gingersnap (1) 2 secs.: LS of ornate, round jacket crown painting preceding(prenominal) them. The painting is shown in dim trip and the figures, a man and a woman floating deep down the veil of their intertwined cloaks, are non clear. The music is soft, dramatic, and respectful of the setting.
Shot (2) 3 secs.: Overhead LS looking down on M and D sprawled on the floor in front of the altar. D is framed in the lower righthand corner of the shaft of light, M is in the lower center next to him, and the huge st sensation insure behind the altar is in the upper center of the frame. The agility is dim, as the sun has just set outside. The loudest sound is a whimpering sob that whitethorn have come from either oddball and appears to have been dubbed in later, as it does not effectively converge the visuals.
Shot (3) 17 secs.: MS high angle everyplace M's shoulder of D lying bloodied on the floor. He is pale grey, slimy, and c overed with blood. His dialogue is a reference to Christ's last oral communication on the get - "Where is my god? He has forsaken me." - and then, as he stops her from pulling out the sword - "It is finished.".
Shot (4) 9 secs.: CU of M, low angle looking up at her. The camera follows her as she leans down to kiss him.
Shot (5) 4 secs.: CU of D looking up at M, over her shoulder. As he shows some astonishment at her proceed devotion, the music swells and a distant heavenly chorus is heard.
In fact, the restraint and care with which this full(a) ecological succession is handled is out of character for the rest of the film. It does provide an enkindle ending, but it is so different from what comes before, in the economy of its elements, the reality of its performances, and the simplicity of its storytelling, that it makes the rest of the film look even worse by comparison. Such a well-made sequence does not do the rest of the film any favors by not matching its histrionics and hyperbole.
Shot (13) 1 sec.: ECU of the elaborately forge sword blade sticking out above D's chest, downstairs the hilt.
By framing this second shot to include the cross in a predominant position, Coppola reminds the audience that this is a saintly place, but the reminder is a subtle one. It also may not be immediately apparent to the viewer that genus Dracula has returned to the place where he lost his love and where his blasphemy condemned him to a life as a vampire. The lighting and the way the sequence is shot differentiate it from the opening sequence. By the eighth shot, however, he specifically references the distinctive cross and makes clear where this scene of realiz commensurate redemption is taking place. This choice of shot, 40 seconds into the sequence, comes just subsequently Mina's voiceover, suggesting that she understands the solution to their dilemma.
Shot (23) 1 sec.: MS of D and M from in front of and slightly above the two and she brings the sword down and slices off his head, which rolls a little to land above his neck.
Shot (16) + sec.: ECU of the blood-drenched sword blade coming out of the early(a) side as his body is flung upward by the stuff of her thrust. (Note: Shots 15 and 16 appear to be almost one continual shot; on closer examination, however, they are very two very quick images that lend more try to the sequence than a single shot would have been able to communicate effectively.)
Shot (7) 3 secs.: Same as shot 4. M looks down at D, with the out of focus
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