The Hustler

For this particular review, I'm doing something I rarely do, and that's walking through basically the whole film. Not one of my common forms of reviewing films, especially when giving my general thoughts. I most likely won't be doing it often, but I thought it would be a nice change of pace. This will also mean there will be SPOILERS. With all that addressed, on with the review.

There are movies about the game of pool that exist, yet the only film in that category that gets the most attention among critics, historians, and audiences is The Hustler. The only other pool film that gets as much attention is its sequel, The Color of Money, though it is not nearly as praised and talked about as its predecessor. The film has a perfect all-star cast and is marvelously shot and edited through the use of CinemaScope, enough to make it a competently made film. But what exactly makes this such a milestone classic in the genre? How come no movie of this genre has surpassed it? 

The first to take note of is its opening scene. Unlike how films typically have an opening credits sequence, The Hustler chooses to open with a pre-title prologue sequence focusing on the main character "Fast" Eddie (Paul Newman). Eddie and his partner Charlie (Myron McCormick) are two traveling salesmen on their way to a convention who make a pit stop to a pool hall for a drink (tended by a Vincent Gardenia cameo). Upon hearing that they are not far from their destination, Eddie and Charlie kill time to participate in a pool game. Eddie loses until he makes a "lucky" winning shot. At this point, everybody in the hall is watching, feeling pity for Eddie's lousy luck. Eddie and Charlie bet on him to repeat the shot, only for him to fail. Charlie refuses to carry on the wager, as Eddie pleas to try again. The bartender and the patrons willingly bet on him to make the shot, and Eddie succeeds in leaving the bar with all their wages smiling. 

The scene could be cut, and nothing would be different in terms of plot. The film's plot has not even started at this point. However, there is still a significance to this scene. The audience knows everything they need to know about Eddie's profession. He is (as the title suggests) a "Hustler" who travels around the country to any pool hall with his partner, conning people for money through pool. And given Eddie's grin when showing Charlie his wallet, he enjoys making a living off of people's naivety and doesn't look like he will be stopping soon. These actions establish Eddie as an anti-hero. In other words, a main character who is not the conventional hero. Rather than having a likable leading character performing noble deeds for others, as far as the audience knows in his introduction, there is none of that in Eddie's character. And if anything was resembling a positive trait in his character, it's undoubtedly because of his manipulative nature. 

The only thing the prologue doesn't tell the viewer is Eddie's desires. After the opening credits sequence, Eddie reveals his goal after entering a pool hall. He plans to make ten grand in his next game; only he will achieve it by playing against the undefeated pool champion Minnesota Fats (Jackie Gleason). Eddie is not planning to stop the game after he wins the ten thousand; he is going to wait until Fats admits defeat. Typically, with sports films involving the underdog defeating the champion, one would think it is too soon to have our main character and opponent clash so early in the film. We know Eddie is great at what he does, and that Fats is the best player. But we don't know Eddie's weaknesses, see him work to achieve his pool and hustling skills to prepare him for his milestone game, or get to see Fats talents before the event as tension for Eddie to practice. Eddie is not so much as intimidated by the skilled pool player he is about to face; if anything, he's confident he'll win. 

The game between Eddie and Fats is even the most extended pool sequence in the film. All the other scenes involving Eddie playing pool after it, including his rematch against Fats, are short. Ideally, having the first duel between the protagonist and antagonist be the longest one so early in the film doesn't make the rest of the film so riveting. All of Eddie's blood, sweat, and tears are poured out of him here instead of the ending. It's evident that he will lose, so why spend so much time on his failure than the game where he succeeds or walks away like a winner?

Because the film's not about Eddie defeating Minnesota Fats, it's still relevant to the plot, as that remains Eddie's goal, but it's not the film's central focus; it's more complex than that. For those who wish to see a pool film, audiences get their money's worth from this sequence alone. It's an on the edge of your seat intense game held together by impressive high and low-angle shots, quick editing, and time-lapses carried through dissolves and montages. Increasing the game's intensity is the lack of music, where the friction comes from Eddie and Fats' glares and the sound of pool balls colliding. The film's jazz riff is primarily used to flow with the passage of time of a game that lasts over twenty-four hours. When putting the game aside and focusing on Eddie's reactions to the game, there's more than just seeing a man losing a game; we're seeing him slowly get stripped away mentally and finically. Eddie at first struggles until he finds himself on a winning streak earning more money than he initially anticipated. Refusing to listen to his friend Charlie, Eddie still wants to beat Fats rather than just make money. At that point, Eddie falls from grace, losing everything he earned from this game, appearing tired, drunk, and disheveled, while Fats still looks glamorous and not the least bit exhausted. Eddie still has the ambitions to challenge Fats, only for Fats to refuse. Eddie's defeat destroys his confidence as a hustler, but does not give up with rechallenging Fats. Embarrassed and knowing his partner will not go along with his motivation, he ditches him to go out on his own. 

The film's second act begins and enters the only female character in the film, Sarah (Piper Laurie). Eddie meets her at a bus depot lounge, waiting for a bus that's coming soon, leaving no time for the two to get better acquainted. Eddie passes out to find her gone, only to discover she paid for his drink. Heading to a nearby tavern for a drink (owned by famous boxer Jake "Raging Bull" La Motta), he finds her having a few drinks, learning that she lied to him. Eddie learns that she's an alcoholic, used to be an actress, and goes to college on Tuesdays and Thursdays from their second encounter. Agreeing to allow Eddie to walk her, she stumbles, indicating it could be from the alcohol, except she claims to have a limp. Believing Sarah is a prostitute, Eddie goes from touching her to kissing her, only for him to get rejected. Disappointed, Eddie gives her the bottle of whiskey he bought and leaves. From these three scenes, the character's background is formed through natural conversation (than forced exposition) and her actions. From her hesitance, lies, and addiction, it's suggested that we're not getting the complete picture of this character, leaving the viewer as curious as Eddie to learn more.

The two meet again at the Bus Depot. Eddie undoubtedly expects her to show up at her usual time with a paper bag containing whiskey on the table (shot right between the two). They share no dialogue, nor is their music playing to signal the audience how to emote. It's all conveyed through Eddie's reaction on his face showing how much he needs her after his lousy luck since playing against Minnesota Fats. Sarah begins to show empathy and interest in him. The two leave to have sex, wanting to live together. However, Sarah has doubts about it working since they're both troubled but decide to carry on anyway. A few days pass, and Sarah feels happier than she's ever been with Eddie due to the attention she gets from her neighbors. Eddie feels she should get treatment for her alcoholism, but she doesn't feel like she should since spending time with him is her treatment. Although she does question where Eddie goes half of the day, Eddie himself does not buy that she goes to college. He questions where she gets all the money, which she claims to be from her previous lover.  

After Sarah finds out what Eddie does for a career from an unexpected visit from Charlie and sees Eddie betray him in front of her, she resumes her alcohol addiction. When seeing her returning to her addiction, her apartment is now a mess, and she sits on the floor writing a story based on her life, writing a not-so-flattering description of her relationship with him. She tells an angry Eddie that they have nothing special together. All they do is hang out at the apartment drinking, spend money, and don't talk, worried that Eddie will betray her like he did his friend. She goes as far to state that Eddie will find her "a rich old lover," leading to Eddie to hit her and Sarah calling him a "pool room bum." 

Both are shattered until Eddie arrives at her apartment, with his thumbs broken from pool sharks for hustling them. Unable to hustle (among many other things), Eddie is helpless, leaving him in her care. It's during Paul's recovery where the characters start to become more humane. Eddie has to live for a few weeks without so much as attempting to play the game that keeps him going in life and has to count on someone else than himself. He's resistant at first to want her help when performing simple tasks, only to accept it, acting gently and humble around her. Sarah puts away the bottles, becomes sober and happily returns to writing to take care of Eddie. During a picnic (the first date they have outside), Eddie shares his insecurities as a pool player while glorifying the thrill of the game. For once, Eddie is talking about the game without any mention of the profit side of it. Sarah confirms to Eddie her belief in him as a winner and confesses her love to him. These moments after Eddie's assault are the only genuine sweet scenes of the two showing happiness, as we see how they would be without their addictions.

With the bandages off and Eddie's thumbs healed, he is overjoyed, but Sarah now appears concerned that he may go back to his old ways now that he's no longer infirmed, fearing he would leave her. Eddie chooses to go back to hustling by planning on going to the Kentucky Derby to play against a wealthy man named Findley (Murray Hamilton) to raise the money. Before telling her, he takes her out for a fancy dinner. Upon hearing the news, she feels hustled by Eddie, believing all she is to him is an item for love. At this point, all questions about her are answered, now that she is deeply in love with Eddie feeling heartbroken. She's had polio since she was a child, never performed in her life, and that her father, who left her, still pays for support to keep her away. She only met men that hurt and used her all her life wishing Eddie was the real deal. Eddie brings Sarah along, showing how much he cares for her, only for her to meet the absolute worst among all the men she's encountered.

Anyone going into this film would believe the main antagonist is Minnesota Fats. Why not? He is the person Eddie wants to beat. That's his goal. But as big of a fish Fats is, there's a bigger fish who stands in Eddie's way, Bert Gordon (George C. Scott). Unlike Fats, who gets all the build-up and attention in the film's first act, Bert, like the clever scoundrel he is, sneaks his way into the film as the main antagonist. In the middle of George and Fats' game, Bert is first seen cooly playing poker and drinking milk wearing a black suit and black shades. Obviously, from his presence (and casting), this guy is bad news and will undoubtedly cross paths with Eddie when he's not backing Fats' games. There's no doubt that the opponent in sports film will have a boss of some kind. While they make a few appearances threatening the protagonist or doing business with their client, they're not usually as focused as the person they're sponsoring. Bert is causing more problems to Eddie's life than Fats will ever do. 

Bert does not become a more prominent figure until after Eddie leaves a drunk Sarah. Eddie loses money playing poker alongside Bert (who is still drinking milk), and the two meet up at the bar. Bert is now drinking whiskey as opposed to his signature drink. Apart from the health benefit of milk, he'd instead drink it when working and gambling, knowing whiskey will only cause him to lose and break concertation. Like how Bert can change beverages when it seems he's only accustomed to one, he feels the same way with backing pool players. Recognizing his talent, Bert offers to aid Eddie to help him raise the money and beat Minnesota Fats, substituting for his old partner (and Father-like figure) Charlie. Making him more promising than his former companion is he knows the secret to defeat Fats, and that's by building character. Having a character can be achieved by looking in control, hiding nerves, maintaining good stamina, and disciplining oneself. When Fats sees his character along with his excellent pool skills, he will be afraid and call it off, making Eddie the winner. Unlike Charlie, who always had Eddie's best intentions and had an equal partnership, Bert wants seventy-five percent of the profits. He discourages Eddie to remind him he is a loser and will stay as one until he does business. Eddie refuses his offer.

As stated earlier, Eddie is not an honest man; he's as dishonest as the person he's selling himself to, except he's the one getting hustled. Bert makes a business making money off of suckers, no different from what Eddie does. The only reason why he's the antagonist is that he's the main character's enemy, similar to how rival gangsters in The Godfather are the villains; no one is strictly a hero. But here's the thing, as Eddie manipulates to get what he desires, Bert will go to the lengths Eddie won't go with conning people, by using physical violence. Eddie is not a pacifist; he does distastefully slap Sarah a few times in the film and even kisses her without consent. But Bert takes these harmful actions to a more violent extreme, except he barely does his dirty deeds on-screen. Most of his wicked acts are not brought up until the third act. For instance, Eddie's broken thumbs didn't happen by chance. It's later revealed in the film that Bert ordered it for turning down his deal. Eddie would never maim someone. Not even for gain. What's worse is if Eddie doesn't go for Bert's deal, he will never be able to play again, given his connections to thugs. Most likely, whatever the outcome is for Eddie, whether he wins or loses towards Fats or doesn't play him, Bert still wins since he's backing two of the best pool players in the country. To Bert, he's one less pool player, and he is rich enough not to worry about the stakes, unlike Eddie, who hustles to survive.

Bert is so smooth, calculating, and backstabbing, as he's dressed in black, that one could say he's the devil himself. As a matter of fact, Findley remarks that the statue of a devil-like Satyr he owns resembles Bert. He is not wrong in that regard, and that's only one of the many supernatural things mentioned in the film. Any casual viewer can admire how the film looks and think nothing more of it. The movie always has an odd foreboding vibe that one could argue has a Film-Noir style. It does have some of its tropes, including low-key lighting, anti-heroes, and an urban setting. Film-Noirs were afterall influenced by German Expressionist films, some of the best dealing with the supernatural. While there are no actual ghosts or devils in the film, the environment and characters certainly resemble such.

It's rare that there's an exterior scene in the film, it's pretty much shot in interiors. The majority of the locations are empty bars, dark and smoky pool halls, and run-down apartments. The few lovely interior areas happen to be Findley's mansion, the hotel room, and the restaurant where Eddie takes Sarah out. What happens in these places isn't nearly as friendly as their appearance. Findley hustles Eddie and Bert to play three-cushion billiards instead of pool, and Eddie uses the restaurant environment to calm Sarah's nerves when telling her about going back into the business, making the locations as deceptive as the characters' actions.

All the other sleazy locations have some kind of honesty to them, given the type of crowd of people who enter. Eddie goes as far as to refer to the pool hall he plays Fats at as "a church." Eddie's line can be interpreted that his prayers are now answered for having the chance to challenge Fats. He values and worships the sport so much that it's his religion. But just as churches have spiritual vibes, so does a morgue, which Charlie refers to the place as. It's the largest pool hall in the film, yet it feels more downbeat than any other place. The people who watch the games there are not the best people. Those who do well there are notoriously hustlers themselves, whereas the others are broke, drunk, lonely, and sad. They are people who have lost their souls, wandering and watching like ghosts as they drink and smoke. The smoke from the cigarettes and low lighting in these lifeless settings carry on the allusion to a place haunted by trapped souls. The most significant symbolism for it is the wide staircase inside the pool hall, representing the souls trying to escape. Eddie joins the rest of the lost souls from leaving the hall after losing, though he certainly hasn't sold his yet. 

The bus depot where Eddie visits to meet Sarah is not the liveliest place either. It has as many empty spaces as the pool hall while people wander around. Sarah, herself feels like a specter to Eddie during their first two encounters. She is the first image of beauty we see in the film until she goes away, leaving Eddie in wonderment when he wakes up. Her sudden second appearance at La Motta's tavern (as I'd like to call it) is as if a lovely spirit haunts Eddie. As attractive as Sarah is, she is a lost mess. She is constantly getting screwed over and tries to envision life differently to get her through it. But no matter how hard she tries, she'll permanently be damaged goods, with her lame as a metaphor for it. She's no different from the woman in the painting she has in her apartment, who is a trapped soul.  

Eddie is still free to hustle elsewhere, but just like a ghost, he has unfinished business with Fats, which is what keeps him there. Sarah, despite her flaws, is the only genuine person in Eddie's life. She's the light of hope that can get him out of the dark (symbolized by the lighter she gives to Eddie when they live together). The exterior scenes are usually at night or on unpleasant days. The only stunning exterior location is the spot where they picnic. As nearly every single interior feels like a void for trapped souls, the park is the most heavenly place in the film. A scene where there is no deception from any of the characters, showing the viewer how they would be if Eddie chose to quit the sins of the life he led. The two will never feel alone and empty with one another.

If not for Eddie's pride and an offer he won't find elsewhere, he sacrifices his newly founded content for what he believes to be his dream. Sacrifice is one of the keywords when describing this film because that is one of its main themes. The first noted sacrifice is the amount of money Eddie is willing to gamble with Fats. If it means giving up all the money he won to beat him, he will do it. Compared to his other sacrifices, the loss of his winnings is only a mere tip of the iceberg. The first significant sacrifice is when he turns his back on Charlie. The road has done nothing but good for both of them, where his failed match against Fats brought him lower than any other hustle he's probably lost. Charlie offers him a life of adventure and ease among good company, willing to let Sarah come on the journey. And Eddie tells him to "lay down and die" for holding out on his money, preventing him from playing against Fats again and wanting to be a "small-time" pool hall owner rather than a moneymaking legend like Fats. Eddie may not have been rich and famous, but he would have been happy and carried on his pool skills. But he sees his best friend as dead weight, therefore rejecting him. The saddest part is, the two never see each other again after this harsh exchange. Unlike most sports films, they carry on their separate ways instead of later reuniting. Eddie is free to do what he wants in exchange for sacrificing the only friend he ever had. 

While lost, Eddie is still a free soul until he sells it to Bert. If paying close attention, Eddie's suit changes after he gives into Bert's deal. Beforehand, Eddie wears suits that are lighter in color. Now working for Bert, he wears the same shady black color as Bert's wardrobe, symbolizing a minion for the devil and that his soul is now in his master's pocket. Eddie doesn't say or do anything to spite Bert unless it involves money to gamble against his latest opponent or a touchy comment. The only one who has any guts to challenge Bert is surprisingly Sarah. Though there are some sports films where the female love interest can break free from becoming a trophy, it wasn't as expected, especially when speaking about the era when the film was made. It's already proven that she's more than that, given the different dimensions Sarah has to her character. But she does something that Eddie wouldn't do, call Bert out for his crimes of manipulation. She does not fear him and isn't doing it just for Eddie's wellbeing. She has met all kinds of creeps in her life, and to her, he's the most toxic and has had enough of it. She tells Eddie the truth about his "perverted, twisted, crippled" soul right in front of the man she's condemning while on business. Eddie doesn't need to stoop to his low and work with him, and he knows it too; if not for pride and high ambition clouding his judgment, he would have chosen her over his dream.

Out of screwing other people over for-profits and nearly breaking a man physically for life, Bert's cruelest deed is performed after Eddie's successful game against Findley. Eddie walks back to the hotel to think things over, whereas Bert heads to the hotel by car. Knowing it would take Eddie a long time to get there, he lies to her by leaving money on the bed out of Eddie's request. His action manipulates her to believe that Eddie saw her as a whore and treats her as such by forcefully kissing. Bert's actions cause Sarah to feel like one, leading her to sleep with Bert. At this point, Sarah has no hope. Believing to have lost Eddie, having an addiction to alcohol, and betraying herself to Bert, she forever feels tarnished as her lame, never to live with herself again. She commits suicide but not without writing the very same words she used to describe Bert in her mirror. Her life is sacrificed for all the pains and hardships she's had while also exposing Bert, leaving Eddie devastated and angry, having realized that he sacrificed her for pool. 

The film has now reached its climax. Eddie's goal for a rematch against Minnesota Fats has now happened. Only Eddie's focus is not defeating Fats; it's defeating Bert by using Fats to get to him. Thanks to Bert, Eddie has all the character and skills of playing as a sharp pool shooter and uses it against him. As he plays, most of his comments lean towards Bert. He is no longer playing the game safe. He dives in with all he has and is on a winning streak, though he is not caring about it. He just keeps hitting the balls, still going strong with a thirst for revenge. Eddie is now wearing the same white suit as Bert did when he had Eddie in his grasp. The tables are now turned because Eddie has Bert in his. As Bert predicted, his fast playing and endless determination scares Fats away, therefore making him the winner. He beat Fats and hurt Bert where it hurts the most, his wallet, by refusing to partner up with him after making him "a winner." This should be a celebrated triumphant moment for Eddie as in most sports films, if not for one thing...he has nothing.

Everything that mattered to him is all gone; he's now alone. He sacrificed them all to achieve his dream, he succeeded, but he is a loser. Bert kept calling Eddie "a loser" by bating him to partner up with him. The whole time Eddie was far from one. He's a gifted pool player who traveled the country with his best friend and met a woman he can share a great life with. Eddie didn't need to defeat Fats to prove that he was a winner. He took for granted all the great things that he had. Sports films are all about following your dreams, working hard, taking chances, and in the end, you'll be rewarded for it. The Hustler challenges that mindset, cautiously telling the viewer to think critically about your values before you chase after your dreams. A unique valuable lesson for a sports film. Minnesota Fats, despite the fancy suits and jewelry he wears, never seems to be happy. Based on his mannerisms and body language, pool is no longer a fun game to make money; he's as trapped as Eddie currently is. Stripped from his suits, looking tired and scared, as he sits nearly alone, it can be safely assumed that Fats made similar sacrifices as Eddie did and is just as lost and alone, despite his high reputation. It's not too often to have the opponent serve as a mirror image of the main character in a sports film.

There is one thing that Fats does still have that Eddie does not; he can still play pool. By refusing to rejoin Bert and pay him, Bert threatens to kill him if he should ever play a big pool game again. Pool was everything to Eddie. It made him who he is; it gave him a living. He lived, breathed, and worshipped the sport. Now he is forced to live a life without it. As Eddie's sacrifices in the film were the wrong choices, his sacrifice in the ending is the right choice. He loved the sport so much and valued it over the woman he loved that it ended her life. To prove that she was an essential part of his life, she will let her spirit live on, never to play again. Eddie has changed, thinking critically about what he should value in life, ending the film on a depressing yet inspiring note.  

With having compelling characters, stellar performances, metaphoric yet subtle artistic visuals, intense game sequences, and not catering to the typical sports movie tropes, it's no wonder why there hasn't been a film about pool to top this one. It's a film that takes risks and challenges the viewers to make them think of what's truly important to them in the harshest way imaginable while still keeping them entertained. Like how Rocky and The Sandlot can still be relatable to people that don't watch the sport, The Hustler does the exact same thing, which is what a good sports movie should do. There have been harsher sports film that deviate from the usual feel-good film of the genre (Martin Scorsese who could not capture the spirit of The Hustler in the sequel, incidentally, made the boxing film Raging Bull that is up to par with it). That said, The Hustler will always stand as a milestone for improving the genre, while still remaining as a unique classic of its kind.

Stand By Me: Finding the Body

Stand By Me has been hailed by critics and audiences as one of the best coming-of-age films, one of Rob Reiner's finest films, and an incredible film adaptation to a Stephen King story. After so many years, I have recently rewatched it to discover that I had forgotten what a deep and mature film it was. As comedically carefree as many scenes are, there is still depth to be explored within' the aesthetics relating to the film's narrative. Two scenes that have caught my attention within recent viewing are the opening sequence and the reveal of the dead body of a missing person the kids try to find to gain fame.

The film opens up with a lone vehicle sitting on the side of the road parked by an open field as the sun rises. The long shot of the car makes it appear small, where it's the landscape that dominates the screen. This kind of imagery would foreshadow many of the later shots of the film of the four kids traveling on the train tracks where the shot makes them look small and helpless in the wilderness. The ambient sound of birds chirping is only heard, further establishing the early time of day, until an orchestral instrumental of the song Stand By Me plays (composed by Jack Nitzsche). Unlike its romantic upbeat tune, the score's rendition of the song sounds melancholy. The scene cuts to a wide shot of the vehicle, where the driver sits in the shadows, looking away. The next cut reveals the man sitting inside the jeep named Gordie looking depressed as he sits in the shadows. The juxtaposition of Gordie's sad face and Nitzsche's hauntingly downbeat song arrangement suggests that someone once close to this man is no longer a part of his life. While sighing, he looks down as the scene cuts to a newspaper headline reading "Attorney Christopher Chambers Fatally Stabbed in Restaurant." We can now assume that the person he lost was a close friend by the newspaper headline. The only question remaining is what kind of friend Christopher was to him? The next cut shows a match-on-action of him looking away from the paper and sitting blankly to absorb the terrible news he found. Behind him, appearing outside his window, are two boys bike riding past him. The sound of the bike's wheels grabs his attention, where the next shot shows the kids riding in front of his windshield shot from his point of view. The two kids appear to be well-bonded friends, making Gordie feel even more devasted by the loss of his friend while the camera slowly zooms in on him. Based on the two kids, his reaction reveals that his deceased friend is someone he's known since childhood. Before any narration takes place, Rob Reiner provides all the information about the main character's grieving without uttering a word within less than a minute that feels longer in terms of its pacing.

As the first verse of the instrumental Stand By Me nearly ends, Gordie's voice-over diegetic narration plays as he sits. Tied to the newspaper headline of his dead friend, the narration states he was 12 when he first saw a dead body. During the zoom-in on Gordie, a dissolve transitions to a shelf of vintage 50s magazines. Gordie claims the year he saw the dead body was the summer of 1959, setting the period the rest of the film will take place (until the final scene). In the center of the magazines is an issue of True Police Cases, metaphorically setting up the journey the kids will later embark on, as their mission is to find a missing person. On the far left stands a horror magazine involving a woman at the mercy of a vampire; undoubtedly, a subtle nod to the author of the source the film is based on. A hand picks up the magazine, and no sooner does the film reveal a young Gordie in the same shot. He walks towards the frame as the camera moves behind the cash register, where his face peeks through the glass. He places a coin on top of the cash register, and the sound of the machine rings, revealing the price of the item as it covers up his face. The whole introduction to young Gordie is done in one single shot, using rack focus twice. The first instance is for the magazines when Gordie enters, and the second instance is for when the prices of the cash register appear. In the next shot, adult Gordie's narration reveals the name of the town he used to live in called, Castle Rock. In the shot, Gordie leaves the store and walks through the town. Compared to the present-day portion of the film, the high-key lighting and vibrant colors appear brighter, visually projecting a warm childhood nostalgia. These two techniques also help create the illusion of a warm summer's day. The shot of Gordie walking through Castle Rock is composed through a master scene beginning from the store entrance to the center of the town. The scene starts with a long shot when Gordie leaves, to a medium shot when walking past the camera, and ends with a long shot when he leaves main street. To create a sense of this small town feeling like Gordie's world is achieved by subtly using a low-angle shot, making the town appear as big as a city to him. 

From the opening sequence, it is evident that the turning point in Gordie's youth was discovering a dead body with a friend. The question is, what kind of significance had it impacted him differently? After so many misadventures of escaping from a legendary junkyard dog, train dodging, and falling into a river filled with leeches, reaching the destination of their journey is far from any celebrated victory. The camera is positioned behind the trees and pans to the railroad tracks where the four protagonists walk. The camera's position starting from the trees gives the scene a bit of a supernatural vibe as if there's something alarming lurking about. Adding to the supernatural feel is having no music. Taking the place of the score is the sound of the wind blowing on the trees, signaling that the dead body they're looking for is near. The kids walk in front of the camera and stop when finding the area where the person died. Achieved through a match-on-action, Gordie asks Teddy if this is the right spot. Teddy looks at Gordie in the first shot, turns his head, and in the next shot, he and the others are gazing at a trail leading into the woods with a sign reading "Absolutely, No Hunting". Teddy, in the shot, turns his head to Gordie, confirming the spot, cutting to the next shot of him still facing Gordie. The gang walks forward off-camera, searching for the body. Despite that they're no longer on camera, Reiner shows a second and a half of the train tracks blurred out, suggesting the journey is all for losing something they had based on the grim sight they are about to encounter.

A long shot shows the backs of the kids moving forward, scavenging the area. The placement of the kids searching different sides of the tracks is how they are usually shown during their journey. Considering the death of Gordie's friend Chris is what sets Gordie's memories in motion, the two are mainly together, visually embodying their close friendship. As the two search the right side of the tracks, Teddy and Vern search the left side together. Like Gordie and Chris, Teddy and Vern usually walk together during the long journey. Not so much that they're as close friends as the two leads are, more so because they're just friendly, fun acquaintances they don't mind hanging around. They function more as the comic relief since they don't have much of a story arc or depth compared to Gordie and Chris.

That's not to say they are bland, one-dimensional comic-relief characters limited to their stereotype as they can be supportive and have a few moments of emotion. The story is all told through Gordie's memory (even though he's never witnessed the scenes involving Ace's gang), but it is Vern who is the reason he's on a dead body hunt since he's the one who's heard about the deceased kid's whereabouts. Gordie nor Chris are the ones who spot the dead body; it's Vern who does. He points out the location in the same long shot of the kids walking on opposite sides of the tracks, cutting to a medium shot of him pointing, where the others join him. To effectively make the audience feel immersed in the moment that the film has been building up, Reiner uses a high angle shot for when the kids see the body's feet sticking out of the bushes. At first, it appears to be a POV shot since it's shot from the angle the kids are viewing it. Adult Gordie's narration plays as we, along with the kids, discover a glimpse of the corpse, suggesting this is from Gordie's point of view. It even cuts back to the scene of them staring at it before leaving. However, once it cuts back to the same shot, the kids are now running down the hill (similar to the "Blind Chance's" POV trickery).

It's important to note that the score is minimal during the film. The film has three different uses of sound to create some emotional appeal. The use of classic 50's Rock N Roll mainly captures the carefree spirit of youth and innocence. Buddy Holly's Everyday and Ben E. King's Stand By Me are the only few times the use of songs plays out for sentiment or wonder. When it comes to scenes of dialogue regarding Gordie and Chris discussing their emotional struggles in life, there is no score, just the sounds of nature and the voices of the characters speaking. Many Hollywood films tend to use the score to signal when an audience should be emotional, the same way canned laughter is used for television sitcoms. It would be a safe option when you have a cast of young kids as the movie's stars. But Reiner feels the performances and the ambient sounds are strong enough without the music, making it less manipulative and more naturalistic. Nitzsche score is primarily used for moments where dialogue is short or non-existent among the kids. The only person who usually speaks while the score plays is adult Gordie, or he and his brother during a flashback within a flashback. A fitting way to incorporate the score with dialogue as our past comes back to us like an old song that one has not heard in years that gets us sentimental. The music itself never sounds uplifting or romanticized. It creates tension (such as the showdown with Ace), sentimental nostalgia (scenes of Gordie walking with his friends), and depression. The latter use of the score is for the dead body's reveal. A reveal with no sounds of excitement or heightened drama, more so the appeal of horns playing for a funeral out of mournful respect. 

As the kids reach closure to the body, the wind blows harder towards the bushes and tree branches. One of the kid's shoes can be found hanging on a branch, illustrating his nasty fate without showing his demise or reveal of what's left of him. A high-angle shot of the kids gathering around the corpse shows the rest of the body, but his face is still covered. Within the same shot, Chris grabs a stick to move the branches, the next shot is a close-up of Chris' face as he places the stick in position off-screen, and the third shot is another close-up, this time for the reveal of the kid's cold and bloody dead face. Adding to the build-up for this horrific image is adult Gordie's narration speaking of his cruel fate while expressing grief that there's no trace of life left inside the kid. The following shots show a close-up of each of the four kids' faces mourning over his death without shedding a tear. Despite that they never knew the kid, seeing someone as young as them dead is a terrible shock. These kids haven't exactly had the perfect lifestyle; they have been through some trauma, abuse, or loss. But as horrible as their moments in life were, they could still find ways to have fun and joke around to cope with it. Now that they have shared the same disturbing memory of witnessing a brutally depressing site from a journey they enthusiastically agreed to go on, their innocence has been wholly lost. No longer do the gang become close friends because of the memory of what they've been through. Their jokey attitudes have also lessened with them, as it was a significant factor in keeping them together as a group. 

It's no surprise that the character who takes this moment the hardest is Gordie, as the film establishes this is his life-changing event. The shock of the body and emotions Gordie was dealing with during the story comes out with a great big sigh. The dead body made him wish he was dead instead of the kid, and especially his older brother. Outside of Chris, Gordie's brother was the only person who supported him in his writing and bonded with him. Ever since his death, Gordie feels unloved, with no aid. Chris, who has demonstrated multiple times his support and brotherly love for Gordie in the film, encourages him at the saddest point in his life to achieve his dream and maybe write a story about him and his friends when he's out of material. Like many of the great conversations Chris and Gordie discuss together, music is once again absent to achieve realism during this vital moment in the film. The whole sequence of Gordie and the gang finding the body does not share the same lighting and color the film shows during the daytime scenes. It's a beautiful hot sunny day, as established in earlier scenes, yet there's hardly any sun flaring the camera lens. The kids are still wearing their usual vibrant color wardrobe and are now lacking in color for the rest of the scene. This scene has the same lack of light and color as the very first scene in the movie, and for a good reason. This event was the point of Gordie's story; it would not seem unwise to have it appear as realistic as the opening. If anything, it would appear out of place if it looked as appealing as the rest of the film or looked exaggeratedly dark like a nightmare to make it stand out. 

While writing and performance are the more noticeable element of achieving the emotions, as rich as they are the other techniques are just as important. Other uses of mise-en-scène include the film's contrasting color pallet to capture nostalgia and discomfort, and the placement of characters to express friendship visually. Outside of mise-en-scène, the natural sounds or songs from the 50s are mainly used to support scenes of emotion and carefree youth than the instrumental score. The camera movements and its positioning create an atmosphere of curiosity and feeling part of Gordie's childhood. And the film's restrictive narrative from adult Gordie's voice-over narration makes the journey feel like we're experiencing something deep and personal from this writer. As an audience, we know how much of a friend Chris meant to him, but he is the inspiration that made him a writer. And in tribute to his death, he is writing a memoir of the moment in life that changed him and encouraged him to be the writer he is now.