Translating Emotion to the Screen with Composition and Shot Variation In A Raisin in the Sun by MarJean Corkran (Auburn University Montgomery)
Filmmaking and cinematography are art forms completely open to interpretation in a myriad ways: frame composition, lighting, casting, camera angles, shot length, etc. The truly talented filmmaker employs every tool available to make a film communicate to the viewer on different levels, including social and emotional. When a filmmaker chooses to undertake an adaptation of a literary classic, the choices become somewhat more limited. In order to be true to the integrity of the piece of literature, the artistic team making the adaptation must be careful to communicate what is believed was intended by the writer. When the literature being adapted is a play originally intended for the stage, the task is perhaps simplified. Playwrights, unlike novelists, include some stage direction and other instructions regarding the visual aspect of the story. In this sense, the filmmaker has a strong basis for adapting a play to the big screen.

Despite the provision of stage directions, however, a play is not simple to adapt to a cinematic form. Plays rely heavily on dialogue to communicate emotion to the reader whereas film allows for close visual representation. Filmmakers can explore creativity in adaptation in many ways unavailable and impractical in the theater. In order to maximize the emotional impact of a dramatic work, the filmmaking team can make use of several simple yet effective tools, such as the composition of frames and the variations of the camera shot. In the 1961 film adaptation of Lorraine Hansberry's groundbreaking play A Raisin in the Sun, directed by Daniel Petrie, the filmmakers use these techniques in creative ways to communicate the close relationships and strong emotions shared within the Younger family. The filmmakers extensively use creative frame composition and shot variation to demonstrate these relationships.

Obvious even to the first-time and recreational reader or audience member, A Raisin in the Sun's familial relationships play an integral role to the plot and overall tone of the play. In order to translate to the screen the importance of the emotions shared in the family, the filmmaking team working on the movie had to develop a system of shots and compositions that would imply the relationships visually in order to support the already emotional dialogue of the play. A number of very important scenes occur in the play, which are emphasized in the film by using these technical cinematic methods.

The first good example of emotion translated through frame composition is that in which Mama reveals the purchase of the house in Clybourne Park, occurring in Act Two, Scene One of the play. This scene is pivotal in the course of the narrative. Walter Lee's dream of opening his own liquor store seems truly killed during this scene, yet the dream so important to Mama and Ruth is simultaneously being fulfilled. The range of emotions present during the scene is wide. Walter feels anger, resentment, and hopelessness, while Mama and Ruth feel joy, relief, and satisfaction. Coupled with the women's joy, however, is the fear of what Walter may say or do in his disappointment. Present also is the nervousness Mama experiences when revealing that their new home is located in a white neighborhood. The full gamut of human emotions is run in this short excerpt within a scene, and the film fully expresses all of the emotions visually.

As the scene first opens in the film, Mama returns home to find Walter and Ruth arguing as usual. She looks tired, yet stifled excitement is evident in her face. She sits wearily at the table as the frame composition takes on a very artistic and meaningful arrangement. As Mama tells her son and daughter-in-law about the house, the varying emotions show clearly on the actors' faces and the camera is placed perfectly to capture everything within the frame. Sidney Poitier as Walter Lee stands in the foreground of the shot, looking straight past the camera while leaning on the icebox. The camera is situated as if behind the refrigerator, looking into the room. Walter Lee effectively appears in the foreground of the shot, as his reaction to the news is most important at this time. The audience is made to focus on his face in this close-up shot, but also in contrast with the faces of the women in the background. Behind and slightly right of Walter is Mama seated at the table. In the background of the frame, seen on both the right and left sides of Walter, appears Ruth. Both Ruth's and Walter's faces are in full view of the camera, which allows their facial expressions-and the vast differences in their reactions to the news-to be seen clearly by the audience. Mama is seated almost sideways in the frame, facing to the right. This position is important to the meaning of the play. Mama has made the decision and taken action; the reactions of her family are now more important. Also, because she is somewhat nervous to tell them where the house is located, it is effective to have her looking away from the camera, almost shyly, and hesitant to share the news.

At first, Walter's face shows disbelief and then disappointment that the money has been spent on a house rather than a business. In the background of the frame, as a foil to her husband, Ruth's face shows incredible joy. She smiles brightly and laughs with happiness. As Walter's facial expression changes from disappointment to anger at Mama's confession regarding the location of the house, Ruth's changes from extreme elation to disbelief and worry. Visually representing the wide range of emotions felt by these characters is important to the play-almost as important as their dialogue. The unique composition of this frame is an extremely effective tool in communicating the depth of meaning to the audience.

Early in Scene Three of Act Two in the play, the first of two scenes in which Mr. Lindner visits the Youngers provides another notable example of creative frame composition in the film. The first very noticeable tool used by the filmmakers is the mirror in the living room of the apartment. When the play necessitates seeing the faces of both Walter Lee and Mr. Lindner while they speak, the filmmakers deftly use a mirror as part of the setting in order to arrange the frame to show both faces without the awkwardness sometimes common in a stage performance. As they face one another, the camera cuts back and forth between shots of Walter's face over Mr. Lindner's shoulder to Walter's face in the mirror behind Mr. Lindner. This technique employed by the director effectively uses Walter's facial expressions to communicate to the audience and is necessary in further evoking the emotion of the play. At first Walter Lee fails to realize the full and true intention of Mr. Lindner's visit. As he comes to understand the threat underlying the white man's words, the audience can see the realization in his facial expressions; therefore, keeping the focus on his face is vital.

The very simple aspects frame composition in this scene is also notable. Mr. Lindner is invited to be seated in a low armchair next to the dining table. As the women hover uncertainly in the background of the frame-always standing-Walter Lee takes a chair from the table, turns it around and straddles it to face Mr. Lindner. This very simple act is quite meaningful. At first it represents a casual comfort and ease with which Walter interacts with the man. He is an amiable person by nature and welcomes even an unexpected guest in his home. The mood and the meaning swiftly change as Walter realizes Mr. Lindner's intentions. As his facial expression changes from a welcome and open smile to the guarded and defensive look, the chair takes on a different meaning. The simple presence of the chair back between the men represents the wall that separates them in every way, including socially, racially, economically, and emotionally. As Walter's anger grows, he rises from the chair and stands towering over the small-statured Mr. Lindner, showing his need to dominate and intimidate as he orders the man from his house. The scene ends with very meaningful eyeline match shots between the three Youngers, showing their commiseration on the situation. The camera cuts to a close-up shot of each one of the three as sad, dramatic nondiegetic music is cued.

The next dramatically composed scene in Petrie's adaptation is that of Bobo's revelation of Willy's theft. This scene is the emotional climax of the film, even if it is not so in the original play. There are some notable methods with which the filmmakers create this climax, including, but not limited to, frame composition. As Bobo reveals the deceit, the two men are seated on one side of the family table, facing one another. The camera is on one side of them, showing both men in profile. The faces of the men are not the important focus of this shot. Between the heads of Walter and Bobo, and in the background of the frame, Ruth stands behind the table facing the men. Her reaction is what the audience is meant to focus on, and framing her between the two men effectively draws the viewers' eyes to her face. As the meaning of Bobo's words gets through to Walter Lee, his face is seen in two different shots, one from over Bobo's shoulder and one in a mirror behind Bobo. The shot is similar to that of the earlier scene with Mr. Lindner, and it does not lose its effectiveness.

As the scene ends, the composition of the frame becomes extremely dramatic and almost excessive in its emotional effect. Walter collapses to the floor in tears of rage. Directly behind him, Mama stands and raises her fists to the ceiling in anger. They both weep and cry out as Walter rocks his body and Mama shakes her fists. The effect is quite theatrical. Perhaps a nod to the play's origins in the theatre, this frame is artistic. Another common cinematic ploy is used in this scene to evoke strong emotion: nondiegetic music. As Mama cries out in anger, the music-deep and strong-is cued like a thunderstorm in the background. The scene then gloomily fades to black, leaving the audience to explore the emotions of the characters.

The final notable scene in which the filmmakers successfully communicate the emotion of the play through frame composition and shot variation is the final one with Mr. Lindner. Mr. Lindner is seated at the table this time, with the whole family watching him from the living room of the apartment. As Walter approaches him, the final frame arrangement is settled so that every actor can be seen, and the members of the Younger family can display their changing emotions. Mr. Lindner, seated at the table, has his back to the camera. Walter stands in front of him, again presenting a full frontal view of himself, to emphasize his importance to the scene. Travis is the only person on the left side of the frame, standing close to his father. It is important to note that he never takes his eyes off of his father, but simply stares meaningfully up at Walter as his father gives this last emotional speech. The women are again in the background of the frame. The most important thing to note about them is that they do not face Walter at all. All of them have their bodies, and initially their faces, turned away from him. This small fact may go unnoticed at first, but given what the women feel about Walter at the time, it is an effective way of translating that emotion visually. They are disgusted by what they believe he is about to do, so much so that they cannot even look in his direction. As they realize his change in intentions, they begin to turns their heads and look proudly on him. As Walter emphatically states to Mr. Lindner that the Younger family will be moving into their newly purchased home, the camera cuts to a close-up of Mama's face as a single tear rolls down her cheek. The scene is effectively wrapped up with positive emotions. The filmmakers manage to take the viewer on an emotional ride during this one final scene, from disappointment, sadness, and shame, to a proud happiness for Walter and his family. All of this is done visually using different shots and creative composition of the frame.

Although meant for the stage, and quite successfully produced for the theater, Lorraine Hansberry's A Raisin in the Sun is a play well suited for the screen. The 1961 version directed by Daniel Petrie is an award-winning production (Cannes Film Festival) starring one of America's most acclaimed actors, Sidney Poitier. Despite the necessity of the brilliant and groundbreaking writing of Hansberry, credit must be given to the filmmakers for translating the stirring emotion of the play into something visually moving. A theater production lacks the creative license for close-up shots of actors' faces, and the composition of the stage comes off as contrived and stilted at times. Although carefully planned and choreographed, the frame composition of the film is a subtle and creative exploration of the emotional message of this play.

Works Cited

A Raisin in the Sun. By Lorraine Hansberry. Dir. Lloyd Richards. Perf. Sidney Poitier. Ethel Barrymore Theatre, New York. 11 Mar. 1959.

A Raisin in the Sun. Dir. Daniel Petrie. Perf. Sidney Poitier, Claudia McNeil, Ruby Dee and John Fiedler. Columbia Pictures, 1961.

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