Word: intercutting
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...form of the film is exasperating. The story is told in an implied flashback, with numerous flash-forwards to the narrator intercut with the main action. These do not make a discernible comment, though the wordless Michael Redgrave is such an expressive actor that some of the brief cuts are affecting. The film is not as expressive...
...class conflict from a heterogeneous mass of small "cells" or "acts," each of which invents its own peculiar camera-style in contrast to that of its brothers. And within each cell images and sounds struggle within themselves and with each other: dialectics within dialectics. Tracks of the countryside are intercut with zoom-ins on groups and individuals, and set shots of people suddenly zoom-out to include their surroundings: texts and contexts. And documented reality confronts the film apparatus itself: people talk directly into the camera, or they attack it, despise it sullenly, or avoid it in the voyeuristic hand...
...vertical, class implications for the benefit of pure representation, appropriation, fetishism of objects. Kjell learns about the pleasures of pure aesthetics from the liberal, cultured wife of the factory owner. The joyous pronunciation of "Pierre Auguste Renoir" becomes a sign for irresponsible privilege and political obliviousness in a sequence intercut with familiar images of Kjell's mother doing washing for the rich. Widerbeg demonstrates the duplicity of his own horizontal aestheticism in a context of social inequalities a hierarchy of wealth and power. The opening shots of the film reveal the beauty of life rooted in material realities, ironing, shaving...
...quite eerie in their implications. (Although, the inevitable pulsing soundtrack and tumultuous camerawork mar the development of the scene.) A shot of a drowned girl, entwined in the arms of her dead lover, as they are washed up onto a muddy shore is equally effective. (Although, it is mistakenly intercut with shots of Birken and Ursula making love. Properly, the omen is directed at Gerald of whose fears it is much more illustrative.) One of the film's concluding images comes closest to suggesting the metaphoric associations flowing beneath Lawrence's narrative. Gerald, after breaking from Gudrun in a scene...
WHAT happened to that land and the peoples who belonged to it forms the last section of the film. Stills of the treaty ceremonies are intercut with very fast shots of factories while some important voice of the period urges the Indians to "accept the spirit of the American people." His speech is drowned out by machine sounds and there follow superimpositions of factories and barbed wire, of the trains that shuttled plains tribes to marshland, over close-ups of aged Indian faces. One man appears to be dying, or trying to sleep, turning his head back and forth over...