What We Learn About Baby

*I recommend that you read the previous article as this document will make comparisons between the two opening scenes and the protagonists within them*

The opening sequence from Edgar Wright's 2017 feature film Baby Driver is not only one of the best openings of all time for its stunning action sequence, but also for its introduction to the humble protagonist, Baby.

Fundamentally, the protagonist we see here and the one we see in Blue Song by Mint Royale (see the previous article), are very similar. Both films even open in a comparable way, a sharp stopping of the vehicle to represent an eager, impulsive character who is prepared for what lies ahead. The ringing sound we hear as the camera fades in hints towards Baby's Tinnitus and therefore backstory from the very start of the feature. The first shot we see of him is a steady mid-shot in sync with the music as Ansel Elgort holds a serious, stern expression, shrouded in mystery as he wears black sunglasses. We can't tell much about his character here until 0:56 when he comedically begins to sing along with the track after it pauses for a moment of silence, then coming back in as Baby pulses back and forth. However, during this moment, it becomes apparent to the audience that Baby is the getaway driver for a bank robbery, as three accomplices walk into a bank dressed in black, holding duffel bags and placing bandanas over there faces in synchronisation.

Interestingly, the shots used in this film are less mobile than those in Blue Song, I think that Wright may have done this in order to emphasise Ansel Elgort's performance and make his character more likeable as he enjoys himself in the car. Also, there are more hit points in this than in the Mint Royale video. We learn that Baby does become cautious when he needs to be, for instance when the police car drives past and the music stops playing in sync, the camera pans from the back of the car to reveal that he is sat completely still. We are shown a shot-reverse shot of Baby and the bank window, revealing a gunshot from Jon Bernthal's character in sync with the music, showing a shocked and anxious expression on Baby's face, introducing to the audience his characteristic of empathy, which is carried as a theme throughout the film.

We then see him look towards the bank just before the alarm begins to go off, showing he has very good planning skills and that he is attentive to the arrangement. Baby revs the engine with a mean expression on his face, changing gears and releasing the handbrake in preparation, again emphasising his eagerness and how ready he is to drive, building up suspense and tension for the audience. His cheek is shown again as he opposes Jon Bernthal's character who points forwards, by driving backwards and suddenly spinning the car around.



Just before Baby and the crew enter the diner where Debora works, Baby tries to convince Bats they shouldn't go in there, literally saying "no." Baby is, therefore, more active in this scene rather than being a passive character, and the implications are clear as the audience realises that Baby doesn't want to go into the diner because he is afraid that Bats could do something to Debora. This instantly adds a level of tension to the scene, as well as Debora knowing something is wrong as the song 'when something is wrong with my Baby,' as he walks into the diner. The dramatic slow motion makes it clear to the audience here if not before, that there are stakes for Baby (Debora), and therefore consequences for his actions even more so. This adds tension to scenes with life-threatening scenarios, but even more tension to this scene as he has brought the most dangerous people he knows into his lover's place of work.

Interestingly here, we learn from performance and dialogue that Bats and Buddy are at conflict with each other, even more so when Bats reads him like a book, spelling out his previous life just by looking at his face. The close-up shots used at this moment create an intimacy within the space between the two characters, therefore create an extreme tension as if an incredibly dangerous fight could break out at any moment. The mise-en-scene is also incredibly interesting here as well, as Edgar Wright always makes the costume design for his characters incredibly simple, yet meaningful. In my opinion, the black and white outfit worn by Baby reflects the contrast between his two lives, and him being torn between them as he works as a criminal and lives as a carer. Bats' red ensemble is obvious but effective, the red connoting ideas of danger and blood, maybe even foreshadowing the deaths he causes and ultimately receives. Buddy's black attire is great as he and Baby seem to have a connection, but as he is eventually forced into the role of the antagonist, the black clothes become more fitting as black represents evil death etc. I feel like Darling's clothes are a spin on the femme fetal clothing design, as the large black fur coat in a brighter pink colour here, along with provocative lipstick suggesting that she also has a bad side.

As soon as Bats states the name 'Debora,' Baby turns to look, revealing his care for her as he, as well as the audience, now fearing that Bats may be onto the fact that they are in love. Perhaps one of my favourite moments of the film is in this very scene, as Baby must be active and has no option to oppose Bats when the psychopath reaches for his gun to kill her. The intimate shots are all we need to know what is happening. Bats looks to Baby confused and irritated, Baby resists, Buddy and Darling look to the gun, which the two struggle subtly over, then Baby does an incredibly minimal and subtle look to Debora, exposing himself to Bats. Bats turns to look also, looks back and says "ok," submitting.