Edward Scissorhands Differences

Naturally, we all desire to belong, be loved and understood. However, a dominant ideology doesn’t always celebrate uniqueness. Ironically, differences alienate us. A prime example of this message is in Tim Burton’s film Edward Scissorhands (1990). A romantic gothic fairytale about a humanoid cast into American suburbia, the narratives’ trajectory explores being judged, not valued for difference. Within two conflicting worlds, Burton encourages us to visualise: we are all different, but we should be valued for our differences, not judged for it. Three important film codes used by the director to reinforce his message include character, colour and symbolism. These will be examined and tested.

“Edward Scissorhands”, an artificial scientific concoction

Imprisoned in a pastel regiment, Peg’s loss of sales flare drew her into Edward’s decaying home. She discovers him hiding in the dark loft, sporting quite the hole in the roof. Her neighbourhood houses are small and orderly in the same way she dresses; neat, bright and matching. The open space causes her discomfort. Peg says, “This is some huge house, isn’t it?” She clearly does not belong. This juxtaposition conveys the idea that difference is in one’s perspective. The low angle shot technique captures Peg’s difference, developing a reference that doesn’t conform to Edward’s way of life. Without preconceived judgement of his isolation and exotic differences, she takes him home. To the viewer, Peg compassionately recognises what is most important; looking beyond the exterior to meet his needs. When confronted by an ignorant and vindictive audience on TV, Peg continues to appreciate Eward’s qualities. Peg voices, “No matter what, Edward will always be special.” Burton’s notion that society values difference is represented by Peg’s respect, as she delicately tries to bridge the opposing worlds; “normal and abnormal.” This highlights the movie’s theme of conformity and isolation when

Focusing mainly on saturated pastels with an effective contrast of black and white. The surreal, synchronized depiction of suburbia, under the dull blue sky, is filled with cookie-cutter houses, cars and working fathers’ movements. The scene is painted (not a suitable word) in vibrant pastel colours which should evoke optimism. Ironically, the monotony never changes until Burton introduces Edward’s difference. This sparks fascination, which eventually pivots to bigotry. Here, this clever metaphor illustrates the outward beauty of pastels to underpin the hidden truth: evil. To remove emotion, the mid shot is used mainly to focus on the characters’ costumes, showing unimaginative colour variations. Edward’s costume is an obvious metaphor in gothic black and white, conveying his seclusion and inability to understand implicit meaning. His metallic silver scissors hands impairment, reflect like a mirror, his creativity and individuality. This unique quality, provides Edward with an edge, making him stand out in comparison to the other