The glowing, shrouded spectre of the fiddler appears and begins to play while the cyclopean monolith of time looks on. The clock face gives us a geography to become oriented to. Later it will become just a reference to what once was as the reality of the yard washes away. The steeple line has blurred with the continuing ebbing of mist and perception.
The detail in the fiddle and left hand are strong. The music - the desire or need or destiny to play it - is sharpened and clear in contrast to the portrayal of reality elsewhere in the frame.
The angle is low - the stars still uncommonly fat and bright. Perhaps the tree by the church is the same as the one we saw in the frame prior; perhaps not; as things continue to become foggy and blurred.
The headstones in front of the church are now a warm light contrasting tone - evidence of something in the foreground lighting them, perhaps. This inconsistency in shading - a technique Hoopes uses throughout - works well as it serves the general shifting contrasts of ambience and spirits and histories forthcoming. This method is one of the prevailing reasons why this filmstrip's portrayal of the layered and shifting nature of the events portrayed in Saint-Saëns' composition is often much more effective than other efforts out there.
Likewise the atmosphere ascends up into the sky to be pierced occasionally by bright stars. That it holds color to a suggested edge against the black of the night sky is further pursuasion of a luminescence emanating from the grounds.
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