It might seem trivial for
a film director to emphasize something as simple as a number in his
work.
However, I believe that William
Wyler convincingly
emphasizes the recurring motif of “Twos,” in the film “Wuthering
Heights,” in order to achieve meaningful results. The motif succeeds
in giving the film a beautiful sense of symmetry, on multiple levels. This
distinct motif is ingrained from the film’s tiny details, to its larger
aspects. “Twos,” are evident in the choice of two objects framed
by the cinematographer, distinct “pairs,” of characters within
the film, the focus on conversations between only two people at a time,
and the romantic, recurring image of the two lovers on the rocky hilltop
of Wuthering
Heights.
The film opens depicting an old man, who discovers a cabin amid
a snowy landscape. Seeking refuge in the cabin, he meets an
old woman. There is
emphasis on
their conversation, which is the first example of the film’s focus
on interaction between only two characters at once. Soon a third character,
the cabin owner,
is introduced, and the conversation shifts from being between the old
man and the woman, to the old man and the owner. Although there are three
characters
here, the emphasis of the conversation is between two of them at a time.
The
presence of three characters occurs frequently, but the third is present
only as an accessory, or catalyst to the scene. The actual emotional
drama and tension
is almost always between Cathy and Heathcliff.
In contrast to this, the second scene of the film is exterior,
set in summer, and features a pair of young characters. The
placement of these
two scenes
is an instance of “pairing,” sets of opposites. It shows us
the contrast between the young and the old, interior and exterior, summer
and
winter.
In the second scene, the two characters Cathy and Heathcliff are
seen riding horses across the countryside. Cathy rides a white
horse, and
Heathcliff
a black one. At a basic level, these colors might be foreshadowing
of the “purity,” or
each character’s adult life to follow. Later in the film, Cathy
grows up and remains innocent. Heathcliff begins as righteous character,
but
ultimately becomes dark, to the point where he fulfills his vengence,
and turns his
back on Cathy.
Another “double,” image is intentionally choreographed within the
frame, where the two stop riding their horses, and two farm dogs can be seen
frolicking in the background. Here the motif is subtly placed in the background
of the scene, so that it is not obvious, but present. The element is integrated
in shot, without seeming contrived. The use of subtlety gives the film more
relevance to reality, making it less of a fictional construction. As a filmmaker
and artist, it is an important part of my process to notice “symbols,” and “motifs,” which
occur naturally in our society, and place them within the frame and context
of my film. Although the two dogs, two horses, and two characters may be small
details within the story, they all add to the film’s overwhelming theme
of “Twos.”
The fact that the elements like the two dogs seem to occur naturally
in the scene, makes the film as a whole seem less contrived,
and thus a greater
piece of art. It also forces the viewer to become more engaged,
because details
are
never completely explained; some elements need to be pondered
in order to be understood. The understated nature of “Wuthering Heights” makes
it a unique film, among those produced by studios of the period. Some Hollywood
films of the period contain an over-explanation of story and scene, but “Wuthering
Heights” allows the images to speak, as evident in these types of
small details, placed in the scene.
Given the fact that the film concerns a love triangle between
Cathy, Heathcliff, and Edgar, one might argue that the number “three,” is actually
a more important motif than “two”. However, although the dynamic
involves three characters, the emphasis is always on only two; Heathcliff
and Cathy. The pinnacle emphasis of this point occurs in the final sequence,
where
Heathcliff and Cathy are seen revisiting the rocky hilltop of their childhood,
bathed in a heavenly light. At its heart, this film is a story about the
monumental love and soul connection between Cathy and Heathcliff, despite
the fact that
their love failed to conquer the odds. The character Edgar is an obstacle
between their love, but he is separate from the central pair of characters.
One could say that by focusing on a simple conversation between
a pair of characters, the director captures “humanistic” moments. Although a simple device,
a conversation between two people epitomizes human behavior. The actions between
two people can also serve as a metaphor for larger societal issues. By looking
at one conversation, we are able to examine a tiny slice of a much larger social
phenomenon. “Wuthering Heights” could be considered a “case
study,” in human interaction , because of its focus on small interactions.
There are ways to examine the film use of “two.” in the
overall film. In its structure, the film could be compared to a Japanese
painting, in the
sense that it contains several “sub-compositions” within
the master structure. In the painting, the entire wide
composition of the painting can
subdivided into “pairs” of screens, each of
which form individual compositions. Within the larger painting,
there are several smalller paintings;
each composed of a pair of tow or three screens, which
form compositions minature of the whole. Each sub-composition
works both by itself, and as a component
in the larger whole. In cinema, the master composition
is the entire film, while the “sections,” are
the many “doubles,” which
occur throughout the film. Although Japanese painting,
and film are completely different media, they share the
capacity for smaller masterpieces, nestled
within the larger composition.
The consistent use of the theme of “two,” throughout the film,
give it a sense of symmetry. More important than symmetry however, the
use of pairs allow for a greater statement on the dual sides of human nature;
that human beings are both good and righteous, while simultaneously cold,
cruel,
and vengeful.
There are levels of “Twos,” contained within “Twos,” occurring
in the film. In its characters alone, the film can be broken into different
sections of pairs. There is the pair of Cathy and Heathcliff, who are companions
in their youth, and lovers when they grow older. Heathcliff and Hindley are
like brothers at war. One can’t help being reminded of the story of “Kane
and Abel,” by these two competing brothers. This story might be seen
as a metaphor for human conflict and war: we are family, yet we fight one
another.
Heathcliff neatly smashes two holes in the window,
one with each fist. The director could have easily
chosen
to have
him smash
only one hole,
but two
holes are made, one through each pane. Heathcliff
is left in crumpled in frustration, in front of a window
with two
symmetrical
holes.
If one hole were used, the
composition of the frame would have been asymmetrical,
which could perhaps imply that the character is off-balance.
The
director chooses
symmetry
instead, perhaps as a representation of the two characters,
and the fact that they are
unable to be together.
Through the techniques of cinematography, the use
of “pairs,” of
characters, the focus on conversations between
only two characters at once to advance the build
tension,
and the unforgettable image of Cathy and
Heathcliff
embracing on the rocky hill, William Wyler succeeds
in employing the motif of “twos,” as
a way of creating a symmetrical, and beautiful
film. Through this recurring motif, the film drives
home
its ultimate
point: although love may not be strong enough to conquer all odds, the force
of connection it forges between two people is a
beautiful
phenomenon,to be recognized.
Sean Carroll |