Direkt zum Hauptbereich

The Killing Fields (Roland Joffé, 1984)

An American journalist witnesses the atrocities of the Khmer Rouge hostile regime first hand in Cambodia.
The story is gripping and interesting. It switches point of view from Schanberg's more detached perspective to Dith Pran's spectacular flight from Cambodia into a refugee camp. The film is so densely packed with atmosphere and many details that I couldn't look away for the two and a half hours. The ending is touching and doesn't feel over the top at all. I believed all the horrible events Dith Pran had to live through. (There is a brilliant young John Malkovich, too)
It is also a film about Western ignorance and without being moralistic about it, the film makes a very clear point. We just don't care, after all. Even when we pretend we do.
The cinematography was stunning, so was the editing. I decided to look at the first battle scene around minute 27. The Khmer are attacking and Schanberg has wants to document this for his newspaper. They arrive on site in an old hangar - ironically filled with crates of Coca-Cola bottles. I am quite amazed about how economically this was shot and edited. The master shot is a tracking shot (called H) which in its entirety lasts close to 45 seconds!

SET: Inside the depot






A soldier is cooking something over a fire.
Fixed camera, long lens. (3s)
A


Two soldiers carry a dead dog on a stick into the hut. The jeep with Shanberg passes them.
PAN and track. The set is established clearly. (13s)
B


They get out of the car. The American soldier greets the local army staff.
Tracking shot, we follow the american soldier. Dinh is in the back. (12s)
C


Dinh and Shanberg watch.
Fixed reaction shot, with focus shift onto Shanberg. (4s)
D


Asoldier and local commander exchange.
Fixed, Long lens, silhouette. (4s)
E


Dinh and Shanberg follow the soldiers to the map table
Tracking shot. (8s)
F (very similar to C but the tracking has changed)


Other soldiers bring a dead dog on a stick and lower him to the ground.
Fixed long lens (5s)
G


Al looks at the wounded between the Cola Crates. An explosion
PAN follows Al as he climbs around – until the explosion (11s)
H


The soldiers at the table react.
Camera is lower than before. (2s)
I


An explosion behind the Coke crates. Dust falls from the ceiling, covering the image.
Fixed camera (4s)
J



Al looks at the explosion runs away and takes pictures. Soldiers rush into the dust. An American soldier helps carry out the wounded.
PAN on Al continues until he passes an American soldier – camera follows him back to the site of the explosion
(slight tracking at the end) (20s!)
H (Cut back to)




People rushing past the camera, a covered body in the bg on a stretcher
Long lens (4s)
K (same position as H but fixed and long lens)


More soldiers are carrying out people
PAN follows soldiers as they run out of the hut (7s)
H (Cut back to)

Kommentare

Beliebte Posts aus diesem Blog

Time of the Gypsies / Dom Za Vesanje (Emir Kusturica, 1988)

A supernaturally gifted boy from a Gypsy community is forced to survive in the world of crime. The intriguing qualities of Kusturica's films I've seen is his relentless depiction of basically crazy communities. Not just agreeably potty, they're usually outright interstellar-nuts. Here, he follows the fate of the rather harmless boy Perhan, that leaves for Italy in hope of a better future for him and his loved ones. There are some enormously interesting images in the film that kept ringing long after. The ritual in the river and the last scene in the church ruin (with a horse standing somewhere far back in the image...). After sketchily mapping out the scenes it is surprising how rigorously three-acty the screenplay is constructed. The first act seems quite long in terms of time and number of scenes, but there is also a lot of imagery spent on depicting life in this crazy universe, which makes the second part in Italy much more believable. And there is a certa...

Easy Street (Chaplin, 1917) - #DTC 1819

The tramp-turned-policeman is given charge to clean up notorious Easy Street. This Chaplin was pretty coherent in story, although one can still feel his extremely strong focus on single scenes, and his longer films always lack something of an arc for me. But here the whole movie is short enough to keep me posted on the story. The centerpiece for me was the chase routine, which seemed like an enormously tuned door-in/door-out scene. But the tempo is still amazing to watch even after a hundred years. I felt a lack of this pace in Lloyd's film and in other slapstick comedies from the era and later. The general perception of comedic rhythm seems to have changed substantially over time, but Chaplin's stuff seems to work great in all eras. His arch-enemy, the fascinating Eric Campbell is a delight to watch and works as the archetypical thug.

Choked (Joong-Hyun, 2011) - #Berlinale 2012 #koreablog

A young man is confronted with his mothers worsening debts. Things spiral out of control when she suddenly disappears. Most notable about the film for me was the insight into the Korean society - the filmmakers seem to suggest that basically everyone in Korea seems to live way over their means. The pressure on the son to get a "good life" in terms of owning an apartment of good size determines the happiness of his fiancee. The characters talk plainly about the subject of money to each other with a frankness that would not be seen in other societies. I wonder if this was a fiction or conversations can be that open in Korea. Something I've noticed recently in some Asian films with a similar style is a sort of liberation of the genre, I cannot really describe it any better. At any point during this film I expected it to turn funny, bloody, dramatic or simply weird. And to a very slight degree it really turns this or that direction. Maybe it was just me, but t...