close ups. Despite their age difference, both father and son are sporting similar attire – plaid/striped button down shirts with sweaters – a similarity that ties them together. The differences in their features, however, are also obvious because of Ashoke’s graying hair and large frame spectacles. These choices may have been used to show Ashoke’s maturity, his wisdom over Gogol’s – who spent all his life naively complaining about a name, when he didn’t even know the full story. Another interesting clothing choice is related to Mr. Ghosh, who seemed to very an undershirt-type garment. This creates an intimacy and further helps the audience why Ashoke may have taken his advice to heart – because they had become close on the train ride.
Facial Expressions and Body Language
When stopping the car to tell Gogol his story, Ashoke stops the car and takes off his seatbelt. His hands play an important role at this time because he draws attention to the fact that he has stopped at the side of the road and is becoming comfortable in his position – he has something important to say. It signifies the “you might want to sit down for his” tone people have when delivering sad/bad news. Gogol’s expression is also interesting because he has a smirk on his face, looking out the window, when he says “I know, Gogol is your favorite author.” This expression is him basically shrugging off his father’s words, just like he did when his father gave him a copy of The Overcoat for his birthday as a younger boy. As Ashoke finishes the story though, Gogol has a wide eyed look in disbelief, a contrast that emphasizes his surprise. He has a guilty look about him when he asks, “Is that what you think of?” reminding the audience of his breakaway, his vain resistance to the name Gogol and how he abandoned it to be Nikhil. His tear-eyed father replies, “No,” showing the emotional impact the accident (and the birth of his son) have had on his life.
Lighting and Color
The main difference in lighting and color is shown in the present scene and the flashback. The current scene uses brighter, more vivid colors because the high key lighting representing a happier time. The past, in turn, uses more dull hues and low key lighting. Although certain things do stand out, like the greenery outside the train and the red of the blood stains in the train wreck, the overall colors seem to be less bright, probably to distinguish the flashback. The colors when Ashoke is lying in bed are especially dull to show the low point he had in his life. Once the story is over, the scene ends with a view of the pink flowers, a cheery way to remind the audience that the days of tragedy are over, and that now “every day is a gift” for Ashoke.
Positions of characters/objects within frame
In the car, Ashoke and Gogol are shown in really close proximity to the camera. There isn't room in the shot for anything besides their individual faces. This type of positioning is used in order to achieve closeness with the audience, so the viewers can see for themselves the reactions of the characters. Another purposeful positioning technique is when the flashback starts and Ashoke is shown following the man carrying his luggage. This type of placement conveys the feeling that Ashoke followed his destiny to the train wreck. The frame barely show Ashoke and Gogol together, probably because the film makers wanted to focus on the characters individually, since each one had a different view of the scenario. Towards the end, however, they are both shown in the car together, emphasizing the bonding moment. Finally, the scene ends with the pink flowered trees in the middle, ending with the idea of 'full circle,' an important take away from Ashoke's story.
Comparison/Contrast Essays
Mis-En-Scene Analysis
Settings and Props
The scene starts out with Ashoke’s green car and lots of natural greenery. On the way, they make a stop in front of some trees with pink flowers. These colors are bright, a contrast to the dullness of the flashback Ashoke talks about. In his recollection of his tragic accident, the camera shows a suitcase being carried with his own name, A. Ganguli. This is an important detail because it adds to the theme of identity. Even though his name is something is something Gogol has struggled with, it came down from his father’s name, and his father was once young – and similar to Gogol – too, as the suitcase in the flashback emphasizes. The crowded train station is a contrast to the isolation Ashoke and Ashima faced when they came to America, and to the quietness Ashoke and Gogol feel in the car as Ashoke tell his story. The flashback includes vivid details of Ashoke’s travel to Jamshedpur, Mr. Ghosh, and a tattered copy of The Overcoat. As the train crashes, many objects fall to represent the chaos, and an overhead light ends up going out, to show the literal and figurative darkness brought forth by the train wreck. Gogol’s novel ultimately ends up saving Ashoke, which is shown through the bloodstained pages of the book. Although it’s a book that Ashoke cherishes in the beginning of the flashback, the blook on it shows that it also has a painful memory attached with it.
Costume, Hair, and Make-up
In the car ride, the clothing of Ashoke and Gogol are very noticeable due to the close ups. Despite their age difference, both father and son are sporting similar attire – plaid/striped button down shirts with sweaters – a similarity that ties them together. The differences in their features, however, are also obvious because of Ashoke’s graying hair and large frame spectacles. These choices may have been used to show Ashoke’s maturity, his wisdom over Gogol’s – who spent all his life naively complaining about a name, when he didn’t even know the full story. Another interesting clothing choice is related to Mr. Ghosh, who seemed to very an undershirt-type garment. This creates an intimacy and further helps the audience why Ashoke may have taken his advice to heart – because they had become close on the train ride.
Facial Expressions and Body Language
When stopping the car to tell Gogol his story, Ashoke stops the car and takes off his seatbelt. His hands play an important role at this time because he draws attention to the fact that he has stopped at the side of the road and is becoming comfortable in his position – he has something important to say. It signifies the “you might want to sit down for his” tone people have when delivering sad/bad news. Gogol’s expression is also interesting because he has a smirk on his face, looking out the window, when he says “I know, Gogol is your favorite author.” This expression is him basically shrugging off his father’s words, just like he did when his father gave him a copy of The Overcoat for his birthday as a younger boy. As Ashoke finishes the story though, Gogol has a wide eyed look in disbelief, a contrast that emphasizes his surprise. He has a guilty look about him when he asks, “Is that what you think of?” reminding the audience of his breakaway, his vain resistance to the name Gogol and how he abandoned it to be Nikhil. His tear-eyed father replies, “No,” showing the emotional impact the accident (and the birth of his son) have had on his life.
Lighting and Color
The main difference in lighting and color is shown in the present scene and the flashback. The current scene uses brighter, more vivid colors because the high key lighting representing a happier time. The past, in turn, uses more dull hues and low key lighting. Although certain things do stand out, like the greenery outside the train and the red of the blood stains in the train wreck, the overall colors seem to be less bright, probably to distinguish the flashback. The colors when Ashoke is lying in bed are especially dull to show the low point he had in his life. Once the story is over, the scene ends with a view of the pink flowers, a cheery way to remind the audience that the days of tragedy are over, and that now “every day is a gift” for Ashoke.
Positions of characters/objects within frame
In the car, Ashoke and Gogol are shown in really close proximity to the camera. There isn't room in the shot for anything besides their individual faces. This type of positioning is used in order to achieve closeness with the audience, so the viewers can see for themselves the reactions of the characters. Another purposeful positioning technique is when the flashback starts and Ashoke is shown following the man carrying his luggage. This type of placement conveys the feeling that Ashoke followed his destiny to the train wreck. The frame barely show Ashoke and Gogol together, probably because the film makers wanted to focus on the characters individually, since each one had a different view of the scenario. Towards the end, however, they are both shown in the car together, emphasizing the bonding moment. Finally, the scene ends with the pink flowered trees in the middle, ending with the idea of 'full circle,' an important take away from Ashoke's story.
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