For my Intro to Film Analysis class I had to analyze a scene from the film The Man From U.N.C.L.E. shot-by-shot. We all had to analyze the same scene. Below is my shot-by-shot analysis of the scene.

The Man from U.N.C.L.E. (2015) Action, Adventure, Comedy | 116min | 14 August 2015 (USA) 7.3

Director: Guy RitchieWriter: Guy Ritchie, Lionel WigramStars: Henry Cavill, Armie Hammer, Alicia VikanderSummary: In the 1960s with the Cold War in play, CIA agent Napoleon Solo successfully helps Gaby Teller defect to West Germany despite the intimidating opposition of KGB agent Illya Kuryakin. Later, all three unexpectedly find themselves working together in a joint mission to stop a private criminal organization from using Gaby's father's scientific expertise to construct their own nuclear bomb. Through clenched teeth and stylish poise, all three must find a way to cooperate for the sake of world peace, even as they each pursue their own agendas. Written by Kenneth Chisholm (kchishol@rogers.com)

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Source: imdb.com

The Scene

Shot-by-Shot Breakdown

1. Long shot of dock. It is dark with natural-key lighting from a spotlight across the water. Solo is coming up the ladder on screen left and crossing to screen right, the camera follows him to keep him left of center by panning right. Non-diegetic music plays in the background.
2. Medium tracking shot following Solo as he is running towards a truck in the background, only his back is visible until he turns to look behind him. It is dark with natural-key lighting from an overhead light off-screen to the left.
3. Long shot of Illya in a motorboat as it drives by a man with a machine gun. In the foreground, we see the docks with crossing bars obstructing part of the view. The man in midground is out of focus, and on-screen left with parts of his off-screen. The boat is center screen. Natural-key lighting is from an off-screen light from above left. Diegetic sounds of gunfire can be heard.
4. Long tracking shot following Illya on the boat as it gets shot up.
5. Long tracking shot of Illya on the boat.
6. Medium close up of Illya as he looks over his shoulder.
7. Long tracking shot of Illya on the boat.
8. Medium shot of Solo in truck from the side.
9. Medium Shot of Solo in truck from the front.
10. Long shot of Illya in boat with Solo in truck in the foreground, out of focus.
11. Medium shot of Solo in truck from the front.
12. Extreme close up of Solo turning keys in the ignition.
13. Extreme close up of radio dial and it lights up.
14. Medium shot of Solo in truck from the side.
15. Extreme close up of radio dials as Solo changes the station.
16. Medium shot of Solo in truck from side.
17. Close up of newspaper on basket.
18. Medium shot of Solo in truck from side.
19. Long shot of Illya in boat with Solo in truck in the forground, out of focus.
20. Medium shot of Solo in truck from side.
21. Close up of wine bottle in basket.
22. Medium shot of Solo in truck from side.
23. Close up of wine bottle.
24. Medium shot of Solo in truck from side.
25. Medium shot of Solo in truck from front.
26. Medium shot of truck side mirror with the reflection of Solo drinking wine in the mirror. In the background, out of focus, is Illya in the boat.
27. Medium shot of Solo in truck from side.
28. Close up of the basket.
29. Medium shot of Solo in truck from side.
30. Close up shot of Solo as he tucks in the napkin.
31. Medium shot of Solo in truck from side.
32. Close up of Solo.
33. Extreme close up of sandwich.
34. Close up of Solo as he takes a bite of the sandwich.
35. Medium shot of Solo from the side.
36. Close up of Solo eating. It refocuses to a long shot of Illya on the boat.
37. Medium long shot of the truck pulling away.
38. Medium shot of Solo driving truck.
39. Medium long shot of bad guys on boat making sure Illya is dead.
40. Medium shot of Solo in truck.
41. Medium shot of Illya sinking in the water.
42. Medium shot of Solo in truck.
43. Medium long shot of boat.
44. Close up of guy with gun.
45. Long shot of truck driving off dock and falling onto boat.
46. Medium shot of Solo in truck as it sinks.
47. Long shot of truck sinking.
48. Medium shot of Solo in truck as it sinks.
49. Long shot of truck sinking.
50. Medium long shot of truck sinking from underwater.

The Analysis

Solo and Kuryakin have a like-hate relationship which is evident in the scene. Solo is on his own and finds refuge in a truck with food, wine, and music, while Kuryakin is left being shot at and chased by a patrol boat.

The scene comprised mostly of short takes, except for Solo in the truck. Those takes are longer, which creates an absurd feel to the fact that Solo is safe while Kuryakin is still in danger. It also releases the audience from watching repetitive action shots of the boat chase. Ritchie structures several long take scenes where we can see what Solo and Kuryakin are doing in their separate spaces. Solo sits in the truck, and we see Kuryakin in his boat through a window or reflected in a mirror. This setup shows how Solo is reacting to the chase that is taking place not that far from his safe location. The camera changes focus from Solo to the boat chase and then back to Solo, which creates a closer relationship between the two characters. If there had been cuts between shots of Solo and shots of Kuryakin in the boat, it would have been a more disconnected relationship in the scene.

At first, Solo is detached from what is going on. He focuses on his desires and enjoys some wine and a sandwich. It is not until after the boat explodes that the audience sees an emotional response to Kuryakin’s struggles. Solo seems concerned for a second but then decides to drive away, leaving Kuryakin behind. However, he stops, and the audience can see an internal struggle happen, he has grown to like Kuryakin, but at the same time, he is a loner. Finally, he decides to help Kuryakin, but we do not see him come to this decision, it is shown to us when he unexpectedly drives the truck off the dock and onto the patrol boat.

When Solo turned on the truck, and the radio plays, he changes it to a station playing a romantic sounding song sung in Italian. This song later overtakes all other sounds, which strengthens the visual connection between the two characters by removing the sounds that would add audible clutter to the scene.

When Solo is in the truck, and it is sinking in the water, he continues his unconcern nature as he removes the napkin from his shirt and rolls up the window. These shots are still in longer takes than the action shots. The use of long takes here shows that Solo is confident in the choice he has made.