In To Kill a Mockingbird, Scout unknowingly saves Atticus from a group of men outside the prison. The 1962 film faithfully adapts the novel, conveying the same implication that Scout unknowingly made men feel bad about themselves and placed herself as an equal among men. The unspoken elements of lighting, camera angles, and framing helped bring this concept to fruition. The scene in the film begins with Scout, played by Mary Badham, running towards Atticus, played by Gregory Peck, through the group of men followed by Jem and Dill. The camera is from Badham's point of view, which shows the men from their chests up and leads to showing Peck with a low angle and harsh lighting while he is standing. The camera being from Badham's point of view brings up two concepts: Scout is a child and men are intimidating. Badham's eye level is that of the men's torsos, which shows how small she is among them and how they tower over her, creating the idea of ​​a threat. However, Atticus is presented with intense lighting which demonstrates that he poses no threat to her. Instead, he is her target and the low angle shows that he is above them, of a higher class than the men and older than the children. Once Atticus starts telling Jem to take Scout and Dill home, there is a continuous close-up of Peck's face during the conversation. . The camera also follows Jem, played by Philip Alford, during the conversation, although in its shots it also includes Badham and Dill, played by John Megna, to show the subjects as children in general instead of just one. During the conversation, Peck and Alford's facial expressions show Atticus and Jem's worry and reinforce the idea that the men are the reason for this worry. At the beginning of ...... middle of paper ...... he doesn't want to be seen and the shadow over his eyes makes him look guilty. A person would feel guilty if he or she did something that is not right. On the other hand, Badham has bright lighting throughout the scene, including before he begins speaking, with no shadows on his face. The full light on her shows that she has nothing to hide and somehow displays her innocence. In conclusion, the 1962 film, To Kill a Mockingbird, successfully adapted the novel's impression that "it took an eight-year-old to bring 'em to their (men's) senses" (Lee 179). This impression was brought about by analyzing elements such as lighting, framing and camera angles. Works Cited Lee, Harper. To kill a mockingbird. New York: Perennial Classics, 2002. Print. To kill a mockingbird. Real. Robert Mulligan. 1962. Universal Images. 2006. DVD.