"The Usual Suspects": Its Use of Editing and Sound.

The Usual Suspects is a lasting film told in the record style of an apparent semi-innocent man, communicatory Kint, which is critical to setting up our interpretation of the characters and events. In the film we are told the story of how everything came to be; the false arrests of the usual suspects (Keaton, Verbal Kint, McManus, Fenster, and Hockney), the payback of the constabulary, and the legend of Keyser Soze among some other things. Everything we are presented with makes us want to symphonize with Verbal, from his being a cripple to his Agent Kujans bulling of him by calling him stupid and weak. passim it all director Bryan Singer beautifully weaves the story with his powerful use of editing and sound. Specifically, we can pinpoint both sequences in the film and see just how they compare, differ, and relate to the scope of the film. The two sequences that ideally fit this criteria, is the sequence after we see Verbal for the first time of the arrests and interrogations, and the conclusion of the film when Agent Kulian realizes he has been had. Here we a decisive example of just how telling sound and editing can be.

In the sequence concerning the arrest and succeeding integrations we are clearly shown to perceive the bad guys as good and the police as bad.



Although highlighted by comedy throughout, its here where the soundtrack plays a sizable role. Starting at the beginning of the arrest scenes and cuts, we see separately arrest highlighted by a large boom which in discharge causes a sense of doubt amongst the audience. During this time the soundtrack is played throughout and special attention is presumption to the character of Keaton. His arrest is given the longest segment and has his own dia astoundic soundtrack, foreshadowing his...

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