Word: cameraworks
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...Graham Greene and John Le Carré, Writer-Director Bryan Forbes tried to turn a routine story about the last personal and professional adventures of a gentleman robber into an existential parable. Sadly, the material is too airy to bear the weight of Forbes' meaningful silences and rambunctious camerawork. The arch dialogue is genuine tin (exhausted heroine to Caine: "Have you done it very often in strange rooms with girls who have husbands?"). In the best anti-hero tradition, Caine dies by bungling his last job, losing the girl and getting shot in the back while dangling...
...absolute truth, move toward dramatic metaphor in subject and theme, in order to convey ideas that will affect us, living in the one reality film cannot reproduce. The meaning of great film exists ultimately not in the script mechanics but in the treatment of script mechanics by distinct camerawork and editing. All worthwhile analysis of film, however literary in appearance, must hinge on our own interpretation of already interpretive images. But, children of media, inured to psychedelia and fearful of "verbalization," we must in tackling the narrative film understand some distinctions of literary-dramatic form in order to understand this...
...Faye swiftly identifies McQueen as Mr. Wrong, bird-dogs him around town, and eventually gains entree to his mansion. There ensues a ludicrously erotic chess game, out of Mae West by Tom Jones, which Faye wins. After the check comes the mating, visualized in some lurid camerawork that focuses so long on the stars' lips that they come to resemble two kissing gouramis in a tank...
...excellence of A Face of War is not only in its fine camerawork but also in its sense of completeness. Its 77 minutes encompass the totality of Viet Nam combat: the fear and pain and boredom, heat and rain, rare relaxation, and uneasy meetings of East and West. The Marines are genial giants running a village clinic or delivering a baby; they are stunned young men around the whimpering body of a mortally wounded child; they are stone-faced juggernauts of mechanical war evacuating bewildered civilians in helicopters, methodically incinerating their houses with flamethrowers to deprive the enemy...
...action. The technique works best in the scene between Aufidius and his Lieutenant. Babe plays only half the scene on stage, the second half on the film soundtrack: the stage blacks-out and we watch Coriolanus of film, still listening to Aufidius talk about him. Alfred Guzetti's camerawork on these clips is, in context, superb. Following the Peter Brook style of the film of Marat/Sade, Guzetti aims into lights, moves into faces, and exploits claustrophobia, creating a handsome chaos which supports Babe's pacing and the pervasive feeling of tension...