LET’S LOOK AT SOME SHOTS FROM SOME MOVIES AND COMMENT ON THEIR IMPORTANCE..

1. LET’S LOOK AT SOME SHOTS FROM SOME MOVIES AND COMMENT ON THEIR IMPORTANCE.. FIRST, FROM THE ADVENTURES OF ROBIN HOOD: The camerawork was used to portray the different relationships among the people of Sherwood. The angles used emphasized the insignificance of the peasants and heightened the sense of oppression. The dialogue between the royal guard and the man is shot over the shoulder of the guard, making him even more menacing. When Robin Hood challenges the royal guard, these scenes are shot at eye-level, making our hero seem more of an equal in power. Another point concerns the framing of the fight sequences. Many are shot at eye-level and are loosely framed in a more realistic manner.

2. One of the things I noticed was the frequent use of long shots and extreme long shots. Another element I noticed was the frequent action that occurs in the background. The scenes were set up many times not only to include the main action but also to give a realistic feel to the things occurring around it. It was a good use of mise en scène. This is illustrated with the bishop , Prince John, and Sir Guy are discussing the king’s murder and Marion inches along behind them, trying not to be seen. Also, in some of the long shots the camera would slowly move in on a character.

3. I noticed the use of darkness and shadow. Michael Curtiz only uses shadow at times when it will send a message to the viewer. During the burial scene after Robin has killed several of King John’s men, the shadows of the bodies are cast against the castle walls. They reflect how little Prince John cares about his own knights.; they are not even worthy enough to be mentioned in the rest of the film by him. The final major shadow is in the last long sword fight between Robin and Sir Guy. They fight and leave the frame without a cut. Seeing their shadows cast on the wall creates suspense and drama for the viewer . Another point is the use of symbols.

4. A FEW GOOD COMMENTS ABOUT M: The use of the camera was stunning in this film. I did not expect to see the camera move around so much. He pushed the camera in when a person was talking; I guess to emphasize what he was saying. One time he pushed the camera when a man was repeating a word and he only pushed it when he said the word as to add even more emphasis to what was being said. The use of editing with the police talking about what to do and the mob bosses talking about what to do at the same time was really great. At one point it was even comical when it cut from a serious thought in the police office to a really random idea in the mob’s place. The theme was astounding: the question of whether humans have the right to kill a man for a crime.

5. SOME OF YOUR COMMENTS ON NOTORIOUS: Devlin remains stone faced through much of the movie. This is part of another main theme: masking or hiding one’s feelings. . . . When he can’t hide his feelings very well, he turns his back to the camera further masking his feelings. . . . To counterpoint this overt masking of thoughts and feelings, much of the movie is about people viewing each other. The mother is constantly watching Alicia, and when Devlin comes to the party he even mentions that Alex will watch their every move. One other scene to show how Hitchcock used the subjective view is when they were watching the race and the race is reflected in the binoculars as though they were mirrors. Sebastian’s key to the wine cellar is a symbol of control. It seems that whoever has the keys is who controls the family. The mother is the one with the master set of keys, showing her dominance over her son. Another thing I noticed in the movie was the power of what was unseen and unsaid. There are times when things are left unsaid, yet editing and nonverbal messages by the actors communicate the powerful message. Not much is said between Cary Grant and Ingrid Bergman in the beginning, yet the viewer knows that they experience strong feelings for each other. Notorious uses a frame within a frame sometimes. The first scene shows Alicia’s father in court framed by two doors on his sides. This creates a tight space. Later, Grant and Bergman are seen in a door frame within the movie frame. Here, the tightness implies a romantic interest. The last frame of the movie is the door to Sebastian’s home closing. He will never walk back out of that door.

6. The frame within a frame is also shown when Alicia when she finds out about her assignment and agrees to take it. When she makes the decision to accept the job even though she doesn’t want to, she moves inside the apartment and goes behind a window. The shot is taken from outside the window, and she is framed by the windowsill, giving a felling of entrapment in a job she doesn’t want to take. Even more than that, it symbolizes an entrapment in a notorious lifestyle that she believes she cannot change. Another thing I noticed was the use of close-ups on objects to either foreshadow or enforce plot material. The close-ups on the wine bottles throughout the entire movie were used to show their importance in the plot line. COMMENTS ON PATHS OF GLORY: One thing that I noticed about the film was how Kubrick used natural lighting in several different scenes to produce certain emotions in the audience. When General Mireau is talking to Colonel Dax about the number of casualties the attack on the anthill will produce, there is a mixture of light and darkness in the scene. The light comes from two sources: the doorway into the room, and a single lamp hanging from the ceiling. Both light and darkness strike Colonel Dax’s face as he paces about the room, showing his emotions in a close up. The darkness seems to hide Dax when he is simply listening and processing information, but the light hits him when he is facing disbelief, sadness, or anger.

7. When the three men condemned to die are in their prison cell, the light comes through the barred windows, creating a filtered effect on the men. The division in their hearts and patriotism is displayed through this use of light. Closeups are used to show the reactions of everyone in the courtroom, from Colonel Dax to General Mireau to the panel, even the accused. By juxtaposing long shots with extreme negative space to closeups in this scene, the emotion of loneliness and alienation is felt from many different levels. Camera angles portray power or feebleness. When the general tells the colonel that he will ruin him, the general is shown using a low angle. This technique makes the general seem domineering. During the trial scene, the accused are shown from a slightly high angle. Behind them, the huge room is seen with the twenty or so guards and witnesses. These shots are memorable. The focus is close on the character’s face, and the feeling is perfect. As each man approaches the stand, Kubrick uses a high angle shot, making each man look large as the background of accusing soldiers fade in the background. It is a distorted look, reflecting the biased way the panel is judging the men.

8. The first thing I noticed about Stanley Kubrick’s Paths of Glory is the very innovative, strategic use of editing. The scenes shot in the trenches and on the anthill are juxtaposition and starkly contrasted with those shot in fancy French courtrooms and lavish dinners, and parties in ridiculously ornate ballrooms. This does a great deal to contribute to the overall absurdity of the entire film—that the troops are out suffering; fighting a gruesome, bloody war, while the officers are celebrating their power and supremacy. A third thing I noticed in Paths of Glory, possibly the most important thing, is the theme of humanity. The entire film presents many actions by authority figures that provoke anger, a sense of injustice, and sorrow from the audience. Not only are the French fighting Germany, but the French are fighting a moral battle within themselves. The character of Colonel Dax embodies the struggle to do discover what is truly right. In the end, when the German girl is singing to the soldiers, he finally discovers what he has been searching for. Frightened and scared, this girl is at first an object of lust and mockery to the French soldiers. Once they silence and hear the words, they begin to hum along. Kubrick uses close ups of the individual soldiers, one showing a tear rolling down a man’s cheek. The message here is that regardless of where a man is from or what he believes, he is still a man. We are all unified by our nature. This is what Dax walks away knowing, and this is what the audience leaves the theater talking about.

9. ABOUT THE MAN WHO WOULD BE KING: Another thing I noticed was the use of thematic montage. The film starts out with a thematic montage, a collection of shots of the Indian marketplace. Split-second shots of cobra dancers and salesmen, children and aged adults are linked by the fact they are all found n the market, but by nothing else. Later in the film, when the people of Kafiristan are leaving for battle, thematic montage is used again. In this montage the shots are linked by the march to war. There are split-second shots of people running, horns blowing, people riding mules, and shields being lifted high. Huston’s use of widescreen is apparent throughout the entire film. This contributes to the epic-like feel of the film. This is specifically obvious during the scenes during the snowstorm on the mountains. First, an extreme long shot of the mountain establishes the setting. Then, long shots of Daniel and Peachey emphasize the intensity of their journey. These shots use natural lighting, and the camera is pulled back far enough to see how small they are in relation to the terrain, calling attention to the daunting quality of the mountains around them. All of these shots of nature fall into the sublime category: beautiful but terrible. Huston shows the potential danger they’re under. Peachy and Danny’s friendship is also conveyed through space. Early in the film, they march into the room in perfect symmetry. Every motion is synchronized, and there is little space between the two. As they travel in the desert and the mountains, they still remain in close proximity. Huston uses several long shots to show the unity of the two men. As Danny begins to rise in power, space relationships change. When Danny advises the people in the holy city, Peachy stands behind him. When Peachy decides to leave, bamboo curtains bar their faces and act as a barrier. Friendship is the main theme of the movie. When Peachy and Danny tell Kipling that he is to witness their contract, their friendship is very apparent . When they are on the mountain giving up, they find comfort in their friendship, and the past they shared and the many moments of life that they had together. At the end when they are at odds, Peachy still finds Danny to be his friend even if Danny wont’ listen. When they are talking in the room with the bamboo curtains, neither sees the other clearly, which shows their inability to understand each other at that moment. At the end when being chased, Peachy and Danny are close together in the middle of the frame with a mob surrounding them on all sides. This tells the audience that any hostility between them is gone; they are still best friends.

10. SNIPPETS FROM THE COMMENT CARDS ON SIGNIN’ IN THE RAIN: Lockwood’s past in the early flashback contrasts with what he tells the interviewer—establishes irony as a key element. Lots of mickeymousing during “Make ‘Em Laugh” More irony in hate-filled speech during supposed love scene. Thematic montage used to show what a hit the talkies have become. Bird’s eye shots of the singers in “Beautiful Girl”—very stylized, bodies become geometric forms. The song/dance “You Were Meant for Me” is a visual courtship. We can see her pull back and then give up. Most scenes are well lit, very presentational style. Lots of scenes shoot the main characters all in single 3 shots, emphasizing their friendship. After the song you were meant for me, a lot regarding Lockwood and Kathy’s relationship is not shown but inferred. The thinking of the new title for the film has lots of walking—very choreographed.

11. In the party scene Kelly’s space violated by fans—shows his status as a star. Lots of “American shot”s used in party scene—eye-level, lots of symmetry—calls attention to the glamorous party. Don runs out of the party, turns, and faces the door; in the long shot the background is in focus—you can tell he is thinking . He doesn’t want to go back to the party even though his back is to the camera. Cosmo’s dance scene: camera serves only as a recording device, panning to follow him in a sequence shot, doesn’t cut away or edit so you can see the choreography is real. Symmetry in dancing the Moses song—makes the viewer notice how in sync Don and Cosmo are (good, solid relationship). “Good Morning” song is formalist in that they have no real justification to break out in song. The music when Kathy records her voice is realistic in style because it is understood that they are recording for the movie. Coin-tossing = awesome prop, motif.

12. Costuming on red carpet accords to personality—Lockwood and Lamont: wearing white. Movement: Lockwood jumps onto the trolley yet stays in the middle of the screen by running in the opposite direction. Medium shot of Don and Kathy in the car (his putting his arm around her) shows their reactions well. Eventually he takes his arm back. The focus is on the dialogue. During the girls’ dance, we notice Kathy’s reactions to Don watching her. Not many long shots, mostly medium. Long shots are for the musical numbers. Cosmo uses piano music and facial expressions for comedy. Talkie montage glamorizes talkies, makes audience intrigued. Kaliedoscope effect with “Beautiful Girl.” /// Formalist musical—spontaneous singing! “Singin’ in the Rain” mostly lengthy takes, one closeup of Don’s wet and smiling face. Shot of Don with leg of girl holding hat: innuendo!! (Tiny cut when they are dancing.) Framed by casino lights—looks vulnerable for a moment.

13. Irony in the contrast between the words and the images when Don talks to the reporter. When he tries to get close to her in the car, there’s a push-in . . . and a pull-back when she rejects him. Very exaggerated acting. Hyper. Caffeinated. The pacing is very fast. Energy!!! Background scenes of different movies being shot while characters talk in foreground—good mise en scène! In “Beautiful Girl” the changing costumes carry the humor. . . . The song on the ladder emphasizes his singing. More cuts in the dances than with the dances of Astaire. Strong satiric element, like a revisionist musical. The “Singin’ in the Rain” song is his after-falling-in-love song. The fast push-in on his face from on high as he smiles is more formalistic—wants audience to feel what he feels, surge of emotion. “Broadway Ballet” number seems to come out of nowhere. Garish colors. Lots of camera movement. Her long white veil wraps him up like a gauzy membrane. This is pretty dirty! Match dissolve on his profile at the very end, suggests Don’s growing popularity as a sound film actor.