A few weeks ago, I discussed filmic punctuation -- specifically that of the three great Japanese directors -- Mizoguchi, Kurosawa and Ozu.
Such techniques define the editorial nature of the filmmaker.
In 1948, in Rope, Alfred Hitchcock attempted to break free from traditional transitions by using a shot that would fill the screen with black for only a second before changing to a different perspective -- as in this shot where the actor's back serves as a Fade-to-Black.
Editing techniques have obviously advanced since 1948. Today, film's like Iñárritu's Birdman, or Mendes's 1917 are stitched together seamlessly to hide cuts -- but they still use Hitchcock's basic idea of hiding the cuts where you can't see them.
The obvious purpose of hiding cuts is to give the audience an uninterrupted look at the action without the editorial comment of a cut or other type of punctuation.
In a way -- and I think this is what Hitchcock was after -- this turns a film into a forever frozen theatrical production. Of course, the camera itself can travel and we can see angles and action unavailable to theater.
But the long take is the basic tool these filmmakers use to emulate the theatrical gaze.
The obvious purpose of hiding cuts is to give the audience an uninterrupted look at the action without the editorial comment of a cut or other type of punctuation.
In a way -- and I think this is what Hitchcock was after -- this turns a film into a forever frozen theatrical production. Of course, the camera itself can travel and we can see angles and action unavailable to theater.
But the long take is the basic tool these filmmakers use to emulate the theatrical gaze.
Cristian Mungiu
Beyond the Hills (2012)
Beyond the Hills (2012)
The Romanian New Wave movement picked up steam very quickly after the fall of Communism. Mungiu became a leading figure, and his films have reached an international audience.
Mingiu's fourth feature-length film perfectly encapsulates the idea of using long, well-rehearsed takes to allow the story to flow, uninterrupted by a director's editing.
There is no soundtrack, only diegetic sound accompanying the long takes.
The filmmaker is completely non-judgmental in this fictional recreation of a true incident. The viewer is left to ponder the significance of this or that character; of this or that situation -- but never does he interrupt the flow of the story, requiring the viewer to ponder the action -- especially interior motives -- without having the director specifically guiding you towards a viewpoint or attitude.
Cosmina Stratan (Voichita) and Cristina Flutur (Alina) shared the Best Actress prize at Cannes, and deservedly so. They both play amazingly authentic, relatable characters -- each with her own intense emotional baggage -- and with Mingiu's guidance, hold the viewer in rapt attention.
Valeriu Andriuta (Priest) is equally authentic as the sincere, but misguided, Papa. Dana Tapalagá (Mama Superior) is mesmerizing.
Not a false moment in the 152 minutes, which fly by without a frame of tedium.
**
The main thematic material for this film focuses on those faithful Orthodox Christians who lived precariously under godless Communism for so many years and the rest of secular society, caught up in the gray uncomfortable position of the country's pseudo-Capitalism and Consumerism -- trying desperately to keep their phones charged, while directing land speculators to a place "beyond the hills."
The last shot of the film is a doozy.
Mingiu's fourth feature-length film perfectly encapsulates the idea of using long, well-rehearsed takes to allow the story to flow, uninterrupted by a director's editing.
There is no soundtrack, only diegetic sound accompanying the long takes.
The filmmaker is completely non-judgmental in this fictional recreation of a true incident. The viewer is left to ponder the significance of this or that character; of this or that situation -- but never does he interrupt the flow of the story, requiring the viewer to ponder the action -- especially interior motives -- without having the director specifically guiding you towards a viewpoint or attitude.
Cosmina Stratan (Voichita) and Cristina Flutur (Alina) shared the Best Actress prize at Cannes, and deservedly so. They both play amazingly authentic, relatable characters -- each with her own intense emotional baggage -- and with Mingiu's guidance, hold the viewer in rapt attention.
Valeriu Andriuta (Priest) is equally authentic as the sincere, but misguided, Papa. Dana Tapalagá (Mama Superior) is mesmerizing.
Not a false moment in the 152 minutes, which fly by without a frame of tedium.
**
The main thematic material for this film focuses on those faithful Orthodox Christians who lived precariously under godless Communism for so many years and the rest of secular society, caught up in the gray uncomfortable position of the country's pseudo-Capitalism and Consumerism -- trying desperately to keep their phones charged, while directing land speculators to a place "beyond the hills."
The last shot of the film is a doozy.
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