Intercutting for Connection: HE GOT GAME
The opening sequence of He Got Game is full of gorgeous shadow work and depictions of a neighbourhood at work and play.
It also establishes the central relationship between Jesus and Jake (Ray Allen and Denzel Washington), telling us who they are and how they relate to each other through a wordless, crosscutting montage.
Setup
Here’s the first cross-cut, setting up everything which follows.
The camera follows Jesus’s jump, traces the arc of the ball from his hand; then, exactly the moment the ball begins falling through the basket, the scene cuts to a closeup of a basketball going through a basket . . . facing the opposite direction.
In a beautiful piece of craftsmanship, this shot also does not cut; instead, it holds on the net long enough for the ball to be returned to the shooter,* before the camera moves to find Jake, introducing him as he jumps to take another shot.
*since this is all slo-mo, there are likely two balls in play; the rebounder passing the second ball to Denzel the moment the first ball hits the net
The two ‘hero’ shots of Jesus and Jake shooting are framed and posed in direct opposition because that is how Jesus and Jake relate to each other.
They’re dressed and styled differently, so it’s easy and immediate to distinguish them even we see their faces.
Continuing Examination
Then we get wider shots like these two, of Jesus and Jake in their environments.
The stylisation and direction again make it quick and easy to distinguish who is who.
Meanwhile, we can see despite clear parallels in their surroundings, Jesus and Jake are in very different situations: tall cement structures; fencing versus barbed wire; courtside lights which clearly suggest big prison yard spotlights.
Payoff
The characters start facing opposite directions and doing opposing actions; once the scene has made clear who is who and where they are, we see more shots which directly compare their actions.
Jake and Jesus are much more alike than either of them — especially Jesus — want to consider or admit.
The tensions, similarities, and differences between these two men will drive the film. When they finally play one-on-one ball, playing for high personal stakes, the game is delivering on a showdown promised by this very opening sequence.
Takeaways
First, every shot Spike Lee and cinematographer Malik Hassan Sayeed capture of Ray Allen shooting a basketball is HIGH ART.
Second, this scene is Jesus’ and Jake’s introduction, telling us their circumstances and (broadly) who they are. Spike uses contrast as he establishes the two players and their different life situations, before the sequence begins comparing them.
The main tools are:
direction the basketball is traveling / directions the characters are facing
cutting on motion
clothing and location, color and texture
different clothing to differentiate character
similar elements such as chainlink fence and barbed wire, cement walls and high apartment buildings, a ‘returner’ under the basket
By the time this sequence ends, we understand they’re connected, that they have similar goals and personalities and loves, but are also also often in opposition.
All conveyed without a word.