My Best Friends Wedding: Continuity Editing

My Best Friends Wedding- P.J. Hogan, 1997

This scene uses a variety of shot types and angles, whilst using camera work to reflect the mood of the scene. It also follows all the techniques of good continuety.


This scene starts with a CU of Jules' face looking forwards, but not at the camera. From watching the film we know she is at the wedding of someone she is in love with and so we can determine that she is looking at the couple. By using a lot of CUs and MCUs it made you focus on the telephone converstation, and Jules' facial expressions, rather than the busy party going on behind her. The camera zooms out to reveal a lavish wedding with many guests, this is shown further by the fancy glasses and arrangements of flowers. Jules answers her phone and from the voice, as well as the look on her face we know that it is George, her best friend. By using a MS of Jules' it gives you enough background information whilst still providing facial expressions as well as movement. Jules' looks to her left and then the camera cuts to the direction of which it appears she was looking, which works very well. A cut to a MCU of her face shows a closer and more personal facial expression allowing the audience to interact closer to her and feel sorry for her . An MCU allows the audience to recognise each of the things George is saying to her one by one; the laveder gown, hair swept up. When he says "haven't touced you cake" the camera cuts back to the left of her again, and sees that her cake is infact untouched and she is drumming her fingers on the table. This time this shot appears as if someone is watching her because there is not a clear shot, the camera is seeing Jules through the people dancing, as someone who was sitting there would. A cut back to the master shot of Jules' face shows her facial expression , which works well as it shows her shock and confusion. Jules loks over to the band and wich cuts to a cutaway shot, of the band which emphasises that this is what she was looking at. A cut back to Jules' shows her about to stand, which the quickly cuts back to the shot on the left of her, where we believe someone is watching her. The camera move fluidly like her movement, and is very smooth. The camera cuts to a different view of her searching (MLS) which just enhances her behaviour of not knowing where to look, and almost makes the audience confused with her. As she walks she passes a couple dancing and then camera cuts to a MCU of her, which shows the same couple in the background which shows continuety. After frantically searching her eyes fix on something, and the camera cuts to a LS of George sitting and also talking on the telephone. Another MCU of Jules shows relief on her face, which makes the audience very happy. From 1:33 onwards the caerma work is a twist on a shot reverse shot, as the characters are far away, but are still in converstaion (Albeit on the phone) and the shots alternate between a MCU of Jules and a LS of George. The camera tilts as George stands up which makes it more realistic. Two OTS shots show perfect use of shot-reverse-shot during conversation. These 30 or so seconds stick perfectly to the 180 degree rule. The camera tracks out after he says "dancing" to fit the whole dancing sequence in(spin and all!) As she is dancing the camera moves in an out to create the impression she is more important in the shot. A cut to a CU of her face, and then a CU of his face show them both happen and enjoying themselves. Cut to a zoom out to get a feel of the room, and everyone dancing and having a good time. Which then leads in nicely to a MS of the singer in the band. Amall montage of different couples dacing (including George and Jules) show that weddings are a happy place,a dn make the audience feel happier (which rom-coms are meant to do.) We are shown character that had parts in the film so they are familiar to us. At 3:16 the camera arcs around the two of them showing them both smiling and laughing, and ends with a fade to black. This scene is very effective is generatnig emotion in the audience by its camera work and framing.