This film was quite interesting. Yes the plot was boring, but that was apparently the point. The plot was not essential, it was the director's intention to create this deja vu feeling for the main character and for the audience. I kept thinking the film would end at certain points, but nope-- it would continue right on to a similar shot of the hotel or the garden--- scenes that were used numerous times throughout the film. This left me sitting there going- "Wait, I've seen this already and I'm sick of seeing this for a fourth time!"\
However, I did enjoy the splendid camera work through out the film. The camera seemed to be constantly moving-- either through hallways or around its characters. I truly enjoy directors who are not afraid to have their cameras moving during shots. One example is Martin Scorsese's beautiful night club scene. The camera performs a tracking shot, following the two main characters through the many hallways and rooms of a night club (all in one take). So when watching this film, I was mesmerized by the tracking shot through the hotel hallways--it was so well done. Being a video major, I love adding these type shots into my projects as well. They take great preparation and time to pull off, but the end product is well worth it.
In class we discussed the unnamed game that was played amongst the characters A and M. We discussed a few different reasons as for what it could represent. One was that it represented A's constant loss and repetition in life (after even letting the M make the first move). But after doing the reading, I felt the writer's argument was a little stronger. The reading states, "an activity whose very essence is structure—or form for form’s sake. Moving inside regular structures, and acting according to clear and prescribed rules, is the deeply felt need of the hotel society portrayed in the film" I found this point very interesting. Everything and everyone in the hotel is very structured. The garden is set up like something from a Tim Burton film, full of symmetry. The tracking shots throughout it are done with great care. And in order for the repetition to come across on screen, the shots and camera angles all had to have been structured with great care as well. So to me, I feel the camera work in this film is what truly brought forth the structure and overall form of the piece.
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I liked your connection with Tim Burton and his use of symmetry in film composition. When you notice the surreal use of visuals in modern cinema juxtaposed with all the visual tricks going on in this film, you really begin to understand the impact the French New Wave genre has left on the movie world.
ReplyDeleteI was also enticed by the tracking shots. It was subtle but extremely effective in providing suspension of disbelief for the audience.
Like Phil said, tracking shots were huge in this film, and the fact that they did so many of them in such a fluid way, its impressive even by today's standards. I can think of countless movies that might have a crappy dolly shot here or there (even Hitchcock made some mistakes with his dolly in The Birds), but this is a great demonstration of the power of the tracking shot.
ReplyDeleteDefinitely agree romanator, tracking shots need much time and preparation to pull off and look good. I haven't seen the Birds in awhile, I'll have to rent it and check for those dolly shots.
ReplyDeleteSo OK, what do the tracking shots _do_ in this movie? How do they help tell the story? Normally, tracking shots track a person, yes? Typically the main character, or whoever it is whose movements from one place to another we're supposed to be observing.
ReplyDeleteWhat do you make of a constantly moving, constantly tracking camera, in a movie in which nothing actually happens? Something is going on here, and I'd like to see you use these very good technical observations to take it that one more step. What Phil says about suspension of disbelief for the audience is interesting. I think he's onto something there.
Which Scorsese movie were you talking about, by the way?