Disability RE-Write

Coming down the mountain- Representation of Disability

In the extract from coming down the mountain, disability is represented as being very difficult both for the people affected as well as for the people who have to care for them, which can come out in various different ways such as through cruelty to those around you or the person who is disabled themselves.

Our establishing shot for the scene already classes the two brothers, Ben and David, as binary opposites of each other.   Ben represents disability as he is the disabled brother.   In our aerial shot of the room, Ben’s half is extremely bright and colourful compared to David’s dark and much more neutral side.   With these two comparisons, Ben appears to already be labelled as a child, since bright colours are very often symbolic of children, connoting to the idea of innocence and not understanding the world.   Children are often very much protected by those around them, and in this way it could be seen that Ben is very much being treated like a child, protected but also looked down upon by those who look after him.   There is a physical distance between Ben and David within the room, with their beds being on opposite walls; the mise-en-scene in regards to the physical layout of the room is already suggesting that there is distance between Ben and David and beginning the ideas of the difficulties of being a carer for someone who is disabled.

We hear David’s edited in voice over as the camera zooms into the room, as if we are joining David in the room.   Due to our first introduction being with David, it can be assumed that the preferred reading of the director would be to pity David and agree with what he believed.   However, we are very soon challenged in this with David’s very first line to the audience being “Last summer I decided to kill my brother”.   This is very confusing to the audience, as we assume we are meant to be on the side of David though he begins with such an awful statement, which almost fits in with the mise en scene that is on his side of the room, such as the skull by his window.   We dissolve into an arc shot at mid-close up of David.   We are very close to him and he is half naked.   With this being our first encounter with David, the bareness of him seems to appeal to the idea that he is very vulnerable, despite his emotionless face.   Though we may consider Ben vulnerable due to his disability, which we can also see with the cut to a close up of a sleeping Ben since in sleep everything is very vulnerable, this once again fits in with the idea of the difficulty of caring.   The fact that David is awake and Ben is asleep also appeals to the idea of protection, as in most situations where survival instincts are needed, the idea of ‘keeping watch’ is a common one.   However, this is the complete opposite of what David has already said and this scene begins to take on a more predatory look.   Due to the emotionless of David’s face, which is merely blinking, emphasised by the arc shot, it almost becomes the idea of a hunter stalking its prey ready to kill.   The irony of this scene is the non-diegetic music playing in the background, with the piano music reminiscent of science fiction, but also strangely bubbly for such a dark scene.

Once again, we dissolve into a black and white montage of the stages of evolution, as David’s voice over continues, talking about the idea of chance that we are able to be here at all.   This emphasises some cruelty from David once again as he calls his brother “a big potato with eye tentacles” as if he is calling his brother a mistake.   We once again are challenged about our loyalty to David as a character, as the ferocity seems unprecedented, since Ben can’t help the way he is.    Again, the music seems strangely wrong, changing into cheery pop song “Wouldn’t It Be Nice” by the Beach Boys, which gradually becomes diegetic music on the radio as we are introduced to the lower class estate house that Ben and David live in.   This setting appears to once again suggest the burden that looking after someone with a disability is, as the dining room/ kitchen area does not look particularly spacious.

In this scene in the kitchen, we do see some of where David’s anger is coming from, hearing how Ben “ate all the bloody Weetabix” and seeing the mother and father’s somewhat favouritism in regards to Ben.   Through the use of shot reverse shot, we can understand the problems that Ben and David are having, in regards to the way that David does have to somewhat make sacrifices for Ben.   They sit on opposite sides of the table, once again highlighting the idea that they are very much two separate beings.   We also see the physical contact that Ben and the mother have, with Ben having a kiss on the head and David not.   It can be seen that David’s now seeming jealousy is quite natural, and his anger at Ben somewhat justifiable.   David’s description of how pigs are killed is also somewhat comic despite being mean.   However, the viewer is still unsure that the idea of killing Ben is necessary, despite how hard it is on David.

We move on to a montage of Ben and David’s relationship, seeing them sitting at the dirty bus stop, still within the estate area and the different experiences they have together.   We have gone back to a voice over once again.   We see the ways that Ben annoys David, such as squeaking the toy in David’s ear, which is shown in a close up.   Yet, we also see David pretending to shoot Ben as he is learning to ride a bike, going back again to the idea of innocence and children and David’s horrifying confession about wanting to murder his brother.   We do also see David’s protection of Ben as he discusses the idea of making sure no one will drag him off, with a focus pull to odd-looking man shown at the bus stop.   Despite everything we have seen of David so far, this is almost repentance for what he said.

We begin our new scene in the school with an over the shoulder shot of David drawing a horse.   The drawing is very good, and the idea of it being on its hind legs as if it is about to ride connotes to the idea of freedom.   This could link to the idea that David wants to be free from Ben, but also that Ben may be stopping David from pursuing his art in someway.   We also David’s intelligence in this scene as he highlights his historical knowledge.   The teacher is very judgemental of those without knowledge in her class, and this links back to the idea of Ben having problems being disabled, as intelligence is valued and he still has the mind of a child in many ways.   This is also shown through the fact that David looking after Ben is known as ‘babysitting’, as if Ben is truly a small child.   Ben’s innocence is further shown on the bus, as his fear appears to be prominent as he clings on to the seat in front of him.   We feel sorry for Ben, since his brother has abandoned him, especially as the sad piano soundtrack heightens the emotion.   Ben’s eyes are particularly focused on in slow motion as the sound effect of children’s laughter is heard in the background.   He seems very alone.