The opening scene shows a hand-held wide-angle establishing shot, dollying in to Jason Statham who is carefully enticing punters into gambling their money away to his obviously illegal activity. The shot cuts to a medium close up of Jason, to show he is the main character at this moment in time (Even though there is at least a dozen people on the scene). As it is the opening of the film, traditional credits often occur. In this instance, the picture dissolves into a black background with white text, “the Steve Tisch Company” (The executive director in this movie). A similar medium closeup shot is then shown, which quickly cuts to a medium shot, re-establishing the characters position amongst the crowd. Again the picture dissolves to black to show “Ska Films” again. (Throughout the first fifteen minutes, similar credits appear on numerous occasions, I will purposely miss these out as to save unnecessary and repeating explanation)
As the camera cuts back and forth, between the medium and medium closeup of Jason, he continuously attempts to sell stolen goods to the onlookers with a shallow focus (primarily to keep the attention on that one character). Just as Jason states that the goods are “Ten pounds”, the camera quickly cuts to a medium closeup shot of Nick Moran (Playing Eddie), who promptly replies that he will take one of the packages. Very similar shots occur for approximately twenty seconds; other characters on the scene are constantly coming into focus as they all move to try to get a better view of the goods on offer.
Non-diegetic music begins to play, which involves solo electric guitars typical of this genre of film. This is used to build suspense, and to let the audience know that something eventful may be about to happen, which it does. As Eddie states that the “Cossers” are here, a high angle closeup shot of the goods being thrown into a suitcase, as a point of view shot from Jason. The music becomes more intense and the “Cossers” (Police), come into frame just after both main characters vacate it. As the music continues, the editing becomes much quicker to obviously build exhilaration and excitement.
The camera cuts to a wide-angle shot, to establish the derelict scene that the two main characters quickly enter. The camera begins to quickly dolly back as they both quickly approach it, one with suitcase in hand. As they run past the right hand side of the camera, it swiftly pans to the right and stops to show the Cossers quickly pursuing in standard police uniform. The camera then shots an ultra-slow-motion, low low-angle shot, with Alan Ford narrating in the background giving more information about each character. Alan Ford’s voice is extremely distinguishable, and appears in many Guy Ritchie films as either a main character or a narrator. It shows them running down a flight of stairs and throwing the suitcase (with goods), in the air. This slowing down of the editing is to show the panic and how little time they have to think about their actions (quite ironic, as the scene is in slow motion!)
I have noticed in this scene, how de-saturated the editors have made the picture, and have darkened it ever so slightly. This is certainly typical of this genre, and gives a ominous/sinister atmosphere to the entire film
The camera then fades to black, and the words “Lock, Stock and Two Smoking Barrels” is ‘inputted’ onto the screen, similar to how you’d expect a typewriter to perform. The music becomes more intense and louder, with vocals, as the narration stops.
As different scene fades in, which shows a tracking shot of Eddie entering the shop to meet two more characters (Jason Flymyng, playing Tom and Stephen Marcus, playing Nick the Greek), already in discussion. The camera dollies back slowly into a medium shot of all three characters whilst they discuss. Still as one continuous shot, the camera dollies backwards as the three characters approach it and begin to walk to the back of the shop. When at the back of the shop, the camera cuts to a very obscure unordinary shot, which shots an low extremely-low-angle shot, giving a closeup of Nick the Greek. This then cuts to a medium-long shot to show all character positions in the storeroom. Several medium-closeup shot-reverse-shots occur between Nick the Greek and Tom, whilst discussion what is included in a deal/price. This, along with several of the same medium-long shot takes the duration to around.
The scene changes to an interesting camera shot from the inside of (what appears to be), an oven where £25,000 cash is pulled out from, showing both Eddie and Tom in the background. This fades to black, and then fades to another fascinating shot of what appears to be from inside a cooking pot, showing Dexter Fletcher (Playing ‘Soap’). As he is carving a hot roast with a medium shot, tracking and panning to approach the next shot. This next shot is a long shot of Soap, and begins to dolly back towards him as three characters enter the scene. The characters all begin to speak, as the camera remains static.
As Tom asks where the money is, we hear a diegetic removal of the cooking pot lid. The camera promptly cuts to Soap, in a closeup who exclaims “Oy! Keep your fingers out of my soup!” A freeze-frame occurs whilst Alan Ford again begins to explain the situation. Upon resuming, we see Soap get a package out of the draw, and a closeup shows the large quantity of money (Again, £25,000).
This then cuts to a closeup of Eddie to show his expression and satisfaction that he has the money. A similar shot is then replayed on soap, before the camera resumes back to the wide-angle establishing shot… two characters begin to walk off screen.
The shot then cuts to an outside, (what appears to be), a wide angle shot, zooming in on “Harry’s Sex Shop’ sign on a brick building. The picture dissolves to another unordinary shot, zooming out to give a medium-closeup on P. H. Moriarty (Playing Hatchet Harry). He answers the phone and begins to speak. The camera then cuts to a closeup of Eddie, who is on the other side of the phone replying to the conversation. (This shot goes back and forth for around 15 seconds, before Harry puts down the phone). The camera extremely quickly pans to a closeup of Lenny McLean (Playing Barry the Baptist), who gives his opinion of Eddie. Here he uses strong language, and a very broad Cockney accent, typical of this film genre.
This then cuts to a low low-angle canted medium closeup of Barry, showing him ‘baptising’ some good-for-nothing character in some water. This interesting camera shot is to shot the difficulty that the character getting ‘dunked’ is in. Again, Alan Ford elaborates on Barry’s character.
The scene cuts to a medium-long shot of Barry sat in a dark room to the left hand side of the shot. This then cuts to Harry, a similar medium-long shot, however this time he is at the right hand side of the shot.
The scene then cuts to a low extreme-long shot of characters walking from left to right, establishing the scene. Non-diegetic music begins to play, similar to the music in the introduction. Whilst the shot stays the same, the music changes to more heavy tone, and alternate characters move from right to left and enter a door to show contrast between the two sides.
An indoor scene shows a long low shot of three characters counting money whilst sat down, speaking about the £100,000 they have gathered. As a character is introduced to the scene, one of the characters walks towards the camera where it cranes upwards to display a medium shot as he gets something from the fridge. The camera stays static for around 20 seconds whilst all characters talk about their neighbours. The camera continues to film, as two characters walk towards it; it begins to dolly back and quickly pans to the right before showing a medium shot from behind as they walk away from the camera towards a wall.
On the other side of the wall (or what is made to be), a medium shot of three characters shows a brief conversation, before the camera resumes back to the other (original side of the wall).
A separate scene shows the camera dollying forwards in a medium-closeup shot, following a character through some trees. This is then reversed to dollying backwards with a medium-closeup to show the character continuing to walk. This cuts to a new character in a medium shot, composed on the left hand side of the scene sniffing a test tube with non-diegetic Reggae music in the background.
A medium shot is then cut to; dollying and tracking the character approach the front door and open it. The camera pans round as it tracks to shot the characters come face to face (the character who opened the door, and the characters who entered the door) from behind bars.
Throughout the scene, we see references to things such as weapons, money strong language and unauthorized crime; features that you would expect in this type of genre. All of the characters are introduced one at a time, and can often be associated with a particular group of characters (be either how they speak, dress or their age).
The opening fifteen minutes of this film is extremely powerful. Allot of action takes place, allot of characters are introduced and the audience is left with a very entertaining powerful opening sequence.
