How the beginning of 10 Rillington Place is affected by the setting

The movie starts with a shot of the street sign, Rillington Place, as ominous music plays in the background. Music anchors the film, and this music makes you think of evil ,of murder. As the credits end, the camera pans down away from the sign into the street as an air raid siren sounds. This quite clearly tells us we are in the Second World War before subtitles appear confirming this by telling us we are in London of 1944. As we pan along  Place, the character of Muriel shines a torch onto no. 10 Rillington Place. The way the camera hovers over the numbers of the house showes us clearly this is the title house. Suddenly, Mr Christie appears, peeking omninously through the blackout curtains. As he opens the door, there is nothing but darkness, to echo the horrors within. It is also worth noting that Mr Christie is very softly spoken, which shows a kind of quiet menace that he radiates throughout the opening.
Inside 10 Rillington Place, it is bare, dismal, and almost entirely made of wood and rope. His kitchrn has only a few items in it, and a chair made out of rope and pieces of wood. The overall effect is not a pleasent on, which reflects the home owner. The scene does not have highkey nor lowkey lighting, but it is probably closer to lowkey lighting.
After the unpleasentness that then follows in the kitchen, we leave into his garden. Like the rest of his house, we see that it is rather bare and dismal. It looks like all war time gardens, with one exception, in the hole he is digging for Muriel, we can see in the corner another foot. As it is not skeletal or even vaguely decomposing, we can determine that this was quite recent.
This is where the opening ends, but from this we can see that setting is vital to create the quietly menacing aura of 10 Rillington Place.