Frames Within Frames: TIME WITHOUT PITY

using architecture and props to divide your frame, and your characters

Time Without Pity (1957) is a melodramatic noir about an alcoholic, often-absent father trying to save his son from a death penalty sentence.

In keeping with its somewhat heightened plot and acting, it leans into a stylised look, often framing characters in mirrors, against starkly coloured backdrops, or within literal frames, to visually separate them from others and/or their surroundings.

Below are several of my (Mel’s) favourite shots.

Shot Reverse Shot

The wider car are fairly symmetrical, but neat ‘reverses’ of each other.

Then the medium shots use the car body to keep David and Brian in their own squares, with neat symmetry across both shots.

This framing fits the scene, as the men feel each other out, pretending to be open and honest while both actually withholding information from each other.

Literal Frames

Pictures and windows and mirrors, oh my!

The hanging, framed mirror is backstage of a dance production; the film constantly calling attention to its own artifice.

Architecture

Every bit of the sets are used, from railings to sconces.

Frames as Symbolism

Last but not least, a practical labyrinth of squares, through which David and Brian circle as they slowly, slowly, begin to come clean with each other.

Despite telling the truth, each of them still feel entirely trapped and alone.