Word: cameraworks
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...most astonishing revelation about Gone With the Wind is how exquisitely it is shot. The transfer to wide screen (very well handled by MGM's technicians) only confirms the realization that the film could have been made yesterday. The technical brilliance of its camerawork extends from ravishingly beautiful moving shots to the subtler effects of lighting and camera placement. Carefully controlled backlighting enables several crucial scenes to be played substantially in darkness, a dramatic effect rarely associated with Hollywood high baroque...
...yellow circle of light . . ." and Rooks cuts to a grey sky with an optically created circle of light in the middle of the frame. Through focus changes, we see at the very end of the shot that the circle of light is, in fact, a sunset. Through camerawork, then, we discern both the object and the drugged interpretation of the object, giving us a rare understanding of the experience Rooks illustrates...
Aided by the fluent camerawork of Robert Frank and Etienne Becker, Rooks served as his own writer, director and star, turning himself inside out on the screen. He traces his course from mixed-up rich man's son along a dizzying downward spiral, through some hard-edged therapy at a Paris sanatorium, and toward the bright end of self-realization. Rooks sees most of his life from a hospital bed in a series of intricate overlapping flashbacks that add up to a collage of visions, ranging from drug-inspired distortion to moments of near lucidity. A razor-sharp editing...
Admittedly, a custard-pie plot. What keeps Big Boy grown up is some of the wackiest free-association camerawork since Richard Lester made the Beatles work A Hard Day's Night. When Bernard, wandering around town, sees the initials W.C. above a public toilet, his mind expands them into Warring Countries-whereupon the screen flashcuts to newsreels of battle; when the words change to Welcome Communists, Russians pass in review. A scrawl in the subway, "Niggers Go Home," reminds him of My Heart's in the Highlands; bigotry is changed to beauty as the Scottish hills abruptly fill...
Admittedly, a custard-pie plot. What keeps Big Boy grown up is some of the wackiest free-association camerawork since Richard Lester made the Beatles work A Hard Day's Night. When Bernard, wandering around town, sees the initials W.C. above a public toilet, his mind expands them into Warring Countries - whereupon the screen flashcuts to newsreels of battle; when the words change to Welcome Communists, Russians pass in review. A scrawl in the subway, "Niggers Go Home," reminds him of My Heart's in the Highlands; bigotry is changed to beauty as the Scottish hills abruptly fill...