Whirlpool

Otto Premimger - 1949
Obviously Preminger does use quite long shots, though I would argue that isn't really the key here; sure, we have lots of plan-americain (below-knee), and some longer stuff we can have those incredible tracks in from (there are also some closer, then the moves out from), but it just, for me, isn't that noticeable. One difference, from earlier Hawks, for example, is that he is willing within a scene to change the length we have on a figure, those suited men going from room to room can come close to the camera, then move away.
Shot with a bit of depth, though of course he does actually cut a bit. Preminger sets up a world of massive connections, with almost no character shadings. The plots are really incredibly twisty, but don't seem too ridiculous, beacuse there is nothing except the plot. Such understated, calm, laconic acting, we have to read it ourselves. As ever, we don't know the figure's goals, and neither do they.
For all this, the scenes, though with long takes and complex moves, aren't hugely long; long, yes, but not huge relaxations with shading and throwaway dialogue. This is intellectual cinema, probably pre-planned to within an inch. Which is perfect for what it expresses, a reflection on life, on emotions, on ideas.
This film is at its best as the woman pieces together her life, trying to make sense. Their are so many comparisons with 'Marnie'. Pushed around by men, compelled to commit crimes, dominated. The plot falls for some 'dime-store Freud' (Welles), we know things they don't and so there is some banal melodramatic suspense, but even here fascinating things are introduced. Giving the woman and story so, basically, she can be loved. The dream like sexual obsession in Preminger's film (removing her nightgown as she sleeps!). There is certainly a lot of sleeping here; who falls into dreams, who makes up what stories?
The woman's construction of identity, bullied into identity. 'Is there truth'? Is a priori interesting, but could be reduced to being facile. I think Preminger does more than simply ask that question; there is a kind of truth of desire, but memory is so linked with it.. it's just more complicated than that. Webs everywhere, cinema as webs between characters, stories about desire and memory.