Behind: Edward Scissorhands (1990)

Cinematography reinforces Edward’s isolation throughout the film. Burton frequently places Edward within wide shots that emphasise the space between him and the people around him. When Edward first enters the suburban community, the bright surroundings make his dark appearance particularly noticeable. The visual framing repeatedly draws attention to the fact that he does not belong. Close-ups are also important because they allow the audience to see Edward’s emotions despite his unusual appearance. His facial expressions often communicate innocence, confusion and fear, encouraging the audience to look beyond his physical appearance. This is particularly significant because the other characters frequently judge Edward based on what he looks like. The camera therefore encourages the audience to understand Edward internally rather than simply seeing him as an outsider.

Sound and music are particularly important in communicating Edward’s emotional experience. Danny Elfman’s score gives the film a dreamlike and almost fairy-tale quality. The music often becomes gentle and emotional during moments involving Edward, creating a contrast with his threatening physical appearance. One of the most memorable examples occurs when Edward creates an ice sculpture while Kim dances in the falling ice. The music transforms the scene into something magical and romantic. Edward’s hands, which are usually associated with danger, become instruments of artistic expression. The combination of music, movement and visual imagery allows the audience to understand Edward’s feelings without requiring extensive dialogue.

The film’s narrative structure also encourages the audience to sympathise with Edward. The story is framed through an older Kim telling the story of Edward to a young child. This structure immediately suggests that Edward’s story has remained important to Kim long after the events have happened. The narrative gradually reveals Edward’s history, including his creation by the Inventor and his life alone in the mansion. By delaying some of this information, Burton allows the audience to initially encounter Edward as a mysterious figure before learning about his vulnerability. This changes how the audience interprets him. What might initially appear frightening becomes tragic once his circumstances are understood. The narrative therefore challenges the audience to reconsider their first impressions, just as the suburban characters should have reconsidered theirs.

The film’s central conflict develops between Edward’s individuality and the expectations of the suburban community. At first, the residents are fascinated by Edward because his unusual abilities provide entertainment and excitement. Peg introduces him to the community, and people quickly become interested in his ability to cut hair and create sculptures. However, their acceptance is conditional. Edward becomes valuable to them while his difference remains useful or amusing. When circumstances become more serious, the same people who welcomed him begin to turn against him. Burton uses this changing relationship to expose the superficiality of the community’s acceptance. The conflict is therefore not simply between Edward and one individual; it is between Edward and a society that struggles to accept someone who does not fit its expectations.

This conflict connects strongly to the theme of prejudice. Edward is repeatedly judged because of his appearance and his inability to behave like everyone else. However, Burton reverses the traditional idea of the monster. Edward looks frightening but is largely innocent, while the ordinary-looking members of the community can behave cruelly and selfishly. This creates an important irony. The person who appears most threatening is often the least dangerous, while those who appear normal can cause the greatest emotional damage. Burton uses this reversal to question the audience’s own assumptions about appearance and morality.