There are moments in cinema when you give it to the medium, apart from the reasons you should be, that is for content. This is for me one of those rare instances and for good reasons when form blows you away. Then you put all those ideas of perfect cinema being the one with content dictating form into your mental trash cans, and just enjoy the beauty. Well I agree if form were to dictate the content that would be manipulation at some level. But isn't cinema all about manipulating you at some level? Good cinema is about conviction and more of conviction, and when that is present everything is justified. Audacity, chicanery, urge to show off are all pardoned, and considered the core elements of the medium.
For me I have not seen such an audacious display of kinetics in a long, long time. Okay, the last time was Saving Private Ryan (1998). Joe Wright and Seamus McGarvey take us on this long ride (pun unintended), and a display of coordination, free flow whose highest quality is its seamlessness. I would have felt let down or downright "cheated", "fooled" if it were CGI phenomenon at display. Thankfully the digital additions were bare minimum, just restricted to a few ships, and some smoke I learn.
Atonement (2007) 5minutes 6 seconds
But had this prepared me enough for the Orson Welles' "Touch of Evil"?! Considering the time it was made in when tracks ruled the roost, and steadycams were unheard of, the opening sequence took my breath away.
Sweeping across the roads and junctions, hovering over buildings... aaah! framing, and what framing!
Touch of Evil (1957) 4 minutes 31 seconds
Tracking shots at their very best. What a ride!
For me I have not seen such an audacious display of kinetics in a long, long time. Okay, the last time was Saving Private Ryan (1998). Joe Wright and Seamus McGarvey take us on this long ride (pun unintended), and a display of coordination, free flow whose highest quality is its seamlessness. I would have felt let down or downright "cheated", "fooled" if it were CGI phenomenon at display. Thankfully the digital additions were bare minimum, just restricted to a few ships, and some smoke I learn.
Atonement (2007) 5minutes 6 seconds
But had this prepared me enough for the Orson Welles' "Touch of Evil"?! Considering the time it was made in when tracks ruled the roost, and steadycams were unheard of, the opening sequence took my breath away.
Sweeping across the roads and junctions, hovering over buildings... aaah! framing, and what framing!
Touch of Evil (1957) 4 minutes 31 seconds
Tracking shots at their very best. What a ride!
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