The opening sequence includes the tragic death of the parents of young Mary Lennox, and the length of her trauma is pushed with the inclusion of her inability to show emotion just after witnessing the loss of her parents in a shocking earthquake. It is frequently conveyed throughout the film that Mary, being raised with privilege and entitlement, is naïve in her ineligibility to care for herself. Orphaned, the young girl is sent away to live in a gloriously gloomy manner with her uncle, where it becomes clear that with the death of his wife (being her aunt) has left him to wallow in his sorrow, leaving Marry once again neglected. It was quite a genius touch when in the first half of the movie, the manor is conveyed throughout the dead of winter, providing a bland and unpleasant color palette, leaving the viewer to experience the melancholy for themselves.In an attempt tofill the void burrowing inside of her, Mary explores the vast estate and is greeted with agarden hidden behind a barricaded gate. Aided by Dickinson, one of the servant’s boys, the two begin to plant flowers and vines to restore its former glory. Continuing in her curiousness, Mary comes across a sickly little boy named colin, the secret son of her uncle. The two rejoice in the discovery of family, and as they grow closer, it is revealed the Colin has the inability to walk, having been shut inside never seeing the sunlight following the death of his mother. Marry continues to discover unimaginable joy in her life which is conveyed throughout the transition into spring, contrasting the previous color palettewiththe screen now full of bright flowers, bushes,fountains, and architecture. Eager to greet the dazzling sunlight, Colin begs to see the changes Mary and Dickinson have made to the estate. In the glorious blooms of spring, cause for revelation and development erupt throughout the characters personalities, ending with the satisfaction of newfound familial bonds and perseverance throughout all.