I have previously mentioned my enduring love for Tron: Legacy, directed by visionary director Joseph Kosinski, but in case you are unaware, here’s a brief synopsis of my persistent adoration. At one point, I had a Tron wall in my room. I have 2 action figures on my shelf and a glow-in-the-dark Tron Funko Pop. I wrote one of the best academic papers of my life about this film – a 27 page essay entitled “Biodigital Jazz, Man.” I saw it three times in theaters, twice in 3D.
Why does this film resonate with me? To be honest, it’s not the narrative that appeals to me the most. It’s a perfectly serviceable film with great performances and a standard, yet engaging story – and a killer soundtrack. But the aspect I love the most is the visuals. Not only because they are stunning, but because they assist in telling the story and revealing character development and thematic elements MORE THAN ANY OTHER FILM I HAVE EVER SEEN. You can quote me on that.
And though I can pick many shots that come to mind when I think of this film, and I can, excuse my French – analyze THE SHIT out of this movie based on a wide variety of stills – this is the most telling shot for me:
What’s the importance of this shot, you ask – besides the amazing color palette and costumes? It’s visually relaying one of the ideological messages of the film by placing the actors in triangular formation within a scene, almost as a representation of a ‘holy trinity.’ Though this is not the only representation of this in the film, this is the most overt, with Flynn – The Creator – at the center, in an almost godlike position. These images, combined with the fact that Flynn is referred to as “The Creator,” Sam (right) is called “Son of Flynn,” and Quorra (left) is referred to as “The miracle,” help to convey the religious undertones of the narrative in a visual manner. There are other religious and spiritual elements in this film, weaving seamlessly into themes of betrayal, creation, power, and purpose, and each of these three characters assist in the delivery of those messages, which makes placing them in this position all the more telling. It is also indicative of the shifting power structure within the narrative, but I don’t want to delve too deep with that because I’d hate to spill spoilers for a film that came out eight years ago.
And that’s all in one image, folks. This film absolutely nails the “show not tell” idea – a skill that the director carried over to Oblivion, a film I only watched because of him because I don’t like Tom Cruise. Seriously, if you haven’t watched this movie, I challenge you to do so – and see if you can pinpoint other important “trinities” visually represented in the film, because there are two more that I picked out.
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