Word: frame
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Dates: during 1960-1969
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...incredible curving tracks which open Lola Montes establish first the ringmaster, then Lola at the center of the CinemaScope frame. While he walks around and pulls the camera after him, she is carried into the ring and set down in long shot--isolated in the frame and imprisoned by the camera sweeping around her. Ophuls' cutting in closer to her body, rather than tracking in (a surprising thing to do in CinemaScope, which is better adapted to long takes than to quick cutting), emphasizes her staticity, her closeness to death. But the camera motions, which express the glamor vital...
...compulsion he knows propels her, is made clear to Lola and us. Lola is living in a hotel suite cluttered with objects and dividing walls. Her first sight of the ringmaster who comes to offer her a job (which she rejects at that time) is through a window frame. This establishes an isolation from other people amounting to virtual imprisonment (though with a certain freedom of action in the deep surrounding space). In this key scene the accumulated objects seem to evoke her entire life at each turn. The characters appear at the center of the frame, bordered by these...
...these two personalities; strong yet subtle, passionate and deep yet completely controlled. Nevertheless Lola is in a desperate situation; if she fails to be hired by the Royal Theatre, she is through. At the scene's end, with nothing resolved, she backs out of the room and the frame closes in on her. Halfway through the door (and out of the picture), she stops when the King picks up her purse and gloves and brings them to her, in the act re-enlarging the surrounding space. His gesture amounts to a rescue...
...part of the romantic spectacle. Since it might cause her death, Lola's dive is also a potential act of suicide and escape, the most desperate of all romantic acts. At the same time the ringmaster is forcing her to jump. As he counts to three, the frame tilts around her one way and then the other; she gasps, closes her eyes, and finally bends into the frame toward the camera. Ophuls cuts to a shot that rushes straight down into the net, simulatneously fading out into blackness. Although she can now only move downward, her jump expresses her will...
After Sun Ra, the program returned to more conventional jazz. Phil Woods' European Rhythm Machine seems to be the frame for his alto virtuosity that he has been looking for. Woods by no means carries the group, as several bass, piano, and drum solos demonstrated. Bassist Eddie Young of Young-Holt Unlimited has a good time on stage, too--so did we. The Bill Evans group by itself is a good jazz combo; it becomes great when Jeremy Steig walks on stage to add his lyrical flute. And the guitar of Kenny Burrell was--as it always has been--very...