Word: zoomed
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Agnew drops the princess phone and shouts to Judy in the next room, "I'm it!" Whereupon the camera would zoom in on Elinor Isobel Judefind Agnew, 47, plump, brunette wife of the Maryland Governor, as she registers the pride and terror of being transformed from a cheerful home body who "majored in marriage" (as she puts it) into the wife of a vice-presidential candidate...
...Cousins with Marie-Chantal (you can see it dubbed on TV as The Blue Panther every so often) reveals the latter film ludicrously written in contrast yet wildly more mature stylistically, a riveting blend of calculated camera movement in sensual decor with brilliantly cut sequences of action employing the zoom lens. Far from stagnating in the world of commercial mystery films, Chabrol has emerged the finest new stylist in France, far superior to Truffaut (whose Bride Wore Black pales in comparison), and in many ways surpassing Godard and Resnais...
...implications of the finale are fathomable on a script level, then obscured by the zoom pull-backs that serve as the final shots. Chabrol makes no judgments at the ending and leaves the three in limbo, either to destroy one another or to form a new menage substituting Audran for Christine. The optics of a fast zoom shot are wondrous in that the audience is left with a feeling of simultaneous movement toward action and away from it. At the same time that we move to a higher vantage point with a wider angle of vision, we are jerked away...
...adviser to Producer-Director Stanley Kubrick is evident in such items as a weird but technologically probable talking computer that is more human than the astronauts. The film's ending, however, is almost pure Kubrick. A surviving spaceman is plunked into a Louis XVI bedroom after a psychedelic zoom through time and space that is mystifying to most moviegoers. But Clarke's novel version of 2001 explains all. As the survivor approached a huge monolith on lapetus, one of Saturn's ten moons, the astronaut entered a "stargate" into a different dimension, dominated by a godlike superintelligence...
ANTHONY MANN, a director commonly associated with several good westerns, turned to modern melodrama in his last films, and made some mistakes. For careful balancing of expansive exterior composition, he substituted that betenoir of camera technique, the zoom lens, with its infinite capacity for making an audience think suspense is present when none actually exists. In The Heroes of Telemark, some corny zoom technique was at least in part redeemed by controlled visual construction and a sensible linear narrative. Perhaps A Dandy In Aspic could have similarly transcended its endless zooms to close-ups of anguished eyeballs and urban details...