Unlike many of the other major components to a film, editing is something that is often only noticed by casual viewers when it’s badly done. Good editing tends to go unnoticed — many people don’t think about the impact of the length of a cut, the timing of a blackout, or the effect of a sound in a film.
An example of some excellent editing comes from the movie Oppenheimer, which combines good overall editing with spectacular sound design. A notable moment in the film is the Trinity explosion scene — a masterclass in how to combine editing and cinematography to create an especially impactful climax. At first, the soundtrack builds, nearly completely overwhelming the diegetic sound of the scene until everything goes completely silent. Then, the soft rustling of movement slowly fills in the blank space… the screen begins to flash through shots of the scientists watching in awe (or horror) as the bomb finally detonates, the sound still muted to capture audience attention. Oppenheimer himself begins to fill our screen as we get closer to the expanding explosion, witnessing the sudden stunning wide shots of the inferno before being pulled back into the minutiae of the flames and dust. Then, the slow fading into darkness as the blast fades, the same side profile close up on Oppenheimer’s face flickering across the screen, followed by the slow re-introduction of the soundtrack with Oppenheimer’s narration of the famous line — and then finally, just when you think it might not happen, you are met with the deafening sound of the blast itself. The scene is a masterclass in how to build then release tension, especially considering the audience knows what to expect.
Though the scene stands out as one of the most artistic and expressive examples of editing in the film, the film makes several other bold choices when it comes to editing. Another distinct editing decision Oppenheimer makes is the choice to have scenes in the separate timeline in black and white, making a clean break for viewers in terms of the narrative while also perhaps emphasizing the ultimately depressing end to Oppenheimer’s legacy and his own spiralling self image. Many films have employed the switch of colour grading, a major feature of editing, to this effect. One may remember the yellow tint of Whiplash to give the film a tense feel, or the greenish-blue wash of Fight Club to create that desolate, sickly, dreamy atmosphere.
Many times the editing of a film is reduced to a back-burner consideration when discussing the merits and drawbacks of a film. But editing encompasses all of sound design, grading, cuts, fades, and so on, and is an essential part of making a good film great.
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