This is a channel featuring unabashadly formalistic analyses of cinematic style and form.
Here you'll learn to see the invisible beauty of great filmmaking. You'll learn to pay attention to how actors move, how cameras move, how the screen is used, how talented directors make scenes visually interesting, how great dialogue is written, how a great plot is structured.
I defend that, regardless of artistic intent or personal interpretation or cultural influence, there are objective aspects in stories and visuals that make movies succeed or fail as art, and by examining shots and screenplays we can find out what they are.
Another thought. They had Roman experts on hand to assist with the behaviour, for instance, to slaves. The decor and costumes too. They used the best academics available at the time to get it right! Never do that now. Just look at the junk they're producing today! Such a tragedy that a once great broadcaster has fallen so far! You can't even trust the "news" these days. Just propaganda!! 😭
This was when the BBC was great! The best piece of acting I've EVER seen, was Brian Blessed's performance of Augustus' death. You can ACTUALLY see the life leave his eyes! AMAZING!!!
Thank you for your effort but the busiest shot in movie history (according to your rules) is probably found in any Luis G. Berlanga film, the master of Spanish cinema. Try “Placido”, “La vaquilla”, “Todos a la cárcel”or “La escopeta nacional”, or I’m just remembering the final shot in “Vivan los novios”. Berlanga was afraid of empty frames, so he packed them fully, he used mise en scene a lot and was able to tell a story within a scene through character behavior and interaction.
You might mention that Pierre and Helene were married in real life. Every time I see this film I remember. Also the death of Andre should be acknowledged as one of the best screen deaths you will ever see.
I've watched 'I, Claudius' so many times I can recite it as I watch it. I even sampled 'IS THERE ANYONE IN ROME WHO HAS NOT SLEPT WITH MY DAUGHTER?!?' and put it in a song :D Good to know I'm not the only one who appreciates it. Thank you so much for doing this--I have a whole new reason to re-watch and keep my eye out for the camera blocking!
The one shot from 7 Samurai where they are riding to the bandits' hideout. The camera pans down the mountain from top to bottom and we see the riders moving across the screen left to right. The camera never stops but continues to pan downward and we see the rest of the mountain. Then wipe to the next shot. Have you ever seen a camera seeking at right angles to the COAT in any other films?
I thought it might have been a scene from Kubrick's Barry Lyndon but was shocked to see that you hadn't covered that movie on your channel (heaven forfend!!, shall I use this comment as a request??). Having read the novel several times, you'll know the reason the "proposal" needed a push is that Helena is vapid - her role is to stay silent and look beautiful. Socially awkward Pierre is wet rag that couldn't make a first move or any move for that matter. Leaving them alone was a disaster - the parents needed to step in for the fait accompli. Such is how negotiations happen, you step on people to push things through, that's how it's ever been - delicate or rough.
Fascinating. The actors must have loved working on that epic drama. Early Steven Spielberg TV episodes have similar ideas and you can see the young wonder-director is enjoying the art of directing actors.
Film commentary and criticism that is fun? Well done Sir! One thing about the comic characters in a John Ford film, they always felt like something out of Shakespeare for me. All of Shakespeare's plays have comic characters and beats. And John Ford, who renamed himself in honor of the playwright John Ford, was certainly aware of the trope and the reason for having comic relief in even the most serious of stories.
Heres my list (no particular order) - la cienaga - persona - night of the hunter - Jeanne Dielman - the color of pomegranate - spirited away - do the right thing - satantango - portrait of a lady on fire - Wanda
It has been said that if "Nosferatu" and "The Cabinet of Dr. Caligari" are the epitome of German expressionist horror, then Ernst Lubitsch's "The Wild Cat" and "The Doll" are the epitome of German expressionist comedy.
How about Koki Mitani's "Welcome back Mr. McDonnald"? It appears much busier: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1MKeIkR-Wr0.htmlsi=p1UHQDQWTLfD1xAZ&t=29; the opening tracking scene that virtually introduced all major characters runs almost 5 min.
