Shot by Shot: Robocop Arrives

Last time I took a look at an individual shot in Paul Verhoeven's sci-fi masterpiece Robocop.  This time I'm going to look at a longer sequence, and examine it more or less shot by shot.  I haven't tracked every single cut -- sometimes there are shot/reverse-shot setups that move the story forward with dialogue but don't give us any new visual information, and I've glossed over a few of these.  I think I've caught all the distinct camera setups, however.

The most important principle demonstrated in this sequence is the idea of a delayed reveal.  Director Paul Verhoeven and writers Ed Neumeier and Michael Miner already took their sweet time setting up the character of Robocop.  Having spent over 20 minutes of screen time establishing the story, painting the movie's world, and putting into place the various events that will lead to Robocop's creation, they are now almost absurdly coy when it comes to actually showing us the guy.  (Slightly ironic, perhaps, when we consider that he's already been plastered all over the movie posters.)  They pull out every trick in the book -- relegating the audience to inhabiting the POVs of minor characters, using overt visual masking to obscure Robocop and tease us -- in order to hype up the importance of Robocop's arrival as an event.  All of this has the effect of making us more excited: the more we can't see something, of course, the more we want to.  Grasping this basic psychological premise is of enormous value for filmmakers, but few seem to understand it as completely as Verhoeven does here.  Credit for this sequence must also go, of course, to cinematographer Jost Vacano, editor Frank Urioste, and all the other cast and crew members.

Note: There are spoilers a-plenty below, so be warned.

 

1. Sequence begins with Bob Morton (Miguel Ferrer) and Johnson (Felton Perry) entering the precinct and getting accosted by the protective Sgt. Reed (Robert DoQui), who wants to know what's going on.

 

2. Summoning his best "yuppie scum" attitude, Morton snottily tells Reed that this is official OCP business, and therefore above Reed's pay grade.

 

3. Reed's objections are cut short by something that catches his eye offscreen.  What's impossible to convey here are the sound effects that accompany this scene; the heavy robotic stomping of Robocop's footsteps is just one example of the fine sound design at work in the film as a whole.

 

 4. This is the first real glimpse of Robocop in the film.  Verhoeven employes a masking technique -- shooting through frosted glass -- meant to obscure the object of the shot and further heighten our anticipation.  Robocop's appearance will be obscured in various other ways as the sequence continues; it's really just one extended tease.

 

5. As Reed reacts to what he's seeing, other cops enter frame behind him.  Throughout the sequence there will be many reaction shots of normal cops offering, verbally or nonverbally, some variation on the theme of "who the hell is this guy?"  This is another way the script heightens the impact of Robocop -- by multiplying the number of minor characters who are fascinated, threatened, and scared by him.

 

6. The cops' POV shot reveals only a brief glimpse of Robocop -- seen tantalizingly from behind -- as he's ushered through another door and surrounded protectively by OCP officials.

 

7. Now a small sequence begins of the cops running after Robocop to learn more about him.  By grounding the sequence in the cops' POV at this point, Verhoeven continues to draw out the suspense in a teasing way: he's putting us in the same boat as these uninformed, everyday cops who don't have access to the information they want.  Even though we paid for a ticket to see a movie about Robocop, Verhoeven's telling us: "Not yet."

 

8. Sequence continues, tracking in front of the cops as they run.  Camera is handheld here, adding to a sense of chaos and mounting excitement.

 

 9. Reverse angle of the cops, now seen from behind as they continue to run.

 

10. From over the cops' shoulders, we see another tantalizing glimpse of Robocop -- still from behind, and now separated from us by a chicken-wire fence.  This is the second masking device Verhoeven has used.  We're still stuck outside with the cops and he's still telling us, visually: "Get back.  You're not wanted here.  You're glimpsing something you're not supposed to be seeing."

 

11. Corresponding reverse angle on the cops through the fence, looking at Robocop with palpable curiosity.  Our own emotional response, as audience members, is cueing off the expressions on the cops' faces.

 

12. We get another glimpse of Robocop -- the most complete one yet -- just as the OCP scientist frustratingly slides the fence door closed.

 

13. Shot continues to track around the outside of the fence enclosure.  Robocop continues to be glimpsed darkly -- not only obscured by the fence, but also by the constant presence of scientists, handlers, and hangers-on, crowding around him like so many worker bees.

 

14. Camera continues to track as Bob Morton asks the scientists questions about Robocop's capabilities.  The dialogue in this sequence constitutes a major Exposition Dump -- screenwriter Ed Neumeir is planting a lot of key information that will pay off later on in the storyline.  But the exposition goes down easy and is almost unnoticed because of the headlong velocity of the scene's pacing.

 

15. As Morton and a scientist discuss the tracking device that will allow them to follow Robocop's activities, Verhoeven cuts in a brief insert close-up of the device.  I've always found this shot slightly jarring because it breaks the visual consistency of the fence in the foreground of the master shot.  Were I directing the sequence, I might have tried to find a way to keep the fence, blurrily, in foreground here.  But Verhoeven may have decided that such an approach would obscure the visual of the tracking device's screen.  In any case, it's wise to highlight this device with a closeup, because it will pay off importantly later on, when Clarence Boddicker's gang uses the tracker to locate Robocop for the climactic battle.

 

16. We return to the master shot as Morton examines the tracking device.

 

17. The expository dialogue continues, as Morton asks what Robocop eats, and the scientist leads him to a food dispenser.

 

18. We get another insert closeup, this time of the "rudimentary paste" being dispensed into a paper cup.

 

19. Back to master shot; Morton and Johnson move into a close 2-shot as Johnson tries the paste and says it "tastes like baby food."  Mainly meant for comic relief, this moment has a minor "plant and payoff" quality, as it sets up a later gag in which Robocop's former partner Lewis (Nancy Allen) brings him some Gerber's baby food to eat.

 

20. We now, finally, are given permanent access inside the wire fence, but Verhoeven still isn't giving us a fully unobstructed view of Robocop!  Instead of using intervening objects to obscure him, Verhoeven now relies on the camera angle itself: an extreme low angle looking up from the floor at the seated Robocop, whose form is consequently distorted.

 

21. We now go into a video-rasterized view of Robocop's subjective POV -- a perspective originally established in the earlier sequence in which Robocop's assembly in the OCP offices was seen over a series of weeks through his eyes.  The OCP technician -- recognizable by her comically oversized glasses props, and seen to have planted a big lipsticky kiss on Robocop's visor at the office Christmas party -- holds up a pen to test his tracking.  On a screenwriting level, this is another example of the scene being used to establish Robocop's "powers" -- to give us a sense of what, largely, he's capable of.  And it turns out he's a crack shot.

 

22. This is the corresponding reverse shot of Robocop tracking the pen.  Kudos to Peter Weller for the robotic body language he employs on his head movements here, but I feel the shot gives away a bit too much of Robocop's unobscured form, and slightly violates the overall spirit of the sequence.  Still, I suppose you can't keep teasing forever.  Incidentally, Robocop's docile behavior throughout this sequence creates an ironic contrast: he's the biggest, baddest character in the room, but he's also a newborn, with body language to match.  Not till the next sequence will we see him actually behaving like a hero -- and a naive one, at that.  The nascent quality of his personality in these early scenes constitutes the starting point of a character arc that will conclude with his triumphant re-acquisition of his human identity in the final scene, when he famously tells the Old Man his name is "Murphy."

 

23. Back in Robocop's subjective POV as he analyzes the voice stress of the OCP technicians, and records and plays back what they're saying.  Another seemingly-inconsequential "plant" that will have important ramifications later: Robocop's ability to record everything he sees becomes essential to the downfall of evil OCP executive Dick Jones (Ronny Cox).

 

24. Back to the low angle on the chair as the technicians continue talking and being recorded.

 

25. Now here's one of the most important, and beautiful, shots in the film.  Bob Morton strides into the subjective POV and says "clear out" -- erasing all the playback/recording chaos that had been clogging Robo's poor little circuit boards.  In a moment that manages simultaneously to reference Mary Shelley's Frankenstein, Isaac Asimov's "I, Robot," and the Biblical book of Exodus, Morton leans his arms on the chair, stares directly into Robocop's eyes, and asks him to recite his prime directives.  It's as if Morton himself is the arbiter of our hero's ethical compass, the bearer of the (three) commandments.  It's a visually striking moment, a "trailer moment," made all the more memorable by the flat, affectless quality with which Weller delivers the lines, "Serve the public trust, protect the innocent, uphold the law."  It also drives home the idea that, for Robocop, this sniveling, ambitious, coke-snorting, asshole yuppie is his surrogate father, even his personal God.  This realization lends especial poignancy to Robocop's later quest to put Dick Jones behind bars.  He's not merely being a good cop: he's avenging his slain father.

 

26. This brief closeup of Robocop -- the tightest shot of him yet -- not only underscores his childlike demeanor in Morton's presence, but also sets up the reveal that there is a 4th, classified directive; Robocop seems troubled by something and we'll momentarily find out what it is.

 

27. We're back in the subjective POV, and the mysterious "Directive 4" flashes on and off for a few seconds.  Inattentive viewers -- distracted by Morton's joyful line ("I fucking love that guy!") -- might not even notice this crucial plot point.  But it'll pay off much later, when Directive 4 prevents Robocop from arresting Dick Jones.  It's only the latest of several crucial plot points Neumeier has written into the scene, and it adds an undercurrent of uncertainty and anxiety to an otherwise energized, uplifting moment. 

I'm only half-finished breaking down this remarkable "Arrival of Robocop" sequence.  Check back soon for the rest!

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