Key early new-wave, 1961 from Jacques Rivette
ominous music and looming pans, moving in
often. especially earlier, camera that moves-in in a Hitchcock-like manner
often quite wide shots, but quick cuts
interesting use of montage, short bursts of one speaker, another pulled in by the cut
as though is suggesting the different relations between the longer take and the quick close-up
deep focus, quite a lot of depth
Wellsian influence here, as with the dramatic framings and often associative montage techniques
some wonderful framings, things just slightly off camera, then move
big mixture of techniques
general fragmented senses of space, especially among the bourgeoisie
often very empty streets; dislocation
use of not quite explained narrative, characters and audience both trying to create one
sense, with shadows in the background, of operating around ghosts, empty signifieds
About trying to understand a kind of reason for the madness, to explain the inexplicable
it is a slow, strange film
constructed around the life of the female lead, largely follow her
A fascinating hisotrical document, and still a perfectly decent film in itself
Sunday 30 January 2011
Les Parapluies de Cherbourg (The Umbrellas of Cherbourg)
Jacques Demy, 1964, with Catherine Deneuve
a musical, though without key songs; certainly disorientating at first
at once the singing gives it a bounce, the whole thing a kind of glow
but this isn't completely rose-tinted; the dialogue is pretty naturalistic
pretty kitchen-sink-ish stuff happening
use of music at once gives lives dignity, and demonstrates the slight ridiculousness of the Hollywood musical
use of long takes, floating camera, often mid to long shots
long takes, often only conclude when the camera gets too close
bright, pastel and primary colour colour schemes
each location has its own colours; enhances otherwordly theme
plot is really pretty realist; no sugary ending, without the music this would be pretty depressing at times
a fine, deeply different, piece of work
a musical, though without key songs; certainly disorientating at first
at once the singing gives it a bounce, the whole thing a kind of glow
but this isn't completely rose-tinted; the dialogue is pretty naturalistic
pretty kitchen-sink-ish stuff happening
use of music at once gives lives dignity, and demonstrates the slight ridiculousness of the Hollywood musical
use of long takes, floating camera, often mid to long shots
long takes, often only conclude when the camera gets too close
bright, pastel and primary colour colour schemes
each location has its own colours; enhances otherwordly theme
plot is really pretty realist; no sugary ending, without the music this would be pretty depressing at times
a fine, deeply different, piece of work
Hiroshima Mon Amour
1959 Alain Resnais movie, a genuine 'classic' of art cinema
opening of disconnected bodies, with sidelighting
voiceover of words in comparison, working against (not with) images
images as panning, frequent movement
use of dissolves gives a sense of connection (also continuity often kept to)
move to scenes where disconnection is shot-reverse (not too much), lots of two-shots
frequent use of close up, often wide angled, one closer and one in distance
Resnais uses montage, quite quickly, often not narrative-motivated
use of high/ low angles, as though breaking up parts of the body
always motivated by a device, so doesn't jar; usually has a shot in between those that differently frame one time and place
wonderful script, at once realistic of the parochialities
slight moves to beyond reality; image and sound again working together
a deeply powerful film, especially in the voiceover aspects, with an impressive use of the oft-missused montage
opening of disconnected bodies, with sidelighting
voiceover of words in comparison, working against (not with) images
images as panning, frequent movement
use of dissolves gives a sense of connection (also continuity often kept to)
move to scenes where disconnection is shot-reverse (not too much), lots of two-shots
frequent use of close up, often wide angled, one closer and one in distance
Resnais uses montage, quite quickly, often not narrative-motivated
use of high/ low angles, as though breaking up parts of the body
always motivated by a device, so doesn't jar; usually has a shot in between those that differently frame one time and place
wonderful script, at once realistic of the parochialities
slight moves to beyond reality; image and sound again working together
a deeply powerful film, especially in the voiceover aspects, with an impressive use of the oft-missused montage
Saturday 29 January 2011
Black Swan
Aronofsky's latest, Natalie Portman on screen
amazing how little to say about it
camera basically stuffed up her nose
certain amount of rythmic editing in long takes, of dancing, well done
the following close-up like the wrestler (telephoto)
allows for the space to be shockingly intruded (not too often)
no lead-up really; no character, just horror plot, with horror lighting
not asking for necessary character, but some kind of context would be nice
Portman and Cassell both basically types. Both get to emote, that's it
fantasy sequences are nuts, as is the tone throughout
slight cop-out of what is fantasy/ reality (why any distiniction?)
one theme, one plot, nothing outside of one idea
which isn't really developed on, or thought about, in any sense
pleasure in the horror, not at all boring
pretty inconsequential though
amazing how little to say about it
camera basically stuffed up her nose
certain amount of rythmic editing in long takes, of dancing, well done
the following close-up like the wrestler (telephoto)
allows for the space to be shockingly intruded (not too often)
no lead-up really; no character, just horror plot, with horror lighting
not asking for necessary character, but some kind of context would be nice
Portman and Cassell both basically types. Both get to emote, that's it
fantasy sequences are nuts, as is the tone throughout
slight cop-out of what is fantasy/ reality (why any distiniction?)
one theme, one plot, nothing outside of one idea
which isn't really developed on, or thought about, in any sense
pleasure in the horror, not at all boring
pretty inconsequential though
Friday 28 January 2011
The Secret In Their Eyes
Another look at Campanella's Oscare winner
either very good or very bad, lots going on here
on the very good side, we have the story of a fantasy, saturated colours, close-ups of sever subjectivity, lead makes up the story himself. Interesting use of narrative framings, inventing stories of why this happened. Film cleverly deconstructs itself.
One the negative, the thriller plot never holds up, is preposterous, it is shot in ping-pong shot-reverse (no legs in sight), pretty unimaginative, and dwells on the negative place of women.
Perhaps the inadequacy of the thriller line can be attributed as necessary to make Benjamin's fantasy just that; a stupid fantasy
On this reading the prison-house makes sense, as it is the fulfillment of what he wanted, revealed in all his horror (even if scene after that a bit of a cop-out)
Interesting film in so many ways, the inadequacies of the thriller plot part of a wider structure perhaps, though the rather unimaginative direction don't leave us too expectant of the director's next film
either very good or very bad, lots going on here
on the very good side, we have the story of a fantasy, saturated colours, close-ups of sever subjectivity, lead makes up the story himself. Interesting use of narrative framings, inventing stories of why this happened. Film cleverly deconstructs itself.
One the negative, the thriller plot never holds up, is preposterous, it is shot in ping-pong shot-reverse (no legs in sight), pretty unimaginative, and dwells on the negative place of women.
Perhaps the inadequacy of the thriller line can be attributed as necessary to make Benjamin's fantasy just that; a stupid fantasy
On this reading the prison-house makes sense, as it is the fulfillment of what he wanted, revealed in all his horror (even if scene after that a bit of a cop-out)
Interesting film in so many ways, the inadequacies of the thriller plot part of a wider structure perhaps, though the rather unimaginative direction don't leave us too expectant of the director's next film
Izgnanie (The Banishment)
2007, second film after 'The Return' from Andrei Zvyagintsev
very much widescreen, busy frame with differing areas of light
horizontally a very extensive film, use of telephoto makes it clammy also
alineation of family among each other but at different (out of focus) depths
long takes, slow pans, space not rigidly adhered to but clear
certain amount of deliberate mucking about with city/ countryside
off centre framings give a sense of alienation, and of a huge world
film starts with metaphysics; the passing of time, of nature
does become about masculinity
loses its nerve a little, starts to film the script, a little melodramtic even
better to have tried something wider; has some impressive shots of the landscape, use of the constant light gives a foggy, Tarkovskian glow, but latterly shies away
decent enough, but slightly fails to carry out its promise
very much widescreen, busy frame with differing areas of light
horizontally a very extensive film, use of telephoto makes it clammy also
alineation of family among each other but at different (out of focus) depths
long takes, slow pans, space not rigidly adhered to but clear
certain amount of deliberate mucking about with city/ countryside
off centre framings give a sense of alienation, and of a huge world
film starts with metaphysics; the passing of time, of nature
does become about masculinity
loses its nerve a little, starts to film the script, a little melodramtic even
better to have tried something wider; has some impressive shots of the landscape, use of the constant light gives a foggy, Tarkovskian glow, but latterly shies away
decent enough, but slightly fails to carry out its promise
L'Age D'Or
A further watch of Dali and, importantly, Bunuel's surrealist totem
still surprisingly shocking
Bunuel's direction nothing like as elegant as later, too many cuts
the plot deliberately takes you down by the brambles, chatty even
need to play stand-and-deliver to get the dialogue right
Surrealism obviously very apparent, in a individualist tale
which means the real attack on the bourgeoisie has to be rather tacked on
still, a powerful and important film
still surprisingly shocking
Bunuel's direction nothing like as elegant as later, too many cuts
the plot deliberately takes you down by the brambles, chatty even
need to play stand-and-deliver to get the dialogue right
Surrealism obviously very apparent, in a individualist tale
which means the real attack on the bourgeoisie has to be rather tacked on
still, a powerful and important film
Wednesday 26 January 2011
Un Heros Tres Discret (A Self Made Hero)
1996 movie from Jaques Audiard ('Prophete', 'Beat That My Heart Skipped')
incredibly kinetic direction, as expected from Audiard
very much close-ups, moves around with lead (less so than in later works, maybe)
constant movement, pretty elegant but also handheld camera. Constant circling, movement
The continuity work manages to preserve, however, a pretty realistic conception of space
The film's constant movement, its focus on gritty detail quite literally
very fast moving, entertaining to watch
an interesting story, sympathising with all angles, if what Audiard wants to focus on not perhaps the most interesting aspect
fantasy scenes are attractive in themselves, but adds a slightly lighter tone to what is essentially a criminal story (move of Audiard towards a 'harsher' story)
entertaining, really in depth study, with a slight ambivalence of tone
incredibly kinetic direction, as expected from Audiard
very much close-ups, moves around with lead (less so than in later works, maybe)
constant movement, pretty elegant but also handheld camera. Constant circling, movement
The continuity work manages to preserve, however, a pretty realistic conception of space
The film's constant movement, its focus on gritty detail quite literally
very fast moving, entertaining to watch
an interesting story, sympathising with all angles, if what Audiard wants to focus on not perhaps the most interesting aspect
fantasy scenes are attractive in themselves, but adds a slightly lighter tone to what is essentially a criminal story (move of Audiard towards a 'harsher' story)
entertaining, really in depth study, with a slight ambivalence of tone
The Headless Woman
Another look at Lucrecia Martel's recent work
Still unnerving, genuinely strange; even better this time
use of telephoto lens, all actions compressed into one
striking images through this pictorialism
disorientated space, sometimes close-ups
off centre framings, different areas of the screen always activated
busy framings, comings and goings, make having a kind of centre difficult
lead performance as slightly off-key with the world around, all moving around
often don't see the woman's face; obtrusive off screen sounds, on occassion
film obviously challenges the lead; she must create a story to justify what happened
only within a story can her life be challenged in the way, but then it is co-opted
futher, viewer is challenged; must create a story of why we should condemn her/ that society
what really did happen? Why does it matter? Why would it matter
almost like a horror film, out of focus (bleached out) figures in the distance, parts of the screen almost unnoticed containing uncertain terrors
minimal camera movement, never quite lets us understand the space; horror always just offscreen
truly unnerving, fine work
Still unnerving, genuinely strange; even better this time
use of telephoto lens, all actions compressed into one
striking images through this pictorialism
disorientated space, sometimes close-ups
off centre framings, different areas of the screen always activated
busy framings, comings and goings, make having a kind of centre difficult
lead performance as slightly off-key with the world around, all moving around
often don't see the woman's face; obtrusive off screen sounds, on occassion
film obviously challenges the lead; she must create a story to justify what happened
only within a story can her life be challenged in the way, but then it is co-opted
futher, viewer is challenged; must create a story of why we should condemn her/ that society
what really did happen? Why does it matter? Why would it matter
almost like a horror film, out of focus (bleached out) figures in the distance, parts of the screen almost unnoticed containing uncertain terrors
minimal camera movement, never quite lets us understand the space; horror always just offscreen
truly unnerving, fine work
Tuesday 25 January 2011
Ulysses' Gaze
Theo Angelopoulos, Greek auteur, 1995
huge long takes, very slow pans
often horizontal, moving space created
really stunning how long the takes are. Long shots, small characters
Perhaps becomes a little closer as the piece moves on
often other characters fade to background, Keitel, along with one other vertical marker, wears a dark shading to distract
in these mammoth takes, history presents itself on the screen
dream like order of logic
often (early, especially) sound/ image disjunct
some sensational individual scenes/ shots; the new years party, the opening sequence
individual images stare out; mocking spectacular
script is slightly eerie, as though all they can do is repeat movie lines
questions of if cinema can continue after politics/ how it remembers
with these incredible images, shot in the slightly theatrical style
though the camera, though it follows the leads' walk through history, also comes free on occassion
the sequences don't always connect up to each other all that smoothly, ends up a bit of a non-narrative pile-up
but some individual sequences to take the breath away, eye of a master
huge long takes, very slow pans
often horizontal, moving space created
really stunning how long the takes are. Long shots, small characters
Perhaps becomes a little closer as the piece moves on
often other characters fade to background, Keitel, along with one other vertical marker, wears a dark shading to distract
in these mammoth takes, history presents itself on the screen
dream like order of logic
often (early, especially) sound/ image disjunct
some sensational individual scenes/ shots; the new years party, the opening sequence
individual images stare out; mocking spectacular
script is slightly eerie, as though all they can do is repeat movie lines
questions of if cinema can continue after politics/ how it remembers
with these incredible images, shot in the slightly theatrical style
though the camera, though it follows the leads' walk through history, also comes free on occassion
the sequences don't always connect up to each other all that smoothly, ends up a bit of a non-narrative pile-up
but some individual sequences to take the breath away, eye of a master
Monday 24 January 2011
L'heure d'Ete (Summer Hours)
2008, Assayas
similar techniques to 'Irma Vep'; long handhelds, circling camera
maybe a bit more stillness, with some more longer shots
use of deep focus when necessary
Assayas usually pretty unnoticeable colour-wise, but use of greens throughout (city/country)
Assayas at his pest in multiple person scenes where the camera, incredibly elegantly, moves around
no annoying shake in the way we follow it around
everyone swimming in money here; a little overdone
interesting themes, if a little heritage-pic/ cinema of quality
some gorgeous location shots, excellent performances largely
another impressive film, if a bit of a climbdown
similar techniques to 'Irma Vep'; long handhelds, circling camera
maybe a bit more stillness, with some more longer shots
use of deep focus when necessary
Assayas usually pretty unnoticeable colour-wise, but use of greens throughout (city/country)
Assayas at his pest in multiple person scenes where the camera, incredibly elegantly, moves around
no annoying shake in the way we follow it around
everyone swimming in money here; a little overdone
interesting themes, if a little heritage-pic/ cinema of quality
some gorgeous location shots, excellent performances largely
another impressive film, if a bit of a climbdown
Irma Vep
1996, Olivier Assayas, starring Maggie Chung, with Jean-Pierre Leaud
Long handeheld takes, almost plan sequences
constant movement, default is a portrait framing
usually telephoto lens, presumably for ease in handheld
almost plan-sequences, floating around multiple characters on occassion
when cutting does come it's largely continuity, camera always moving though
is taking us into the time/ space of each character
film about hypocrisy, understanding others, their dreams, and moviemaking
conclusion in Cheung's fantasies that things can only work out in a movie
so the movie becomes life, in that very impressive sequence
at once funny; hillarious ending, but also with ballast from understated performances
challenges viewer to enter into its time of parts not wrapped up, things not finished
floating around, creates a wonderful panaroma
inserts some truly stunning shots, often involving backlighting, and effects such as the rain at night; simply, a fine eye
very very impressive, in a distinctive style
Long handeheld takes, almost plan sequences
constant movement, default is a portrait framing
usually telephoto lens, presumably for ease in handheld
almost plan-sequences, floating around multiple characters on occassion
when cutting does come it's largely continuity, camera always moving though
is taking us into the time/ space of each character
film about hypocrisy, understanding others, their dreams, and moviemaking
conclusion in Cheung's fantasies that things can only work out in a movie
so the movie becomes life, in that very impressive sequence
at once funny; hillarious ending, but also with ballast from understated performances
challenges viewer to enter into its time of parts not wrapped up, things not finished
floating around, creates a wonderful panaroma
inserts some truly stunning shots, often involving backlighting, and effects such as the rain at night; simply, a fine eye
very very impressive, in a distinctive style
Sunday 23 January 2011
13 Tzameti
2005 movie, earlier film of the director of the nice, sharp little 'The Legacy'
shot in Black and White, very low key, low contrast
works for the key scenes, perhaps a little unnecessary otherwise
works in so far as bleaching out, and showing up high contrast of shadows on both sides of the face in high tension
opening is very thoughtful; constantly shifting viewpoints, further out, disorientating
moves into pretty straightforward absurdist/ politically related plot, perhaps losing something, but it finishes strongly
use of broader space than 'The Legacy', but still shoots us through time and space
quite elegant spcae creation at times
best shots, like the final one, emphasise the contrast, almost mask-like
plot is good at showing the oppressed's both coming to and aquiesence in their own destruction
the tone is fine; grubbiness of locales gives it an edge of humour
their is tension, but that's not really the point; absurdist nails it better
short again, a sharp tale, with some interesting effects
not the greatest film ever, but not bad at all
shot in Black and White, very low key, low contrast
works for the key scenes, perhaps a little unnecessary otherwise
works in so far as bleaching out, and showing up high contrast of shadows on both sides of the face in high tension
opening is very thoughtful; constantly shifting viewpoints, further out, disorientating
moves into pretty straightforward absurdist/ politically related plot, perhaps losing something, but it finishes strongly
use of broader space than 'The Legacy', but still shoots us through time and space
quite elegant spcae creation at times
best shots, like the final one, emphasise the contrast, almost mask-like
plot is good at showing the oppressed's both coming to and aquiesence in their own destruction
the tone is fine; grubbiness of locales gives it an edge of humour
their is tension, but that's not really the point; absurdist nails it better
short again, a sharp tale, with some interesting effects
not the greatest film ever, but not bad at all
Wednesday 19 January 2011
How Green Was My Valley
By any accounts, a masterpiece
simply outstanding, thoughtful, shot compostion; various styles
higher key than 'Grapes of Wrath', in general
deep focus; always one action offsetting another
crowd scenes and so on
builds up reliable space
match cuts to show continuity and repetition; enter into time
actually very sharp narrative
enables moments where its slows, incredible sequences
can see time passing: frequently wordless passages
use of master shots, moving in, within the shot, in analytical editing
frequent use of Soviet/ Martial framing, heroism
refusal to overdramatise; stays on the master-shot
plot at once deeply nostalgic, but also recognises differences
clear socialist message
moments of humour mixed in
really begins to sing; repeitious images, entering into the film's time
Work of a master
simply outstanding, thoughtful, shot compostion; various styles
higher key than 'Grapes of Wrath', in general
deep focus; always one action offsetting another
crowd scenes and so on
builds up reliable space
match cuts to show continuity and repetition; enter into time
actually very sharp narrative
enables moments where its slows, incredible sequences
can see time passing: frequently wordless passages
use of master shots, moving in, within the shot, in analytical editing
frequent use of Soviet/ Martial framing, heroism
refusal to overdramatise; stays on the master-shot
plot at once deeply nostalgic, but also recognises differences
clear socialist message
moments of humour mixed in
really begins to sing; repeitious images, entering into the film's time
Work of a master
The Grapes Of Wrath
1940 John Ford movie, starring Henry Fonda
Use of deep focusses
classical cinema, long takes
wide takes, continuity, often mixing in aspects of one shot on end of next
though uses (what seems like) multiple camera set ups for dialogue
along with these long shots, use of close ups, heroic, lower down
analytucal editing; goes deeper into the shame shot
incredibly dark for a Hollywood movie
precise light compositions
use of montages, continuity and repetition
stirring narrative, though too compressed
Ford mixes in typical trait of 'outsider' man
classical at its finest, smaller and homelier than expected
Use of deep focusses
classical cinema, long takes
wide takes, continuity, often mixing in aspects of one shot on end of next
though uses (what seems like) multiple camera set ups for dialogue
along with these long shots, use of close ups, heroic, lower down
analytucal editing; goes deeper into the shame shot
incredibly dark for a Hollywood movie
precise light compositions
use of montages, continuity and repetition
stirring narrative, though too compressed
Ford mixes in typical trait of 'outsider' man
classical at its finest, smaller and homelier than expected
Monday 17 January 2011
Repulsion
Polanski
use of slow film, not so much low key lighting as shadows. Dark walls, often light centre of the room/ face
gives it very precise look, particular
extensive use of close up, tracking. Tight framings
use of zoom lens inside the house, tracking there
but the use of zoom ins, then zoom outs. Relentless pace mirroros rot we see in the shots of the organic
slow pacing, long scenes (couple of faster cuts earlier on)
really beautifully economical, simple, creates subjective space
but these long zoom outs in the flat, along with some wide angle work on occasssion do give a sense of the house; as do some wonderful simple, long tracking shots
expressivism in some of the long, deadpan shots of static objects
in so far as they seem to loom, have abstract angles
amazing can get away with such long shots of objects, shows use of tone
suspense; nearly every shot, nevermind scene, has competing cases where the audience knows more than one / all the characters. Use of knives etc. Build up, as well as with general claustrophobic atmosphere
use of offscreen sound to signify subjectivity of invading/ alien forces
harsh use of modernist breaks to underline action
Deneuve is wonderfully gnomic, Bressonian, communicability
seems at once to live in a rotting world, but wants to fall into it and
use of everyday surrealism, deadpan, humour
use of wide angle dreams too, unnerve, questioning how much is 'really' happening
men/ sex / money triad, men out of their depth
clock; time passing, jumping camera at end / decay/ rotting of time
Polanski throws the kitchen sink, thrown up a genuinely exhillirating film, emotionally and formally
way more than just completely nuts melodrama, which it is; technically electric
influences of Bunuel in simplicity and surrealism of everyday, Bressonian focusses on body and sound, Hitchcock most obvious, suspense plus violence, sex, money
use of slow film, not so much low key lighting as shadows. Dark walls, often light centre of the room/ face
gives it very precise look, particular
extensive use of close up, tracking. Tight framings
use of zoom lens inside the house, tracking there
but the use of zoom ins, then zoom outs. Relentless pace mirroros rot we see in the shots of the organic
slow pacing, long scenes (couple of faster cuts earlier on)
really beautifully economical, simple, creates subjective space
but these long zoom outs in the flat, along with some wide angle work on occasssion do give a sense of the house; as do some wonderful simple, long tracking shots
expressivism in some of the long, deadpan shots of static objects
in so far as they seem to loom, have abstract angles
amazing can get away with such long shots of objects, shows use of tone
suspense; nearly every shot, nevermind scene, has competing cases where the audience knows more than one / all the characters. Use of knives etc. Build up, as well as with general claustrophobic atmosphere
use of offscreen sound to signify subjectivity of invading/ alien forces
harsh use of modernist breaks to underline action
Deneuve is wonderfully gnomic, Bressonian, communicability
seems at once to live in a rotting world, but wants to fall into it and
use of everyday surrealism, deadpan, humour
use of wide angle dreams too, unnerve, questioning how much is 'really' happening
men/ sex / money triad, men out of their depth
clock; time passing, jumping camera at end / decay/ rotting of time
Polanski throws the kitchen sink, thrown up a genuinely exhillirating film, emotionally and formally
way more than just completely nuts melodrama, which it is; technically electric
influences of Bunuel in simplicity and surrealism of everyday, Bressonian focusses on body and sound, Hitchcock most obvious, suspense plus violence, sex, money
The Canterbury Tales
Pier Paolo Pasolini, 1972
really rather enjoyable, happy, quite sweet bawdiness
use of the peasant style Flemish school tableaus, out of knowehere a startlingly good shot
reinforces purity of the sexual nature, clear in the mis-en-scene
usual fast moves from master shots to longer close-ups (not too extreme here)
Pasolini frequently uses a grey, dull backdrop and bright, expansive costume
shows ritualistic nature, makes all primitive again
strange connection to Herzog; makes subjects idiotic, and gnomically wise, but showing the absurdity of such juxtapositons in straight to camera close ups
narrative floats about, sense of celebration, not really going anywhere
good fun, sweet, arresting images
really rather enjoyable, happy, quite sweet bawdiness
use of the peasant style Flemish school tableaus, out of knowehere a startlingly good shot
reinforces purity of the sexual nature, clear in the mis-en-scene
usual fast moves from master shots to longer close-ups (not too extreme here)
Pasolini frequently uses a grey, dull backdrop and bright, expansive costume
shows ritualistic nature, makes all primitive again
strange connection to Herzog; makes subjects idiotic, and gnomically wise, but showing the absurdity of such juxtapositons in straight to camera close ups
narrative floats about, sense of celebration, not really going anywhere
good fun, sweet, arresting images
Edipo Re
Pier Paolo Pasolini, 1967
heavily heated
switch from modern to archaic clearly shows continuance of themes today
use of clear symbols; the headress, the sword
in a way, a rather faithful recounting, with not much added on to the Freudian story
use of landscape is big, power of nature
relates to Passolini's use of the master shot, then quickly the close ups in
creates (usually moving) tableaus, Brueghel influence
then a real lot of work on the almost direct to camera close up
means that the editing is fast, on everything except the close up
clear identification with the lead throughout
even some non continuity editing reinforces it
use of fascinating (1970's, blatantly) extras, saturation focusses on appetites
interesting questions of fate; when we know the end, what does that mean
not exactly subtle (subtedly not always good, but nothing beyond semantic description less so)
still, good
heavily heated
switch from modern to archaic clearly shows continuance of themes today
use of clear symbols; the headress, the sword
in a way, a rather faithful recounting, with not much added on to the Freudian story
use of landscape is big, power of nature
relates to Passolini's use of the master shot, then quickly the close ups in
creates (usually moving) tableaus, Brueghel influence
then a real lot of work on the almost direct to camera close up
means that the editing is fast, on everything except the close up
clear identification with the lead throughout
even some non continuity editing reinforces it
use of fascinating (1970's, blatantly) extras, saturation focusses on appetites
interesting questions of fate; when we know the end, what does that mean
not exactly subtle (subtedly not always good, but nothing beyond semantic description less so)
still, good
Le Corbeau
Henri-Georges Clouzot, 1943, early work, banned on various occassions for various reasons
pretty theatrical general, huge amount of shot/reverse
some looming camerawork, use of pans in that have looming
few expressionist touches in the darker sets
as always, a detailed mis-en-scene
plot pushes along, drawing the viewer into complicity and curiousity
is, ultimately, a melodrama, with not much subversion of the form
watchable, but not his best
pretty theatrical general, huge amount of shot/reverse
some looming camerawork, use of pans in that have looming
few expressionist touches in the darker sets
as always, a detailed mis-en-scene
plot pushes along, drawing the viewer into complicity and curiousity
is, ultimately, a melodrama, with not much subversion of the form
watchable, but not his best
Days Of Being Wild
Wong Kar Wai, 1990, first of 'In The Mood', '2046' trilogy
has same kind of swooning romanticism
use of repition from the start; tracking shot
uses things popping into the space, popping out
use of pan ins to characters, not melodramatic due to slowish rythm of these
extended use of close up, postmodern in that no real sense of space
exceptional in combining this often disastorous destruction of space with longer takes in the close up with the telephoto
displays a real sensuality, among the movements of the camera and some fast cutting on occassion
use of soft lighting, often themed colour-wise around a locale, in heavy, saturated sets, to have that kind of romanticism
usual figure of the stoic male and the tough female, all vulnerable here
narration is fascinating; the circling round an unpleasnat character, but in a Renoir-esque way, 'All have their reasons'
wondrous diversion takes us to the side plot of the policeman
draws us into the narrative, but at once it has no goal, no end point, just burns with beauty
doesn't quite develop some things as well here as elsewhere; images less defined, a few meandering points
fascinating for showing the development to the masterworks, still a fine, fine film in itself
has same kind of swooning romanticism
use of repition from the start; tracking shot
uses things popping into the space, popping out
use of pan ins to characters, not melodramatic due to slowish rythm of these
extended use of close up, postmodern in that no real sense of space
exceptional in combining this often disastorous destruction of space with longer takes in the close up with the telephoto
displays a real sensuality, among the movements of the camera and some fast cutting on occassion
use of soft lighting, often themed colour-wise around a locale, in heavy, saturated sets, to have that kind of romanticism
usual figure of the stoic male and the tough female, all vulnerable here
narration is fascinating; the circling round an unpleasnat character, but in a Renoir-esque way, 'All have their reasons'
wondrous diversion takes us to the side plot of the policeman
draws us into the narrative, but at once it has no goal, no end point, just burns with beauty
doesn't quite develop some things as well here as elsewhere; images less defined, a few meandering points
fascinating for showing the development to the masterworks, still a fine, fine film in itself
Saturday 15 January 2011
El Espiritu de la Colmena (The Spirit Of The Beehive)
Arthouse favourite, from Victor Erice in 1973
not in an way a bad film, but whether or not it takes off is certainly subjective
use of long shots, but the takes not too epic
use of elliptical editing as the time passes; interesting way of showing time on screen, succesful in some ways (pretty literal), not in others (feeling it in spectator)
use of associative montage of animals and scenes, geographical cross cutting, gives the dreamy atmosphere
as does how the stpry seems to focus more and more on the tradition, pulling us away from a reality
cinematography certainly goes for the equisite image, good enough
use of cross lighting, a nice honey colour, and obvious beehive motifs
ideas of a move to nature, to adolescene, to uncovering horrors
what should and should not be seen
it doesn't go on to long, but all the same is rather static
fine enough, make of what is brought to it
not in an way a bad film, but whether or not it takes off is certainly subjective
use of long shots, but the takes not too epic
use of elliptical editing as the time passes; interesting way of showing time on screen, succesful in some ways (pretty literal), not in others (feeling it in spectator)
use of associative montage of animals and scenes, geographical cross cutting, gives the dreamy atmosphere
as does how the stpry seems to focus more and more on the tradition, pulling us away from a reality
cinematography certainly goes for the equisite image, good enough
use of cross lighting, a nice honey colour, and obvious beehive motifs
ideas of a move to nature, to adolescene, to uncovering horrors
what should and should not be seen
it doesn't go on to long, but all the same is rather static
fine enough, make of what is brought to it
Toni
1935 Renoir, turn to social realism
does start slowly, but reveals itself as another masterpiece
the long shots, requiring less intricate movement than usual (though some of that)
amazingly few one shots, a shot of many characters, someone always watching someone else
all are introduced; stylistic method of the humanism
use of deep focus staging also introduces characters early, lots of screen time
rarely a real centre of attention, all in frame.
Some distinctive shots Renoir likes; two in profile, looking away, creating space outside the frame
use of the locale as not intrusive, but takes up the screen as frames the characters
typical Renoir characters; all lacivious, especially the females, all with reasons
Renoir frequently features cuckolded men, most are on the axis of negative (never entirely), while one character we sympathise with more
a wonderful tale, Renoir's framings and narrative technques again produce a masterpiece
does start slowly, but reveals itself as another masterpiece
the long shots, requiring less intricate movement than usual (though some of that)
amazingly few one shots, a shot of many characters, someone always watching someone else
all are introduced; stylistic method of the humanism
use of deep focus staging also introduces characters early, lots of screen time
rarely a real centre of attention, all in frame.
Some distinctive shots Renoir likes; two in profile, looking away, creating space outside the frame
use of the locale as not intrusive, but takes up the screen as frames the characters
typical Renoir characters; all lacivious, especially the females, all with reasons
Renoir frequently features cuckolded men, most are on the axis of negative (never entirely), while one character we sympathise with more
a wonderful tale, Renoir's framings and narrative technques again produce a masterpiece
Thursday 13 January 2011
Il Grido
1957, pretty early Michelangelo Antonioni
deep framings, distance between characters
leads to long takes, no mucking about, hardly any shot/reverse
often very long shots. Mist, scattered lighting from various effects
space is simply made, a few moments of more Antonioni-esque deliberate mashing
interesting framings
long takes mean that speaker/ character often obscured. Dislocation
certain scenes use vertical line to frame Aldo. Focus on him rather than women
Antonioni's wandering character
constant music slightly offputting
more neorealist of course, jobs. Framed in wider context at the end
not pastoral wandered through, but wastleand, sparsely populated, grotesques, with encroaching industry. Horrible dirt.
also an existential parable, of the role of Aldo. Sometimes, for a scene or two, he becomes peripheral. Nice kind of focussed, but occasionally floating narration
female characters as confusing him, wanting something different
a meditative film, Antonioni developed on it, but still out as excellent on its own
with some wonderful images; around the late night diner, two or three sharp lighting
So this is not the work of a mature master, but an earlier display far beyond most
deep framings, distance between characters
leads to long takes, no mucking about, hardly any shot/reverse
often very long shots. Mist, scattered lighting from various effects
space is simply made, a few moments of more Antonioni-esque deliberate mashing
interesting framings
long takes mean that speaker/ character often obscured. Dislocation
certain scenes use vertical line to frame Aldo. Focus on him rather than women
Antonioni's wandering character
constant music slightly offputting
more neorealist of course, jobs. Framed in wider context at the end
not pastoral wandered through, but wastleand, sparsely populated, grotesques, with encroaching industry. Horrible dirt.
also an existential parable, of the role of Aldo. Sometimes, for a scene or two, he becomes peripheral. Nice kind of focussed, but occasionally floating narration
female characters as confusing him, wanting something different
a meditative film, Antonioni developed on it, but still out as excellent on its own
with some wonderful images; around the late night diner, two or three sharp lighting
So this is not the work of a mature master, but an earlier display far beyond most
Wednesday 12 January 2011
Umberto D.
Key late neo-realist film, De Sica, 1952
Use of quite long shots, when outside, isolation
not that there aren't close-ups when necessary
the outside longer shots are with striking sillouhetted low angles, showing outside towering over him
move later on to Umberto himself shown with some heroic low angle framings
quite a wide lens early, in certain scenes (hospital) huge depth
seems to move to telephoto a bit; softens it up
wonderful creation of indoor space, long takes (not too noticeable, some pretty simple, standard, 135degreeish stuff), pans
bravura near 360 pans of Maria in the kitchen, and in Umberto's room
De Sica also uses space near and around the camera
use of dolly shots to close up for emotion; camera really mobile, floating
light always motivated. Not afraid to have the key's faces dark
largely, De Sica will use many styles. Light music in background and a couple of P.O.V. shots more directly dramatic than most of it
largely wonderfully underplayed by cast; some wonderfully lingering moments, little twitches, or no movements at all
symbol as well as literal role of the dog
use of the pound, among other locations, to convey situation
it is clear what is happening (friends reject etc), but avoids overdoing
really rather light for much, some little comedies and so on; non portentous tone
parable with the young also
a powerful tale, told very well
Use of quite long shots, when outside, isolation
not that there aren't close-ups when necessary
the outside longer shots are with striking sillouhetted low angles, showing outside towering over him
move later on to Umberto himself shown with some heroic low angle framings
quite a wide lens early, in certain scenes (hospital) huge depth
seems to move to telephoto a bit; softens it up
wonderful creation of indoor space, long takes (not too noticeable, some pretty simple, standard, 135degreeish stuff), pans
bravura near 360 pans of Maria in the kitchen, and in Umberto's room
De Sica also uses space near and around the camera
use of dolly shots to close up for emotion; camera really mobile, floating
light always motivated. Not afraid to have the key's faces dark
largely, De Sica will use many styles. Light music in background and a couple of P.O.V. shots more directly dramatic than most of it
largely wonderfully underplayed by cast; some wonderfully lingering moments, little twitches, or no movements at all
symbol as well as literal role of the dog
use of the pound, among other locations, to convey situation
it is clear what is happening (friends reject etc), but avoids overdoing
really rather light for much, some little comedies and so on; non portentous tone
parable with the young also
a powerful tale, told very well
The Wrestler
The big recent one, Darren Aronofsky
long tracing shots from behind Rourke
use of repition with these, elliptical editing
shows monotomy of life, monotomy of situation
credit Aronofsky with long takes, which establish time passing
often use of master shot then closer; some nice moves, such as panning, static camera in convo
quite crowded framings, mild amputations, small town, small lives
medium close ups, move around a bit
generally the first sequences are the best; interesting anti-narrative of Rourke lacking goals, but being swept by events
moves a bit to ping pong, some not so good motivated actions (deli counter), and the daughter relationship is underdone but a bit fraught
largely, good simple film though
Rourke not as 'wrestler', but as honest working industry
shown to take things out of the body, physically wound
use of repition to show similarity of wrestling. deli job
show of decline of American industry with fading star/ nostalgia
not that the time was perfect; racism, Rourke seen to overcome this with forign service staff
comparison to 'Somewhere';seeimgly bizarre lifes, but symbols for a kind of no work ennui ('Somewhere' adds to this 'no play', and is visually more exciting)
nice, straightforward film
long tracing shots from behind Rourke
use of repition with these, elliptical editing
shows monotomy of life, monotomy of situation
credit Aronofsky with long takes, which establish time passing
often use of master shot then closer; some nice moves, such as panning, static camera in convo
quite crowded framings, mild amputations, small town, small lives
medium close ups, move around a bit
generally the first sequences are the best; interesting anti-narrative of Rourke lacking goals, but being swept by events
moves a bit to ping pong, some not so good motivated actions (deli counter), and the daughter relationship is underdone but a bit fraught
largely, good simple film though
Rourke not as 'wrestler', but as honest working industry
shown to take things out of the body, physically wound
use of repition to show similarity of wrestling. deli job
show of decline of American industry with fading star/ nostalgia
not that the time was perfect; racism, Rourke seen to overcome this with forign service staff
comparison to 'Somewhere';seeimgly bizarre lifes, but symbols for a kind of no work ennui ('Somewhere' adds to this 'no play', and is visually more exciting)
nice, straightforward film
Monday 10 January 2011
The Innocents
1961 Jack Clayton adaption of James novella, starring Deborah Kerr
use of wide framings, slightly small, lost
low contrast film
but quite deep focus
manages to avoid depth by shoulder-framing and low-contrast, also with costumes
use of distorted perspectives, grotesque looming over
this and use of cross shadows/dark/ creepy hard front lights also add to this
as do use of sets; gives a real difference from the back and the front
long scenes in continuity manner, fluid camera also, some rythmic editing (quick cuts)
themes of corruption of innocence, who's really doing what
excellent, pretty nuts performance from Kerr
dials up pretty high, stays there, generally just about hangs
preety effective scare story, a bit theatreish, standard good though
use of wide framings, slightly small, lost
low contrast film
but quite deep focus
manages to avoid depth by shoulder-framing and low-contrast, also with costumes
use of distorted perspectives, grotesque looming over
this and use of cross shadows/dark/ creepy hard front lights also add to this
as do use of sets; gives a real difference from the back and the front
long scenes in continuity manner, fluid camera also, some rythmic editing (quick cuts)
themes of corruption of innocence, who's really doing what
excellent, pretty nuts performance from Kerr
dials up pretty high, stays there, generally just about hangs
preety effective scare story, a bit theatreish, standard good though
Irreversible
More visual thrills and cod-Philosophy from Gaspar Noe, 2002
starts with that overhead, swirly camerawork
almost impossible to know what's going on, pointless
frenetic mix of strobes in hellish half world
settles down more, with frontlighting
characters telephoted into background, yellowish light
Noe shows us disgusting, shocking images
nothing wrong per se, but why does he show it?
glorifies it, largely not, one cut in at end of rape scene
need purpose to show it; fails, becomes just random
lack of social context
message is basically that shit happens, little there at all
formal excitment of epically long takes (certain cheats of course)
best scene is the juxtaposition of graphic conversation (Woody Allen?) on public transport
largely for the fun of it, but nice simplicity in parts
fails to find a reason for this
Noe manages to make us think about violence by technique, but the conclusion is that he is wrong
starts with that overhead, swirly camerawork
almost impossible to know what's going on, pointless
frenetic mix of strobes in hellish half world
settles down more, with frontlighting
characters telephoted into background, yellowish light
Noe shows us disgusting, shocking images
nothing wrong per se, but why does he show it?
glorifies it, largely not, one cut in at end of rape scene
need purpose to show it; fails, becomes just random
lack of social context
message is basically that shit happens, little there at all
formal excitment of epically long takes (certain cheats of course)
best scene is the juxtaposition of graphic conversation (Woody Allen?) on public transport
largely for the fun of it, but nice simplicity in parts
fails to find a reason for this
Noe manages to make us think about violence by technique, but the conclusion is that he is wrong
Sunday 9 January 2011
Triumph Of The Will
Great filmmaker Leni Riefenstahl's infamous 1935 propoganda piece of the NAZI Nuremberg rally of the preceding year
Fast cuts, really cutting around things
strangely uncontrasty
key technique of near dark sillouhette, bright light in distnace (even Hitler in distance)
fast, almost whip pans of people. Constant movement, if not camera (usually) then people
only Hitler gets the long shots
and these are from that low angle
high angle on people, apart from Hitler only things (many flags) get low angle
few P.O.V. shots, often seen from crowd
opening scene in aeroplane exception; more dramatic if had been from below?
key use of off screen mass sound, to signify crowds
non-perpendicular framings, even from high overhead, to indicate off screen space (to go with Pans)
as far as content, surprisingly focussed on Hitler
much repetition, little real content apart from display
sociological interest, along with how long one can keep the arm up for
utterly vile, if it needs to be said
Fast cuts, really cutting around things
strangely uncontrasty
key technique of near dark sillouhette, bright light in distnace (even Hitler in distance)
fast, almost whip pans of people. Constant movement, if not camera (usually) then people
only Hitler gets the long shots
and these are from that low angle
high angle on people, apart from Hitler only things (many flags) get low angle
few P.O.V. shots, often seen from crowd
opening scene in aeroplane exception; more dramatic if had been from below?
key use of off screen mass sound, to signify crowds
non-perpendicular framings, even from high overhead, to indicate off screen space (to go with Pans)
as far as content, surprisingly focussed on Hitler
much repetition, little real content apart from display
sociological interest, along with how long one can keep the arm up for
utterly vile, if it needs to be said
Saturday 8 January 2011
Dekalog 6-10
Kieslowski Series, late 80's
6: Another study by Kieslowski of voyeurism
throughout telephoted, early on longer shots. 'Rear Window'
grainy camera, more movement; different ways of looking
as in many of these pieces, change of perspective
like the oan, this compares and at once connects
wish to be looked at, viewed dominates the viewer, then reverse
7:Simply told, simply lit tale
moving away from the block
discussion of madness entaled by relation of parent to child
Kieslowski's confused, dissatisfied, but powerful women
here is a bit pathetic
slightly dissatisying strand, fails to take off; most literary
8: The most self relective so far, about storytelling
use of space at start; false distance
need to tell stories mixed with resistance
trying to understand the need to
again, Kieslowski switches the perspective
9:hard lighting focus on objects
dutch angles: almost pop videoesque
strong narrative here; tension, others holding up
10:End of the series: goofy
high key lighting, dramatic fun images
loopy plot, deadpan humour, quite funny
at the same time most symbolic
brotherly love, and the object as important
to make the symbols, you have this jokiness
1-10: Kieslowski has certainly been exhaustive
beautiful in parts
most succesful at the start, certain aesthetic tiredness as it wears on
relationship to direct politics obtsue at best, more to do with religion early on
and simple hardship later
humanism, though not trowelled on
6: Another study by Kieslowski of voyeurism
throughout telephoted, early on longer shots. 'Rear Window'
grainy camera, more movement; different ways of looking
as in many of these pieces, change of perspective
like the oan, this compares and at once connects
wish to be looked at, viewed dominates the viewer, then reverse
7:Simply told, simply lit tale
moving away from the block
discussion of madness entaled by relation of parent to child
Kieslowski's confused, dissatisfied, but powerful women
here is a bit pathetic
slightly dissatisying strand, fails to take off; most literary
8: The most self relective so far, about storytelling
use of space at start; false distance
need to tell stories mixed with resistance
trying to understand the need to
again, Kieslowski switches the perspective
9:hard lighting focus on objects
dutch angles: almost pop videoesque
strong narrative here; tension, others holding up
10:End of the series: goofy
high key lighting, dramatic fun images
loopy plot, deadpan humour, quite funny
at the same time most symbolic
brotherly love, and the object as important
to make the symbols, you have this jokiness
1-10: Kieslowski has certainly been exhaustive
beautiful in parts
most succesful at the start, certain aesthetic tiredness as it wears on
relationship to direct politics obtsue at best, more to do with religion early on
and simple hardship later
humanism, though not trowelled on
Dekalog 1-5
First half of the epic made for T.V. set of films by the Polish auteur Krzysztof Kieslowski, shown in 1989
1: 'natural' (yellow) key, blue/ red fill
sidelighting, shadows, texture and sensuality
realsim of Kieslowski
televisual close ups, study of space
cramped, foreground overburdened
study of interior of soul; god and science (pretty explicit)
2: more only keylight (still side)
more space, smaller. Gives odd sense of time
few close ups, almost noirish
similar to 'Red'; juztaposition of young and old
condemnation of old, but certain wisdom
current crisis and looking back on one
pan shot to show togetherness
3:Kiselowski goes noir
faster film, higher contrasts, more striking images
red/blue lights, almost expressionist
mixed with front lighting (natural/yellow) for home
faster takes, more dramatic, action on screen
comparative; crossed with Kieslowski's social angles
need to really read in the noir; but the tropes are there
femme fatale/ limited P.O.V./ grotesques, car chases
less music, less concerned with inner psychology
slightly underpowered on its own, but within the context of the social, powerful
4: interesting, psychoanalytic tale, bathed in theory
strange, bit weird
freerer, wide angled space. White themes throughout
sense of freedom, no telephoted entrapment as elsewhere
starts off as a celebration, gets into Bergmanesque shadows territory
gets a bit overheated; not to be taken literally
plot twists; better to not know things
the lack of grit (compartatively makes it quite good fun, discounting themes
5: Washed out colours, dusty light, wide angles
this, with the crosscutting, gives a nearly comic book feel. Visceral
use of dispersed light closeigh to look (yellow filter?) of 'Delicatessen'
As common move by Kieslowki, this look changes to complications
the faster opening reveals to more serious moral questions
pace slows, darker cross lighting
move to longer, stiller, more meditative scenes
almost a grotesqueness in the wide-angle; execution scene, with pans, as thoough falling down a hole
Kieslowski's move beyond the socioligy, humanism, to different formal elements still contains contamination by the former; this crossing gives a complexity to the work
1: 'natural' (yellow) key, blue/ red fill
sidelighting, shadows, texture and sensuality
realsim of Kieslowski
televisual close ups, study of space
cramped, foreground overburdened
study of interior of soul; god and science (pretty explicit)
2: more only keylight (still side)
more space, smaller. Gives odd sense of time
few close ups, almost noirish
similar to 'Red'; juztaposition of young and old
condemnation of old, but certain wisdom
current crisis and looking back on one
pan shot to show togetherness
3:Kiselowski goes noir
faster film, higher contrasts, more striking images
red/blue lights, almost expressionist
mixed with front lighting (natural/yellow) for home
faster takes, more dramatic, action on screen
comparative; crossed with Kieslowski's social angles
need to really read in the noir; but the tropes are there
femme fatale/ limited P.O.V./ grotesques, car chases
less music, less concerned with inner psychology
slightly underpowered on its own, but within the context of the social, powerful
4: interesting, psychoanalytic tale, bathed in theory
strange, bit weird
freerer, wide angled space. White themes throughout
sense of freedom, no telephoted entrapment as elsewhere
starts off as a celebration, gets into Bergmanesque shadows territory
gets a bit overheated; not to be taken literally
plot twists; better to not know things
the lack of grit (compartatively makes it quite good fun, discounting themes
5: Washed out colours, dusty light, wide angles
this, with the crosscutting, gives a nearly comic book feel. Visceral
use of dispersed light closeigh to look (yellow filter?) of 'Delicatessen'
As common move by Kieslowki, this look changes to complications
the faster opening reveals to more serious moral questions
pace slows, darker cross lighting
move to longer, stiller, more meditative scenes
almost a grotesqueness in the wide-angle; execution scene, with pans, as thoough falling down a hole
Kieslowski's move beyond the socioligy, humanism, to different formal elements still contains contamination by the former; this crossing gives a complexity to the work
Friday 7 January 2011
Nanook Of The North
1922, Robert J Flaherty, seen as the progenitor and perhaps the defining, tentpole film for the documentary form
high contrast, early film
clearly set up
long explicatons lead to narrative action
many cuts, clear manipulation
camera positions set up in advance
but tells the story in an excellent manner, simple, powerful
slightly feel he allows himself to show things (animals fighting) as its 'documentation'
a lesson in how to make a narrative film more than a doucmentary
slightly patronising; more long shots, few close ups
fascinating, with some amazing scenes of animals
high contrast, early film
clearly set up
long explicatons lead to narrative action
many cuts, clear manipulation
camera positions set up in advance
but tells the story in an excellent manner, simple, powerful
slightly feel he allows himself to show things (animals fighting) as its 'documentation'
a lesson in how to make a narrative film more than a doucmentary
slightly patronising; more long shots, few close ups
fascinating, with some amazing scenes of animals
Ano Bisiesto (Leap Year)
Recent work from first time director Michael Rowe
still camera, all in one room (slightly cliched art house)
compostions using backlighting, light to show necessary aspects
sex scenes focus on something else
cool atmosphere, any brightness is grubby (red; changes meaning)
angle of view; shoulder height reduces depth even more (along with setting)
themes of loneliness/ isolation
narrative picks up bite with plot move; clear show of society's needs
analysis of need to transgress to understand
quiet, desperate tragedy
deliberately shocks, but so cool about it, allows objective spectator
slightly cliched at times, formally different of not too innovative
an interesting little piece of work
still camera, all in one room (slightly cliched art house)
compostions using backlighting, light to show necessary aspects
sex scenes focus on something else
cool atmosphere, any brightness is grubby (red; changes meaning)
angle of view; shoulder height reduces depth even more (along with setting)
themes of loneliness/ isolation
narrative picks up bite with plot move; clear show of society's needs
analysis of need to transgress to understand
quiet, desperate tragedy
deliberately shocks, but so cool about it, allows objective spectator
slightly cliched at times, formally different of not too innovative
an interesting little piece of work
The King's Speech
Tom Hooper's (the Damned United) new awards contendor, starring Colin Firth
story cursory, same thing five times
pretty dodgy script, hugly predictable
but nice wide angled shots
sense of self
three point lighting, continuity talking heads
weird off centre framings
not just for convos; both sides on one side of screen
although space not orgnaised in edit, nicely conveyed atmosphere through this offcentredness
undoubted ability to create something, well directed
hermetically sealed film though, no connection to outsides
intrusions of (bad) Churchill, awful when we see 'ordinary people'
confined to a few characters, by use of narrational P.O.V.
not exactly inspiring for the art of film, but well directed, which is nice
not really all that bad, for all the conservatism
story cursory, same thing five times
pretty dodgy script, hugly predictable
but nice wide angled shots
sense of self
three point lighting, continuity talking heads
weird off centre framings
not just for convos; both sides on one side of screen
although space not orgnaised in edit, nicely conveyed atmosphere through this offcentredness
undoubted ability to create something, well directed
hermetically sealed film though, no connection to outsides
intrusions of (bad) Churchill, awful when we see 'ordinary people'
confined to a few characters, by use of narrational P.O.V.
not exactly inspiring for the art of film, but well directed, which is nice
not really all that bad, for all the conservatism
Noz w wodzie (Knife In The Water)
1962, Roman Polanski's first feature film, a really terrific little piece of work
claustrophobic from the outset, in car and so on
in the boat have constant foreground, background framings in single shots
generally sticks to wide angle, certain amount of distortion of figures
all stand out strongly from backdrop, black and white contrasts are stong in what is generally a low contrast, quite slow film. Good cinematographic work, quietly
filmed in a way where we see everything, in a way nothing
Polanski clearly builds up idea of something to happen, focus on knife
but the way it does/ doesn't makes it so much more powerful
use of three characters only means, despite the fast excitement, really have time to reflect
woman not developed hugely, but one nice turn from her. Increased eroticism to do with hair as the film goes on
study is really of men's competitiveness, idiotic posturing trying (failing) to mask lack of power
use of small details to show this, not overbearing, but smartly done
music is slightly incongruous, but does orientate, and show we are, in a sense, in a genre movie
Polanski makes tight films, that come across in this sharpness like B-Movies
but are really expert examinations in psychoanalysis, of seethings below the exterior, of men and women
brutally entertaining, very thoughtful, commercial genre cinema at its best
claustrophobic from the outset, in car and so on
in the boat have constant foreground, background framings in single shots
generally sticks to wide angle, certain amount of distortion of figures
all stand out strongly from backdrop, black and white contrasts are stong in what is generally a low contrast, quite slow film. Good cinematographic work, quietly
filmed in a way where we see everything, in a way nothing
Polanski clearly builds up idea of something to happen, focus on knife
but the way it does/ doesn't makes it so much more powerful
use of three characters only means, despite the fast excitement, really have time to reflect
woman not developed hugely, but one nice turn from her. Increased eroticism to do with hair as the film goes on
study is really of men's competitiveness, idiotic posturing trying (failing) to mask lack of power
use of small details to show this, not overbearing, but smartly done
music is slightly incongruous, but does orientate, and show we are, in a sense, in a genre movie
Polanski makes tight films, that come across in this sharpness like B-Movies
but are really expert examinations in psychoanalysis, of seethings below the exterior, of men and women
brutally entertaining, very thoughtful, commercial genre cinema at its best
Mat i Syn (Mother And Son)
Aleksandr Sokurov, 1997
either you get involved or you don't in this quite short film, defintion of lyrical
long takes, slong pans, really enter into the enviroment
use of hazy light, that reflects everywhere
tropes of old age, voiceover, not particularly narrative driven, images dwelled on with frequent side lighting in genuinely painterly compositions
first thing noticed is the strange distortion of the film; anamorphic projected on 35mm?
Difficult to discuss, but gives impression of a kind of fake depth, painterly, fairy tale world
the home-ness of the area well conveyed by repition, paths through
the name 'Tarkovsky' screams out here in nearly all the above elements
perhaps slightly smaller vision, less world-graspingly metaphysical, quieter
but hugely similar in technique, style, concerns
one to perhaps watch again, to be immersed in
without this, is difficult to grab the attention, but that's not really a criticism
either you get involved or you don't in this quite short film, defintion of lyrical
long takes, slong pans, really enter into the enviroment
use of hazy light, that reflects everywhere
tropes of old age, voiceover, not particularly narrative driven, images dwelled on with frequent side lighting in genuinely painterly compositions
first thing noticed is the strange distortion of the film; anamorphic projected on 35mm?
Difficult to discuss, but gives impression of a kind of fake depth, painterly, fairy tale world
the home-ness of the area well conveyed by repition, paths through
the name 'Tarkovsky' screams out here in nearly all the above elements
perhaps slightly smaller vision, less world-graspingly metaphysical, quieter
but hugely similar in technique, style, concerns
one to perhaps watch again, to be immersed in
without this, is difficult to grab the attention, but that's not really a criticism
Peeping Tom
Another look at 1960 Michael Powell movie
really is trange; odd umble of tones
serious psyche investigation/ thriller-horror/ bizarre tongue in cheek comedy
showing how they are all part of one another?
plot ties up a little too neatly in the game of the overcoming of fear/ fear of oneself
not really as complex analysis of the dual nature of self-discovery exploitation of the camera as 'Blow Up'
But entertaining, and rather good fun
In a conservative way, it looks good
use of red lights sidelit, on all except Mark
generally pretty dull direction, classic continuity stuff largely except for a few tricks
direction of lighting is the key, but most of the time still three-point
wonderful first wide-shot, mixing up the lights
a genuinely strange, slightly wonky melange
really is trange; odd umble of tones
serious psyche investigation/ thriller-horror/ bizarre tongue in cheek comedy
showing how they are all part of one another?
plot ties up a little too neatly in the game of the overcoming of fear/ fear of oneself
not really as complex analysis of the dual nature of self-discovery exploitation of the camera as 'Blow Up'
But entertaining, and rather good fun
In a conservative way, it looks good
use of red lights sidelit, on all except Mark
generally pretty dull direction, classic continuity stuff largely except for a few tricks
direction of lighting is the key, but most of the time still three-point
wonderful first wide-shot, mixing up the lights
a genuinely strange, slightly wonky melange
Hangmen Also Die
1943 war propoganda from Fritz Lang, key early noir
plot is exciting, in Lang's classical way
lovely early on sweeping pans down to the action, very 'Kane'-esque
use of dramatic framings and angles in this, looming Hitler etc
occurs in short scenes, simple dialogue heavy
silent director; use of simple scenes in known locations
with bare, almost expressionist sets; white or blacks walls, few props
framings of jagged edges as even more expressionist than parts of 'Metropolis', etc
Expressionsit lighting is the real key here
very dark around all the edges (of sets/rooms), deep noir (faces are lit three-point)
use of overhead lighting, but casting of shadows, side lighting as well
use of shadows and so on/ sillouhetted figures
generally very low key lighting
high contrast black and white
very striking images with these noir tropes
plot is exciting, fast, a little unbelievable at times
deep humanism of solidarity in moral dilemma situation
brutally complicated plot at times feels very noir esque
space is simply created; Lang's silent-era use of still camera here
not much 'ping pong', long takes from wider when talking
really great economical use of camera here, establishes space wonderfully
constantly striking, with the beauty that perhaps only the silent cinema could have
a little hoary, yes, and the visuals are not too complicated, but very special looking
plot is exciting, in Lang's classical way
lovely early on sweeping pans down to the action, very 'Kane'-esque
use of dramatic framings and angles in this, looming Hitler etc
occurs in short scenes, simple dialogue heavy
silent director; use of simple scenes in known locations
with bare, almost expressionist sets; white or blacks walls, few props
framings of jagged edges as even more expressionist than parts of 'Metropolis', etc
Expressionsit lighting is the real key here
very dark around all the edges (of sets/rooms), deep noir (faces are lit three-point)
use of overhead lighting, but casting of shadows, side lighting as well
use of shadows and so on/ sillouhetted figures
generally very low key lighting
high contrast black and white
very striking images with these noir tropes
plot is exciting, fast, a little unbelievable at times
deep humanism of solidarity in moral dilemma situation
brutally complicated plot at times feels very noir esque
space is simply created; Lang's silent-era use of still camera here
not much 'ping pong', long takes from wider when talking
really great economical use of camera here, establishes space wonderfully
constantly striking, with the beauty that perhaps only the silent cinema could have
a little hoary, yes, and the visuals are not too complicated, but very special looking
Blow Up
Michelangelo Antonioni casting his eye towards Britain, 1966
immediately apparent this is more commercial; narrative driven, shorter scenes
creation of space is very subjective; all from your leads P.O.V.
As are the colour schemes; against the grey reality his own illusory colour arrives
constant movements of a dying industrialism/ working class suffering he fails to notice (motif of nearby tower, with sign, then around scaffolding)
compostions usually pretty deep, but interesting use of telephoto distortions
characters on different panes reduced to one; looming and shrinking for each other
all related to the way the film operates from the lead's mindset
themes of the dialectic of the camera
at once is used to exploit, pin against the wall
but can reveal a kind of truth
if there is a message, it is that the camera must be used in the right way. And perhaps the camera is always too late
is ultimately the portrait of a deeply unpleasant character realising that he is missing, and how he confronts it
see-saw of how he is going to approach things; eventually, he plays along with the mimes
lead is terrific, Redgrave overacts a bit
film is condemnation of unthinking idiocy/ so called freedom actually as anaethstitsed repression
use of uncomfortable sexuality/ rock concert scene of drones (as those behind the camera, who dont think about their use of it)
Antonioni has made a condemnation of the times, a film more concerned with skewering others than with his own view (this making it, by operating in their system, more commercial)
a particulalry sensational last hour, once the ideas come in, let this film be another masterpiece from Antonioni, if not quite so special as 'L'Eclisse' or 'Il Deserto Rosso'
immediately apparent this is more commercial; narrative driven, shorter scenes
creation of space is very subjective; all from your leads P.O.V.
As are the colour schemes; against the grey reality his own illusory colour arrives
constant movements of a dying industrialism/ working class suffering he fails to notice (motif of nearby tower, with sign, then around scaffolding)
compostions usually pretty deep, but interesting use of telephoto distortions
characters on different panes reduced to one; looming and shrinking for each other
all related to the way the film operates from the lead's mindset
themes of the dialectic of the camera
at once is used to exploit, pin against the wall
but can reveal a kind of truth
if there is a message, it is that the camera must be used in the right way. And perhaps the camera is always too late
is ultimately the portrait of a deeply unpleasant character realising that he is missing, and how he confronts it
see-saw of how he is going to approach things; eventually, he plays along with the mimes
lead is terrific, Redgrave overacts a bit
film is condemnation of unthinking idiocy/ so called freedom actually as anaethstitsed repression
use of uncomfortable sexuality/ rock concert scene of drones (as those behind the camera, who dont think about their use of it)
Antonioni has made a condemnation of the times, a film more concerned with skewering others than with his own view (this making it, by operating in their system, more commercial)
a particulalry sensational last hour, once the ideas come in, let this film be another masterpiece from Antonioni, if not quite so special as 'L'Eclisse' or 'Il Deserto Rosso'
Thursday 6 January 2011
Salo, or the 120 Days Of Sodom
Deeply controversial Pasolini film, 1975
shots largely in master shots, with some close-ups mixed in
the master shots give it a cold, detached look, as little change in shot as possible
the whole film coldly looks on the depravity, so (quite deliberately) stops it being emotional
film as an intellectucal excercise, no bad thing. No real identification anywhere
analysis is of how the fascists aren't enjoying themselves, how they want to degrade themselves
perhaps would need more time to think on, more adequate in literature?
at the same time the crossings of tittilation, and the coldness of the filming, gives it a certain beauty
as do the wonderful sets, which truly take us (along with selection of telephoto, and use of low contrast colour stock) to see this detached world
an intellectual exercise, an interesting one, but unlikely to really set much alight
shots largely in master shots, with some close-ups mixed in
the master shots give it a cold, detached look, as little change in shot as possible
the whole film coldly looks on the depravity, so (quite deliberately) stops it being emotional
film as an intellectucal excercise, no bad thing. No real identification anywhere
analysis is of how the fascists aren't enjoying themselves, how they want to degrade themselves
perhaps would need more time to think on, more adequate in literature?
at the same time the crossings of tittilation, and the coldness of the filming, gives it a certain beauty
as do the wonderful sets, which truly take us (along with selection of telephoto, and use of low contrast colour stock) to see this detached world
an intellectual exercise, an interesting one, but unlikely to really set much alight
127 Hours
Danny Boyle's latest music video, excuse us, film
Severe attention deficit, endless cuts
visual tricks, just chucks it all at us
nothing means anything in itself, idiotically stupid, non thought out, message
incredibly conservative and nostalgic
somehow manages to completely fail to find the right stock
slow stock means the rock entirely lacks texture, gruesomly badly lit, gives away far too much
no sense of loneliness, change, with the infantile smashing around of the camera
it has a little tension, and Franco does little wrong
but this is really a pretty terrible film
Severe attention deficit, endless cuts
visual tricks, just chucks it all at us
nothing means anything in itself, idiotically stupid, non thought out, message
incredibly conservative and nostalgic
somehow manages to completely fail to find the right stock
slow stock means the rock entirely lacks texture, gruesomly badly lit, gives away far too much
no sense of loneliness, change, with the infantile smashing around of the camera
it has a little tension, and Franco does little wrong
but this is really a pretty terrible film
The Gospel According to St Matthew
Pier Paolo Pasolini, 1964
A marvellous film, a strong one through its simplicity
quite high contrasts
mix of close ups (many, many of these, referencing Dreyer) and master shots
the huge number of close ups could cause spatial problems, but cuts to masters
means actually rather short takes
the close ups have no consistent lighting aesthetic, through hard frontlighting is rare
underemoting gives an almost Bressonian simplicity to scenes
The louder sermons are usually not seen from the Christ's face
as with the very straightforward telling, running through events
this means the simlicity is able to build up, to have a dignity
the taking away of the Christ from the audience near the end adds to this feeling of distance
all adds up to a feeling of an outsider, a mass movement
some of the master shots reminded more than anything of 'The Battle Of Algiers'
of course one knows the story, the use of anticipation, constantly reading against the conclusion, gives the narrative drive of injustice additional force
this is crossed with the present by abovementioned simplicity, and by the use of the modern music (repeated), which makes it a political tale of our times
at once immanenet/ materialist and transcendent, a master work of the committed cinema
A marvellous film, a strong one through its simplicity
quite high contrasts
mix of close ups (many, many of these, referencing Dreyer) and master shots
the huge number of close ups could cause spatial problems, but cuts to masters
means actually rather short takes
the close ups have no consistent lighting aesthetic, through hard frontlighting is rare
underemoting gives an almost Bressonian simplicity to scenes
The louder sermons are usually not seen from the Christ's face
as with the very straightforward telling, running through events
this means the simlicity is able to build up, to have a dignity
the taking away of the Christ from the audience near the end adds to this feeling of distance
all adds up to a feeling of an outsider, a mass movement
some of the master shots reminded more than anything of 'The Battle Of Algiers'
of course one knows the story, the use of anticipation, constantly reading against the conclusion, gives the narrative drive of injustice additional force
this is crossed with the present by abovementioned simplicity, and by the use of the modern music (repeated), which makes it a political tale of our times
at once immanenet/ materialist and transcendent, a master work of the committed cinema
Wednesday 5 January 2011
The Searchers
1956 John Ford movie, starring John Wayne. Seen as all time great.
Incredibly beautiful, thoughtful far beyond its contemporaries
use of deep compostions (though not wide-angle), has (especially indoor) tableau of many levels
asks for constant comparisons, constant looks
all are stuffed together in these rooms
contrast with the outside
use of colours for inside and outside; saturated technicolour shows a strange other reality (intrusion into inside space with oranges when the Indians attack)
supremely beaitful exteriors
from sets, or from some truly spectacular day-for-night
this use of contrasts/ filters allows striking shadows (as is done the rest of the time with hats), and blazing images of hope
gives a kind of too-hot, too-much, air of desparation
which is the plot; the parallels of vengance and murder
use of matches on Wayne and the Indian chief
small moments (the scalpings, silly laughter) shows disgusting animal side of Wayne
men in general fail to comprehend the sheer horror ('Heart of Darkness'?)
the unflagging, stupid vengance of the idea, the way we are against the 'heroes' but empathetic, is fabulous
Ford shoots largely in master-shots, with some moves-in when necessary
Quite stagey (stage-sets), pre the multiple cameras for action of Kurosawa (though movement and cuts for charges etc)
a simple film with layers of themes, showing the underside of all
really lives us to the hype; the greatest western? The most complex, thoughtful
Incredibly beautiful, thoughtful far beyond its contemporaries
use of deep compostions (though not wide-angle), has (especially indoor) tableau of many levels
asks for constant comparisons, constant looks
all are stuffed together in these rooms
contrast with the outside
use of colours for inside and outside; saturated technicolour shows a strange other reality (intrusion into inside space with oranges when the Indians attack)
supremely beaitful exteriors
from sets, or from some truly spectacular day-for-night
this use of contrasts/ filters allows striking shadows (as is done the rest of the time with hats), and blazing images of hope
gives a kind of too-hot, too-much, air of desparation
which is the plot; the parallels of vengance and murder
use of matches on Wayne and the Indian chief
small moments (the scalpings, silly laughter) shows disgusting animal side of Wayne
men in general fail to comprehend the sheer horror ('Heart of Darkness'?)
the unflagging, stupid vengance of the idea, the way we are against the 'heroes' but empathetic, is fabulous
Ford shoots largely in master-shots, with some moves-in when necessary
Quite stagey (stage-sets), pre the multiple cameras for action of Kurosawa (though movement and cuts for charges etc)
a simple film with layers of themes, showing the underside of all
really lives us to the hype; the greatest western? The most complex, thoughtful
Mulholland Drive
David Lynch's 2001
Of course, completely weird
The direction is almost film-school-esque; moving camera, following characters
not much immediate beauty, just that slowly moving camera
use of flashing lights, often blue, to create strange movements though that are beautiful
clear pastiche elements, of genres, emotion, even porn, noir, gnagster...
clear at the start of the Naomi Watts strand, almost Bresson-like puppeteering
way of pushing the audience out of the 'reality'
comparison to Luis Bunuel; two dimensional world, world as a stage
and of course the 'Surrealist' elements
Lynch is actually very grounded, it is montage that creates the strangeness
major achievement of Lynch is to make a non-narrative film incredibly entertaining
narrative at start, then the drop off
film is a discussion of the stage; reversals of the end offer so many readings, make audience think
of course an inexplicable film, but Lynch's recycling of genre, and injections of incongruity, in plot and style, marks him as the most complex and interesting of recent Hollywood cinema
Of course, completely weird
The direction is almost film-school-esque; moving camera, following characters
not much immediate beauty, just that slowly moving camera
use of flashing lights, often blue, to create strange movements though that are beautiful
clear pastiche elements, of genres, emotion, even porn, noir, gnagster...
clear at the start of the Naomi Watts strand, almost Bresson-like puppeteering
way of pushing the audience out of the 'reality'
comparison to Luis Bunuel; two dimensional world, world as a stage
and of course the 'Surrealist' elements
Lynch is actually very grounded, it is montage that creates the strangeness
major achievement of Lynch is to make a non-narrative film incredibly entertaining
narrative at start, then the drop off
film is a discussion of the stage; reversals of the end offer so many readings, make audience think
of course an inexplicable film, but Lynch's recycling of genre, and injections of incongruity, in plot and style, marks him as the most complex and interesting of recent Hollywood cinema
No Country For Old Men
2007 movie from the Coen brothers
very impressive, not at all a work of perfection though
use of pretty simple direction, camera generally plays continuity ping-pong
lots of people sitting and talking, in fact
and repeated use of feet-first for Bardem, or direct head shots of others
key is the use of lighting; much backlighting, faces almost constantly in darkness
hard telephoto (although a few background compostions for simplicity) adds to distortion, sameness
the images, with the backlighting, do however pop, use of colours
adds to stagey feeling, of them walking around someone else's game
simple creation of spaces; key use of sound also creates spaces which seem rythmic, the Coen's worlds are nearly like mousetraps
this is as in the themes; the worlds are of people manoevred by some impersonal fate
the coming of violence is seen as impersonal, not to be contended with (even Bardem, his ability to hurt, is seperated from this divinity)
use of matches of graphics, of action, shows similarities
the conjuntion of this violence on the small town setting
Tommy Lee Jones (great casting against type) as response to 'Margie' in 'Fargo'
The Coen's classic deadpan style is shown to be a part of the violence
does it become too inhuman?
Is this kind of not-understandable violence incalcated in the very form, the refusal to have more than the back and forths of the style?
Some powerful speeches, fine conjunctions,
Coen Brothers are really worth thinking about
very impressive, not at all a work of perfection though
use of pretty simple direction, camera generally plays continuity ping-pong
lots of people sitting and talking, in fact
and repeated use of feet-first for Bardem, or direct head shots of others
key is the use of lighting; much backlighting, faces almost constantly in darkness
hard telephoto (although a few background compostions for simplicity) adds to distortion, sameness
the images, with the backlighting, do however pop, use of colours
adds to stagey feeling, of them walking around someone else's game
simple creation of spaces; key use of sound also creates spaces which seem rythmic, the Coen's worlds are nearly like mousetraps
this is as in the themes; the worlds are of people manoevred by some impersonal fate
the coming of violence is seen as impersonal, not to be contended with (even Bardem, his ability to hurt, is seperated from this divinity)
use of matches of graphics, of action, shows similarities
the conjuntion of this violence on the small town setting
Tommy Lee Jones (great casting against type) as response to 'Margie' in 'Fargo'
The Coen's classic deadpan style is shown to be a part of the violence
does it become too inhuman?
Is this kind of not-understandable violence incalcated in the very form, the refusal to have more than the back and forths of the style?
Some powerful speeches, fine conjunctions,
Coen Brothers are really worth thinking about
Whisky
2004 deadpan comedy/ social study, from Rebella and Stoll
uses constant repetitions, gets in a good rythms
low key lighting, not lighting faces, creates grimy atmosphere
very still camera at start shows stasis; comes to move a little more, but really deadpan non movement
framings of characters at start show them cramped in the frame
one part of the excellent perfromaces all around
problem is that it is generally conservative direction, not much visually
the plot is also rather cursory
comes to be a study of repression, of the ridiculous inability of release
but is too simply directed, lacking any formal interest or newness
uses constant repetitions, gets in a good rythms
low key lighting, not lighting faces, creates grimy atmosphere
very still camera at start shows stasis; comes to move a little more, but really deadpan non movement
framings of characters at start show them cramped in the frame
one part of the excellent perfromaces all around
problem is that it is generally conservative direction, not much visually
the plot is also rather cursory
comes to be a study of repression, of the ridiculous inability of release
but is too simply directed, lacking any formal interest or newness
At Five In The Afternoon
2003, Samira Makhmalbaf
dissapointing, really
script is the main problem; repition (not translation)
makes it seem rather patronising
a few images of lone figures are promising
and nice juxtapositions of colours, the blue umbrellas etc
repetitions of locations and actions
largely this is just neo-realism without any real thought
yes, crucial to know, but could really have written this dowm
not a terrible level of debate, but nothing too new
not as hyped
dissapointing, really
script is the main problem; repition (not translation)
makes it seem rather patronising
a few images of lone figures are promising
and nice juxtapositions of colours, the blue umbrellas etc
repetitions of locations and actions
largely this is just neo-realism without any real thought
yes, crucial to know, but could really have written this dowm
not a terrible level of debate, but nothing too new
not as hyped
Monday 3 January 2011
The General
1926, from Buster Keaton
uses some deep framing, but largely its between cuts that we have the suspense
lots of dramatic irony, audience (in just quick bits, though a bit of cross cutting) see it before Keaton does
use of tracks makes for one-eighty reverses
very strict in the direction of action, gives a clear sense of space
a few fine stunts of course
a little cold perhaps? Lacks the range of Chaplin?
A fine exercise, but nothing to get carried away about
uses some deep framing, but largely its between cuts that we have the suspense
lots of dramatic irony, audience (in just quick bits, though a bit of cross cutting) see it before Keaton does
use of tracks makes for one-eighty reverses
very strict in the direction of action, gives a clear sense of space
a few fine stunts of course
a little cold perhaps? Lacks the range of Chaplin?
A fine exercise, but nothing to get carried away about
High And Low
Akira Kurosawa, 1963
film of two halves, various acts
first as long takes, square space, one room, man's conscience
generally low contrast
use of tableaus on the very, very, very wide scene are wonderful
film really picks up in the second half, faster takes and higher contrast
typical Kurosawa attention to how all are good, but guilty
interconnections, a real humour and a mingling of horror
Kurosawa as the great humanist, the great moralist in some ways
no one escpaes either pity or condemnation
not his very best, but especially the second half, with some rythmic editing there and in the train sequence, are very good
film of two halves, various acts
first as long takes, square space, one room, man's conscience
generally low contrast
use of tableaus on the very, very, very wide scene are wonderful
film really picks up in the second half, faster takes and higher contrast
typical Kurosawa attention to how all are good, but guilty
interconnections, a real humour and a mingling of horror
Kurosawa as the great humanist, the great moralist in some ways
no one escpaes either pity or condemnation
not his very best, but especially the second half, with some rythmic editing there and in the train sequence, are very good
Il Deserto Rosso
Michelangelo Antonioni, 1964
Another absolute masterwork
less interested in fragmented space, more simple one-eighty switches (bit of fragments)
crossing one way, then the other. Long straight roads
the framings/ colourings really make this
framings on the wide frame, show seperation
lost in the fog, overlapping characters, when rarely happens, is crucial (sensual)
generally, mix with colour into backdrops
the unsaturated, post-indistrial wasteleands wandered around are generally mirrored
and then you have the attempts at something else; the red colour (but that is bleak)
bright colours that shock Vitti are that kind of idiotic, machine like sensibility/ fake vibrancy
the red scene in the cabin has the attempt at sexuality of bourgeois, but is really childlike
this is the most obvious political moment, with the inversion of the worker's tones (more 'real'?)
Vitti, incredbile again, as unable to cope with the disgusting colours and life
only escape in illness (son better off when ill, bombarding with questions?)
loneliness of this though; and move to the dream sequence
saturated colours have a utopia, but a lone utopia
this is intersected by singing- and correlate of singing for Vitti in screaming, warped electronics
some kind of sound in that horror itself
a few, not as many individual time-images as 'L'Eclisse', a bit more difficult and lacking the spatial play
but has its own genius
two out of two masterpieces from Antonioni.
Another absolute masterwork
less interested in fragmented space, more simple one-eighty switches (bit of fragments)
crossing one way, then the other. Long straight roads
the framings/ colourings really make this
framings on the wide frame, show seperation
lost in the fog, overlapping characters, when rarely happens, is crucial (sensual)
generally, mix with colour into backdrops
the unsaturated, post-indistrial wasteleands wandered around are generally mirrored
and then you have the attempts at something else; the red colour (but that is bleak)
bright colours that shock Vitti are that kind of idiotic, machine like sensibility/ fake vibrancy
the red scene in the cabin has the attempt at sexuality of bourgeois, but is really childlike
this is the most obvious political moment, with the inversion of the worker's tones (more 'real'?)
Vitti, incredbile again, as unable to cope with the disgusting colours and life
only escape in illness (son better off when ill, bombarding with questions?)
loneliness of this though; and move to the dream sequence
saturated colours have a utopia, but a lone utopia
this is intersected by singing- and correlate of singing for Vitti in screaming, warped electronics
some kind of sound in that horror itself
a few, not as many individual time-images as 'L'Eclisse', a bit more difficult and lacking the spatial play
but has its own genius
two out of two masterpieces from Antonioni.
Viaggio In Italia
154, Roberto Rossellini
Non traditional story structure, use of episodes
couple as often on seperate depths
come together when judged by others, see themselves as different
short scenes at times
constant distractions, interruptions
Bergamn's character as floating around, interrupting
powerful scene (signalled by music) in gallery, her look for masculinity/ fire
compared to man's dishonesty/ incompetence
fascinating Bergman character; wants fire, but is impatient
use of guides; male inadequacy at guiding, but needs it?
use of landscape in pancs, outside world as world of fire that attacks
final scene takes us to social context (deeply psychological before)
understanding that neither can escape the other
a fine, fine film, perhaps the finest at individual psychology of the couple
Non traditional story structure, use of episodes
couple as often on seperate depths
come together when judged by others, see themselves as different
short scenes at times
constant distractions, interruptions
Bergamn's character as floating around, interrupting
powerful scene (signalled by music) in gallery, her look for masculinity/ fire
compared to man's dishonesty/ incompetence
fascinating Bergman character; wants fire, but is impatient
use of guides; male inadequacy at guiding, but needs it?
use of landscape in pancs, outside world as world of fire that attacks
final scene takes us to social context (deeply psychological before)
understanding that neither can escape the other
a fine, fine film, perhaps the finest at individual psychology of the couple
Sunday 2 January 2011
A Royal Scandal
1945, Otto Preminger
really, shockingly good, completely out of knowhere
use of lovely deep compostions, go to higher contrast when need be
allows for economical framings, most importantly for reaction shots in frames
all the better for the subversion of formalities with the awkward 'third wheel' standing by
generally people talking in rooms (except for one scene), and playing pin-pong
demystifying, after initially witholding, the object of power
coarsening, bringing down to level of grubbiness
cynicism here, as well as certainly subversion of relation to superiors
as in 'Margin For Error' characters circle around to non-exact timeframe where the situation (note: not individual psychologies) changes, space changes
this generally happens with the removal of some kind of symbolic power; picking up pieces
the scenes of Catherine running around the halls are marvellous; real end-of-times feel
the ending is brave enough to show us, again, random caprices; a grubby human after all, even if sympathy is shown (as most of Preminger's characters are given)
a great tone, not hillarious (only a few laughs), but very watchable
really, surprisingly, excellent
really, shockingly good, completely out of knowhere
use of lovely deep compostions, go to higher contrast when need be
allows for economical framings, most importantly for reaction shots in frames
all the better for the subversion of formalities with the awkward 'third wheel' standing by
generally people talking in rooms (except for one scene), and playing pin-pong
demystifying, after initially witholding, the object of power
coarsening, bringing down to level of grubbiness
cynicism here, as well as certainly subversion of relation to superiors
as in 'Margin For Error' characters circle around to non-exact timeframe where the situation (note: not individual psychologies) changes, space changes
this generally happens with the removal of some kind of symbolic power; picking up pieces
the scenes of Catherine running around the halls are marvellous; real end-of-times feel
the ending is brave enough to show us, again, random caprices; a grubby human after all, even if sympathy is shown (as most of Preminger's characters are given)
a great tone, not hillarious (only a few laughs), but very watchable
really, surprisingly, excellent
Margin For Error
1943, early Otto Preminger
In a sense, throwaway propoganda, but fine all the same
use of some darker contrasts and deep focus to show embassy- theatrical otherwise
long takes as well, but generally ping pong
a few lighting bits and bobs, dark shadows in well constructed spaces
Preminger himself steals the acting as the consul
film notable for recognising goodness and Germans, and slightly farcical motives
occasional surprising lines, cut that little deeper
incidental, servicable
In a sense, throwaway propoganda, but fine all the same
use of some darker contrasts and deep focus to show embassy- theatrical otherwise
long takes as well, but generally ping pong
a few lighting bits and bobs, dark shadows in well constructed spaces
Preminger himself steals the acting as the consul
film notable for recognising goodness and Germans, and slightly farcical motives
occasional surprising lines, cut that little deeper
incidental, servicable
Eloge De L'Amour
2001, Godard
Perhaps the most straightforwardly beautiful of Godard's work, though he of course undercuts any traditional notion of this, with (particularly sonic) intrusions
first part uses incredibly sharp black and whites, deep focus
cross lighting, shows shadows on faces, light source never near the camera
not alienating dialogue, but elegiac, remarkably beautiful
long takes in street filming, where the incredible detail of contrast is effective
use of spaces everywhere around the camera
second part uses highly saturated colour
melting world, blinding warm reds, with the music most heartfelt
music not to accompany the image, but to set it off; to compare the image and sound
film comes together in the non-chronological relationship
and the slightly nostalgic, slightly idiotic relationship to pass is there
repetition used to understand more deeply
plays on emotions more than most Godard, really stunning shots
Perhaps the most straightforwardly beautiful of Godard's work, though he of course undercuts any traditional notion of this, with (particularly sonic) intrusions
first part uses incredibly sharp black and whites, deep focus
cross lighting, shows shadows on faces, light source never near the camera
not alienating dialogue, but elegiac, remarkably beautiful
long takes in street filming, where the incredible detail of contrast is effective
use of spaces everywhere around the camera
second part uses highly saturated colour
melting world, blinding warm reds, with the music most heartfelt
music not to accompany the image, but to set it off; to compare the image and sound
film comes together in the non-chronological relationship
and the slightly nostalgic, slightly idiotic relationship to pass is there
repetition used to understand more deeply
plays on emotions more than most Godard, really stunning shots
Made In U.S.A.
1966, J-L Godard
Use of detectuve tropes; as in 'Detective', using conventions rather than constructing a story
character standing out, using costume, from backdrop
space created quickly, economically, with hard lighting immediately showing not 'real' noir
non continuity of space, more crucially of setting (different coloured walls etc)
really quite funny at points, with obtrusive occurences
as always, use of sound to make Brechtian gestures (also in the narrations)
demonstrating chaos of detective conventions
move to study of the film as possibly political
saying that it is not political immediately recognises it as based there
shows lack of sense/ coherence (overlapping dialogue)
one of the more fun of Godard's to watch, as always, much to study
Use of detectuve tropes; as in 'Detective', using conventions rather than constructing a story
character standing out, using costume, from backdrop
space created quickly, economically, with hard lighting immediately showing not 'real' noir
non continuity of space, more crucially of setting (different coloured walls etc)
really quite funny at points, with obtrusive occurences
as always, use of sound to make Brechtian gestures (also in the narrations)
demonstrating chaos of detective conventions
move to study of the film as possibly political
saying that it is not political immediately recognises it as based there
shows lack of sense/ coherence (overlapping dialogue)
one of the more fun of Godard's to watch, as always, much to study
Une Femme Mariee
1964, Jean Luc Godard
A film interrogating different spaces, cooler than much of Godard's work
The space of the affair; elliptical, quite fast takes, dissolves out
fracturing of space
The space of the home, which lacks depth, two dimensional
long shots, a few elegant pans
both spaces have front lighting, rejecting or having little depth
long interviews as well, blurs fiction and documentation
themes of living against acting, artifice and the cinema to life
interrogatory techniques also mash with invocation of camps
though less obviously cutting, stupidity of characters is angled across
though with a certain sympathy
interesting rather than electric
A film interrogating different spaces, cooler than much of Godard's work
The space of the affair; elliptical, quite fast takes, dissolves out
fracturing of space
The space of the home, which lacks depth, two dimensional
long shots, a few elegant pans
both spaces have front lighting, rejecting or having little depth
long interviews as well, blurs fiction and documentation
themes of living against acting, artifice and the cinema to life
interrogatory techniques also mash with invocation of camps
though less obviously cutting, stupidity of characters is angled across
though with a certain sympathy
interesting rather than electric
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