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1 Dissolve to : Ft. fr. Exterior harbour. A motor boat O'Hara : (off, narrating) 15
is travelling across screen right Naturally, someone had to take
to left. Mr. Bannister home. I told myself— Dissolve to :
2 Motor boat coming towards — I could not leave a helpless 8 camera. man lying in a saloon. Well, it
was me that was unconscious — Dissolve to :
3 Motor boat travelling across — and he were exactly as help 7 screen as it passes between two less as a sleeping rattlesnake, moored boats.
4 M.C.S. Dachshund, paws up on 3 2 side of boat, barking fiercely. Loud yapping bark of dog.
5 M.C.S. Mrs. Bannister looking Mr. Bannister : (off) 3 down. It's nice of you, Michael —
6 Shooting over side of yacht. A Barking of dog fades out. sailor and O'Hara are lifting Bannister :
Bannister from the motor boat — to be so nice to me when I
into the yacht. Mis. Bannister was so drunk, in right foreground back to camera, hands in pockets, looking on.
The effect aimed at here can perhaps best be appreciated if we imagine the sequence without shot 4. Without it, the passage is simple : a sailor helping a drunken man aboard ship. With it, a note of warning is sounded : Michael, as we discover later, is being led into a trap. Mrs. Bannister's impassiveness is made more noticeable by contrast with shot 4 and some of the raw ferocity of the dog's yapping is unconsciously transferred by the spectator on to her seemingly disinterested expression. (A precisely analogous device was used by Orson Welles in a sequence near the end of Citizen Kane with an image of a screeching parakeet.)
The effect is achieved in this case by means which are external to the story. The dachshund appears in only one further shot in the film and is of no further significance in the plot. Shot 4 is merely used as a suddenly illuminating cross-reference which gives — through the implied contrast — a dramatic meaning to the scene which it would otherwise not have.
Whether the effect in this particular case " comes off " must remain a matter of personal taste : it is perhaps a little too showy a device for so simple a context. Nevertheless it should be sufficient to establish that a straightforward visual contrast of this kind can sometimes be used to great effect.
Another kind of editing composition — and one can hardly imagine an example more different from Lady from Shanghai — is illustrated by the sequence of shots from the closing episode of John Ford's Tobacco Road (see stills on p. 253). Jeeter (Charley
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