Light and Dark Themes
One of the myriad of ways we can see color being used as an important storytelling element in film is in the use of highly contrasting colors to represent abstract narrative themes. By attributing meaning to certain colors, such as goodness and light and evil with dark, the way the colors visually interact on screen can be representative of interactions between those deeper meanings. Common examples of this can be seen in the previously mentioned use of black and white to represent good and evil, though other combinations can also be used effectively. These concepts will be explored in terms of general imagery, costumes, and scene palettes.
One of the most notable uses of black and white for thematic representation in toga movies comes from Ben Hur, found in both the 1925 and 1951 renditions of the story. Ben Hur and Messala finally compete in a climactic effort to end their long-term rivalry; resulting in the famous chariot race scene. In this scene Ben Hur rides with four pure white horses, a stark contrast to the deep black of Messala’s. While this extreme difference is a practical tool to differentiate the two key characters in such an action packed scene, it is also used to cement their respective roles to the viewer. As physically lighter colors are associated with emotionally lighter qualities, and darker tones with darker qualities, representing the two men with those two sides of the spectrum categorize them with those qualities as well. The just Ben Hur versus the cruel Messala, the light versus the dark.
Aside from general imagery, the duality of light and dark to characterize individuals is also often used in costuming. Even in films not containing color such as the 1925 Ben Hur, the contrast between tones is still utilized between both Ben Hur and Messala, the former wearing fair tones and the latter wearing dark ones. This can be especially noted when the characters are in a scene close to each other, as the contrasts between both their morality and the physical colors surrounding them starkly contrast and are made more evident to the audience.
Another example of this can be seen in Gladiator’s Commodus. Similarly to Messala, the dark colors and clothing worn by him are used as an outward representation of his inner dark emotional and mental state. Though unlike Ben Hur, his counterpart Maximus does not wear white. Instead, he is shown in deep earthy tones such as brown and red. This is likely to put more emphasis on his grounded and masculine nature rather than his goodness and virtue as is done with other protagonists.
Figure 1: Chariot race, Ben Hur (2016) (desaturated)
Figure 2: Commodus, dark costuming, Gladiator (2000) (desaturated)
Figure 2: Ben Our and Messala, Ben Hur (1925)
The dark tones of Maximus' clothing is not the only way that Gladiator differs in its use of this black and white technique. For example, in Commodus and Maximus' final battle scene, Commodus can be seen to be wearing pure white in contrast to Maximus' dark black armor. While until this point the film had used the black and white symbolism as expected-- seen in Commodus' dark clothing-- this scene is a direct subversion of this. It is a brilliant and subtly representation of Commodus portraying himself to the Roman public as the hero of this story, pairing perfectly with the film's central themes. The audience had been watching a story about internal corruption attempting to be masked by positive public perception, and then experiences it in real time. In this scene, the audience in the arena and the audience in front of the screen is one, one mass watching Commodus portray himself as the morally righteous here and Maximus as the villain; all by using this classic color combination for his own gain. It really is a brilliant scene, and a fantastic example of a subversion of this classic technique to further push the themes of this story in a unique and well done way.
Figure 4: Maximus and Commodus, Gladiator (2000)
Figure 5: Maximus and Commodus, Gladiator (2000)
While it is true that this tool is often seen in the use of black and white, other colors can be used to have the same effect. In particular, the use of complementary colors can be a very effective representation of opposing sides, both visually and thematically. The complementary pair blue and orange will be shown to be particularly common. For example in Disney’s Hercules (1997), the good gods of Olympus, Hercules, and Phil, are all portrayed with saturated warm colors, primarily orange and white. While opposingly, the evil and villainous side of the film is continuously represented by desaturated blues and black. The audience can understand who's winning this push and pull by which color dominates the setting at a given time, either orange or blue. This is demonstrated in the dark stormy tones when Hercules is first kidnapped, compared to the glowing saturated colors at the ending when the good side has prevailed.
