Friend's_Critical_Response

How is the concept of Belonging apparent in Friends' The 1971 film Friends, directed by Lewis Gilbert, exemplifies the concept of belonging and alienation through the exploration of the journey of the two protagonists; Michelle and Paul. The two young, neglected, alienated teenagers cross paths whilst in Paris, and from here onwards Gilbert’s portrayal of the concept of belonging is apparent. Through the audience’s first introduction to Michelle, she is depicted as being alienated from society. The long shot of her walking alone in the graveyard to visit her Father’s grave conveys to the audience the death of her Father had a significant impact upon her life, and we can conclude that she once felt a sense of belonging with him. This idea of alienation is further portrayed in the long shot of the Paris train station, 1/3 of the camera focused on Michelle whilst the remaining focuses on the dark, empty space of a train station. The arch surrounding her represents her loneliness. The train station itself is symbolic of both belonging and alienation, and symbolises new journeys. However we become aware of Michelle’s alienation once more as she arrives at her Cousin Annie’s house. Through the close-up shot of Annie’s face, the audience is aware Michelle does not belong here either, as Annie thought she “wouldn’t be here until tomorrow”. Annie kisses her twice in greeting; although according to French custom relatives are kissed three times. Michelle’s isolation is further conveyed through Gilbert’s juxtaposition of Annie’s and her own clothing; that of the bright clothing of Annie and the dull, pale clothes of Michelle. Through the audience’s first introduction to Michelle, it can be concluded that she is isolated from society. Paul, a young neglected English boy, is depicted as bold and outgoing in the long shot of him walking around the streets at night time. Gilbert uses this shot to also convey to the audience his sense of alienation from his family – he feels more comfortable in the streets at night than at home with his family. When we are introduced to Paul’s strict Father, Gilbert uses the juxtaposition of Paul’s jeans and his Father’s formal attire to instantly convey to the audience the Father’s expectation of Paul to belong. Through close up shots of the body language between Father and Son, Paul is set apart, which is reinforced in the uncomfortable environment where he does not belong. When Paul is introduced to his new family when his Father remarries, the juxtaposition of his new, pristine family contrasts with Paul, sweaty and out of breath. This juxtaposition reinforces the idea of Paul’s alienation. When Paul is made to dress into appropriate clothing, the yellow shirt he wears is symbolic of forced friendship – the two young boys have placed into a situation and made to belong. Therefore it is evident that Gilbert continually reinforces the idea of Paul’s alienation. Lewis Gilbert conveys the concept of belonging through a variety of techniques. When Paul and Michelle first meet, the medium shots of their faces are framed by outer focus green, symbolising nature, serenity and security. In these idyllic settings, Gilbert establishes a connection between the two, as Michelle “can speak English”, hence is able to communicate with Paul. Their positive and jovial facial expressions symbolise they are comfortable in each other’s presence. Nature plays a significant role in portraying the concept of belonging. When Paul and Michelle run away together, the dappled yellow fields in the background of the camera shot symbolises friendship. Also, Paul has loosed his yellow shirt, symbolising his intentions of friendship instead of the forced friendship with his new brother. Throughout the film, Paul continuously seeks Michelle’s approval, as though suggesting they belong together. When Paul see’s his photo in the newspaper with the caption ‘MISSING’ he instantly puts his hands over his face, portraying his desire to not return to where he should belong. The cottage in Awle suggests serenity and security. Long shots of different birds around the house symbolise the different types of freedom they have achieved, and the white, wild horses reappear through the film as a symbol of belonging. Through an array of camera shots when Paul and Michelle move into Michelle’s old house, it is evident that Michelle knows how to belong – she once belonged with her Father. However Paul has never belonged and finds it difficult to fit into family life. He struggles to get a job in a rural community, and his formal clothes juxtaposed to the clothes of the community reinforces the idea he doesn’t belong there either. He feels he has let Michelle down, as he is “no good at anything”. However Gilbert’s use of a red backdrop surrounding Paul and Michelle represents passion and love, and the three consecutive scenes of Paul and Michelle holding hands symbolises their feelings towards each other have blossomed into feelings of love. Gilbert reinforces their love for each other through the omniscient view of them both lying on the beach – making love to each other is symbolic of them belonging together. Overtime, Paul acquires a job and begins to fit it, which is portrayed in the scene in the bookshop where