Identifying how Peter Jackson develops and challenges generic conventions in "Heavenly Creatures"

Film title: Heavenly Creatures
Director: Peter Jackson

Plot: Two girls have an intense fantasy life; their parents, concerned the fantasy is too intense, separate them, and the girls take revenge. The film is based on the Parker-Hulme murder case, which shocked New Zealand.

Reviews:
" Heavenly Creatures is beautiful, haunting, thoughtful and incisive". - Theo Robertson, Scotland (2004) 

Peter Jackson uses shot-reverse-shot in a quick succession in order to build suspense. Cuts between the mother and the girls are fast, and along with the different character expressions we can observe the tension rise. This is as the mother looks happy and is acting rather social able, showing her naivety

about the following the events. In comparison, Pauline has an emotionless and angry expression, portraying her impatience. The fast transitions between shots further communicate the difference in character emotion as we are shown the constant contrast between them. This builds suspense as we are watching back and forth between the rather awkward scene waiting for something bad to happen, which we know is imminent from Pauline and Juliet's expressions. Further, we can see that Jackson is careful in not breaking the 180 degree rule within the conversation, the fact that there is a wall on one side of the table may have aided him whilst filming as it could have acted as a block. Abiding by this principle shows that he has not disorientated or confused the audience.

 This zoom shot on the clock is very significant and also effective. The zooming notion may be informing us to draw all our attention to the time, this is so that we know where all the characters were at that specific time. In addition to this, the shot directly after features the camera zooming in to Pauline's face, therefore further suggesting how impatient she is and maybe hinting that we should associate her in particularly with the time. Furthermore, Jackson portrays conventions of the thriller genre via the use of the clock. This relates to the genre as it connotes the time of death in relation to where all characters were, therefore adding tension as we know that something is definitely going to happen. Jackson may have been referencing films such as "High Noon", whereby shots of a clock are used to symbolize a notorious character out for revenge returning on the noon train. Although this use may not be used to specifically connote time of death, the cuts between character, clock and train build tension and make us wait in anticipation.

                

From this shot we can observe how Jackson develops generic conventions of location within the thriller genre. This is as the environment is not particularly claustrophobic or dark, as it's very open and at a sunny point in the day. However, the location still maintains isolation and therefore a sense of entrapment as there's no one else around to help the victim therefore leaving them stranded with their fate. Jackson uses this feeling of isolation to evoke anticipation within the audience as the girls have now entered their killing territory and we are waiting for them to strike. Additionally , the use of a high angle shot is effective in further representing the isolated environment. This is as it seems to go on and on, where by the shot is filled with vast forest, whereby the characters are minuscule in relation.

Jackson uses a series of close-ups which cut from one another as the 3 characters walk down the pathway. These different close-ups allow us to identify with characters' expressions and observe their movements, this is effective as the varied shots build up tension. For example, there are several close-up shots which go from shots of the face to the

hands' of the characters. The facial expressions communicate the determined and rather worried feelings of the girls, whilst their hand movements suggest their uncomfortable and uneasy emotions about what their about to do. Furthermore, the fluid cinematography holds the walk together beautifully and creates suspense due to the

continuous camera movements and shot variations, which in turn, keep us gripped as we see the girls plan finally coming together. In addition to this, the effect of slow motion and glaring light in some of the shots could indicate how unreal the moment is. This idea could be related back to the actual murder the film was based on, whereby New Zealand couldn't believe that two well brought up girls would commit such an act, as it doesn't pose as something that would happen in reality.

From this shot we can establish that Jackson challenges generic conventions of weapons and gender. This is as instead of using a conventional weapon e.g. a knife or gun, the two girls murder the mother with a brick encased in a stoking. The use of this weapon is incredibly disturbing and would most probably evoke fear in the audience due to the fact that it doesn't kill straight away and the notion of beating the mother to death becomes therefore a lot more distressing. In addition to this, the weapon contains a resemblance and could be a reference to the soap wrapped in towels in the film "Full Metal Jacket", this is as the use of the weapon in "Full Metal Jacket" is to torture one of the characters. Although, this is not the girls aim, the weapon conveys the same meaning as it does not kill the mother instantly and therefore puts her through immense pain, which is why this reference may have been conveyed.

Furthermore, teenage girls being depicted as the murderers completely challenges generic conventions of gender. This is as in the most part of film, adult males and to some extent adult females are usually conveyed as the killers. Therefore, the effect of having two teenage girls commit such an act as murder is completely shocking and the idea of this shock may further relate back to the true murder case.

Soundtrack:


During the ending scene the non-diegetic sound of Puccini's 'Humming Bird' is introduced whilst the two girls and Pauline's mother are sitting in the cafe, this song carries on right out until the tragic murder. The use of 'Humming sound' is extraordinarily significant as it references the opera Madama Butterfly, whereby a young Japanese girl falls in love with an American sailor. However, the sailor takes the relationship as a passing fling and ditches the girl leaving her very upset, to add to the pain he then returns back to her with the intention of taking possession of their child. Overall, the girl ends up killing herself due to the amount of trauma she's experienced. This strong reference therefore completely contradicts the action, where by Juliet and Pauline are so inseparable (resembling the mother and child) that they kill Pauline's mother for their own sake, in other words, they believe they will not be able to live without each other and therefore remove the only obstacle preventing this i.e. the mother. With this reference Jackson could also be suggesting that the story is worthy of a grand opera due to the incredibly tragic ending. Additionally, "Heavenly Creatures" further represents Madame Butterfly through the similarity of story and dialogue. For example, in the clip below a part of the subtitles read "You were sent down to me from the throne of Paradise!". This piece of dialogue could represent how much Pauline and Juliet mean to each other, believing that they were both meant for one an other as if their relationship is a gift.
                          
                  

Another piece of intertextuality that "Heavenly Creatures" portrays through the soundtrack, although not a strong reference, is to "A Clockwork Orange". This is as in "A Clockwork Orange" non-diegetic classical music (Ludwig Van Beethoven) is played in order to reflect scenes of violence, rape or torture. Furthermore, the same concept of classical music over a violent scene is conveyed in "Heavenly Creatures" with Puccini's 'Humming Chorus'.