Ahhh Altman. Such a breath of fresh air after the Kurosawa unit. Until, that is, we reached Nashville. Let's just not talk about that. And so, cinematic highlights of the two more bearable movies in this trio....and here we go.
The Long Goodbye: While some people were seriously bothered by the ever-moving camera, it was something I greatly enjoyed. It really gave the viewer the sense that they weren't supposed to be seeing what was going on. Instead of being blatantly part of the scene, the camera skirted around the edges, eavesdropping as much as it could get. Altman uses this same technique in Gosford Park (2001) to achieve possibly even a greater affect. Because that film juxtaposes the lives of the rich and their servants (who are never too be seen except when they're needed), the camera work does a fabulous job of putting the viewer in the place of a valet or maid - always flitting around the outer perimeter of conversations and gatherings. Back to The Long Goodbye, I also really enjoyed Marlowe's character. It was almost refreshing to have someone who seems to have been asleep for a few decades. His mannerisms and even his clothing helped to shape the movie and its plot.
The Player: Again we see some excellent camera work in this film. Even in looking at the opening sequence of the movie, it is an enormously long shot, lasting probably six or seven minutes. The moving camera fits well with the plot line because of the apparent chaos of Hollywood life. As people interact and criss-cross across the scene, the camera follows those people who matter, often switching directions mid-track or abandoning a person entirely. I also liked the eerie darkness of this film. It deals with murder as does The Long Goodbye and Nashville, but in a very different light. Here, the protagonist is the one who murdered in cold blood. Instead of hating him for what he does, the viewer doesn't feel those emotions. It still feels natural to stick up for him and hope that he doesn't get caught. Upon thinking about the film after viewing it, the realization that you have been rooting for the bad guy is slightly disconcerting. The magic of film making.
4 comments:
I agree with what you said about the opening shot in the player, I think that if very much sets the scene, and demonstates the chaos of working and living in Hollywood. I think it was a smart choice opening with that because it prepared me for the fast plotline. A job well done kate.
I agree with what you said about the opening shot in the player, I think that if very much sets the scene, and demonstates the chaos of working and living in Hollywood. I think it was a smart choice opening with that because it prepared me for the fast plotline. A job well done kate.
like i said, he's a pretty negative man who somehow manages to make his audience cheer for the bad guy. and i guess i can see where his motivation comes from, seeing as he works in hollywood and is surrounded by such people...
~Preston
Sup Kate. This is alex l.
I agree with you, mostly, except for I seem to be the sole defender of Altman and Nashville. I completly understand why you liked the Long Goodbye's murder, and not Nashville's, but still, I think that when you say that you "...also liked the eerie darkness of this film." I don't think there was that much eerie darkness around any of the films. They were more tongue in cheek for each of the movies.
thanks,
alex.
Post a Comment