tag:blogger.com,1999:blog-48049289465123278102024-02-20T09:36:33.526-05:00Second ReelJeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.comBlogger80125tag:blogger.com,1999:blog-4804928946512327810.post-10184479880748579732023-11-20T13:10:00.008-05:002024-01-17T11:50:07.670-05:00Naomi Watts' King Kong Close-Ups<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://instagram.com/naomiwattskingkongcloseups" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="775" data-original-width="1826" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq60DxBAfWtQkE50cS1vqcQiDAIW4TdVrzfBXE6j1icFXjVTRoxuTn8BPtIvDyiTEwllEPrFFUsO7s6kKqox42NgmCUvN7roknz8U81KbJuBEPAl8_0VQ1tRbuvTkGDrL15gLnLqMjFe9vPb0rR5uvbKB8NZJlNnrTg4_aElExBgLFVL9BAG_v-kFJS6c/w400-h170/0083G.jpg" title="Naomi Watts in King Kong (2005)" width="400" /></a></div><br />Naomi Watts, first-billed in the Peter Jackson -directed <i>King Kong</i> (2005), must carry the film with relatively little dialogue. No surprise, then, that Jackson uses many close-up shots to capture the full range of Watts' emotive abilities. I thought it might be interesting to show a frame or two from each of these close-ups side-by-side to showcase her performance, which is my favorite thing about this remake.<p></p><p>I initially thought to do so here, as one long photo-heavy blog post, but after screencapping several hundred frames, I decided it may be more practical to issue one image per day on a platform better suited to that type of presentation (or at least one that has previously gotten me more action than Blogger). Below, therefore, are links to the Instagram and Twitter accounts I've created for this purpose. (Some posts contain more than one frame from the same shot. On Twitter these are visible all at once, on Instagram, swipe left.)</p><p>One note: My definition of "close-up" is a little flexible, both out of necessity, because pinning down the boundary between certain framings is not an exact science, and personal choice, as there are some frames I like too much to not include. In any case, I'm confident that all genuine close-ups will be included, along with a fair number of medium close-ups, and maybe a medium shot or two as well.</p><p><b>Twitter:</b> <a href="https://twitter.com/kingkongcloseup" target="_blank">@kingkongcloseup</a></p><p><b>Instagram:</b> <a href="https://instagram.com/naomiwattskingkongcloseups" target="_blank">@naomiwattskingkongcloseups</a></p>Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-61306366247070473912023-09-06T20:34:00.001-04:002023-09-06T20:36:26.081-04:00King Kong (1976)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCNGn4NYWBHE3pxzfAHDahFCAzhuuPEW6nH6k3kdxXfTI6cFzYCRVmukA2IapUYuA7FHZrstkzNKkpnPetj5XHSjjT7y_sKWEA2HYsqkaD2Qngul51pUJ0AQQPDa2hN4HOXlp0SlTmK8AK-ahnvcH3ArbLpRrbsuSlYm4MQpcjUnl7XzEhSwvtmXWcso0/s2988/2023-09-06_08-32-17.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2398" data-original-width="2988" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCNGn4NYWBHE3pxzfAHDahFCAzhuuPEW6nH6k3kdxXfTI6cFzYCRVmukA2IapUYuA7FHZrstkzNKkpnPetj5XHSjjT7y_sKWEA2HYsqkaD2Qngul51pUJ0AQQPDa2hN4HOXlp0SlTmK8AK-ahnvcH3ArbLpRrbsuSlYm4MQpcjUnl7XzEhSwvtmXWcso0/w400-h321/2023-09-06_08-32-17.jpg" title="British lobby card for "King Kong" (1976)" width="400" /></a></div><br />I love this movie. Love love love love love this movie. Love the cast -- Lange, Bridges, and Grodin, of course, but also John Randolph, Rene Auberjonois, and Ed Lauter. Love John Barry's great score, love the sound stage exteriors, Rick Baker giving it his all in an ape suit. Love the way it's funny, it's fun, it's silly but not stupid. Did I mention Jessica Lange? Or Jeff Bridges' long hair? I love the colossal failure of the 40-foot mechanical Kong. I love when Jack says "The rest of that log entry unfortunately was suppressed by the Holy Office in Rome." I love that it's a monument to the Twin Towers, and I love the choreography of the huge crowd scene at the end. Despite what's good in Peter Jackson's version, this is the remake I watch over and over again. Here's to the big one!
Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-44507351293706813792023-04-21T03:00:00.001-04:002023-04-21T08:43:20.006-04:00Happy Birthday, Antonio Bay!<p> </p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="297" src="https://www.youtube.com/embed/CsYFEFh5RWo" width="529" youtube-src-id="CsYFEFh5RWo"></iframe></div><br /><p></p><p><span face="Arial, Helvetica, sans-serif" style="background-color: white; color: #222222; font-size: small;">"Eleven fifty-five. Almost midnight. Enough time for one more story. One more story before twelve, just to keep us warm. In five minutes, it will be the twenty-first of April. One hundred years ago, on the twenty-first of April, out on the waters around Spivey Point, a small clipper ship drew toward land. Suddenly, out of the night, the fog rolled in. For a moment, they could see nothing, not a foot ahead of them. And then, they saw a light. By god, it was a fire burning on the shore, strong enough to penetrate the swirling mist. They steered a course toward the light. But it was a campfire, like this one. The ship crashed against the rocks. The hull sheared in two. The mast snapped like a twig, and the wreckage sank with all the men aboard. At the bottom of the sea lay the <i>Elizabeth Dane</i> with her crew, their lungs filled with salt water, their eyes open and staring into the darkness. And above, as suddenly as it had come, the fog lifted, receded back across the ocean, and never came again. But it is told by the fisherman and their fathers and grandfathers that when the fog returns to Antonio Bay, the men at the bottom of the sea, out in the water by Spivey Point, will rise up and search for the campfire that led them to their dark and icy death. Twelve o'clock. The twenty-first of April."</span></p>Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-83287809903135838132020-09-14T22:16:00.005-04:002022-08-11T21:29:21.082-04:00A Chorus' Lines<i>Note: </i>A Chorus' Lines<i> was written in 2000 as a project for a web site I was trying to start but which never took off. I am re-presenting it here with a few new annotations and screen captures. Aside from the main essay, there are several appendices which explore slightly tangential material in more detail.</i><div><i><br /></i></div><div><div style="text-align: center;"><span style="font-style: italic;">###</span></div>
<br />
One of the challenges of adapting <i>Henry V</i> to film lies in reconciling Shakespeare's Chorus with the seemingly limitless capabilities of film. The Chorus appears repeatedly, outside the "diegesis," or "world of the film's story," to remind the audience that what is being presented is only a feeble imitation of the actual historical events — due, apparently, to the shortcomings of the current players and of theater itself — and to practically apologize for the current production's inability to faithfully depict those events. Film, however, is capable of showing virtually anything, and showing it in a way that its audience will accept as "realistic." The filmmaker, then, needs to find a way to keep the Chorus' claims, explanations, and apologies from contradicting what is shown on screen. The filmmakers responsible for the two most reknowned attempts at this filmic conversion — Laurence Olivier and Kenneth Branagh — succeed in doing so, though each in a different way:
<ul>
<li><b>Olivier</b> spreads the artifice of the stage across the unlimited expanse of film</li>
<li><b>Branagh</b> confines film's ability for realism to the small space of the stage<br />
</li>
</ul>
<h4>Olivier's Method</h4>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQok4G4fJxng7YwmLm0ZaPJYB90w6tiW_9jW6URC4WAom1DMF34bbvv_IGJ4hy5b1PLuLQomREcteK3u5ju2FmZnhEVYWNjWllxrsV4Z_nkTFEcaz9gLZtSx4I5dxe9_Jz2Kyxl2rm6Wc/s1600/olivier-chorusstage.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1200" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQok4G4fJxng7YwmLm0ZaPJYB90w6tiW_9jW6URC4WAom1DMF34bbvv_IGJ4hy5b1PLuLQomREcteK3u5ju2FmZnhEVYWNjWllxrsV4Z_nkTFEcaz9gLZtSx4I5dxe9_Jz2Kyxl2rm6Wc/s200/olivier-chorusstage.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Chorus on stage</td></tr>
</tbody></table>
Olivier's film opens in a way that perfectly contains the Chorus' claims and keeps its lines entirely relevant. By presenting the Prologue and the first several scenes as a stage production in the year 1600, the Chorus' lines are entirely appropriate: the Chorus is not begging the pardon of the film audience, but of the stage audience being depicted on film. The Chorus appears as just another actor on the stage of the Globe Theater, and because of the relative simplicity of the stage we are shown, the Chorus' lines seem natural and justified — there is no way that small stage could ever hold the "vasty fields of France." <br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWKE0LdfSw207pynmXyPgeq4Jj4ZlQeN6ppD8-eAKKP4I2Y5co9M7EYAqRuW2yO1JqmVK-q_7jca70u8JtNidSABNydUk-GaMWknk9plWohl7oRjd-nnFwnpXD7p_AYhmTDpYoUetDKpI/s1600/olivier-gower.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1200" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWKE0LdfSw207pynmXyPgeq4Jj4ZlQeN6ppD8-eAKKP4I2Y5co9M7EYAqRuW2yO1JqmVK-q_7jca70u8JtNidSABNydUk-GaMWknk9plWohl7oRjd-nnFwnpXD7p_AYhmTDpYoUetDKpI/s200/olivier-gower.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Harfleur: Removed from the stage,<br />
but not from the artifice</td></tr>
</tbody></table>
This opening allows us to gradually and comfortably accept the notion of the Chorus in the film — we are watching a filmed stage play, and the Chorus' comments correspond with our expectations of what can be shown on the filmed stage. As Olivier leads his film off stage, however, he must compensate for the loss of those elements which previously gave his Chorus immediate relevance — the physical stage, the theater's interior, the reacting audience — and he does so by spreading the artifice of that stage across the larger filmic environment he subsequently presents. By taking his play/film off of the stage, Olivier frees it of the stage's spatial confines and begins to show the larger expanses that film can more easily present, but at the same time keeps everything in those spaces looking artificial, stage-like. Perspective is skewed; clothing is very colorful and ornate, more like costume than wardrobe; the acting style remains similar to the style of the stage play just previously demonstrated. All of these things appear in front of painted backdrops which, though they imply greater depth than the small stage of the theater, are obviously painted, artificial. Though we have left the Globe, the most obvious reminder of the play's existence as a play, we are bombarded with a very pronounced theatrical artifice. <br />
<br />
Even when Olivier repeals the artifice of the painted backdrops to show us a natural landscape, he dresses that landscape with much of the same artifice he uses on his sound stages — fancy costumes and banners, colorful and theatrical sets — or he obscures it with fog, preventing its clear recognition as something familiar or real. These natural landscape shots are also often intercut with shots of the same landscape noticeably recreated in miniature. Other times deep-perspetive live action is presented before a very artificial landscape backdrop, combining the artificial depth of the painted set with the natural depth of field the camera can achieve. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjwf-1N2yHoT1Jh8eqVRIsmS3ryay-8HYStxcckjbQy90F6-qnzJz2zms5hKjfx736YdGtuJVEJ1rptZuTmE7G5gxbshC_C7iU1VYEsBh_0LR0WSGHKdbNx9Dh-m5bb78lEVYSvASGzxw/s1600/olivier-luggage.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1200" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjwf-1N2yHoT1Jh8eqVRIsmS3ryay-8HYStxcckjbQy90F6-qnzJz2zms5hKjfx736YdGtuJVEJ1rptZuTmE7G5gxbshC_C7iU1VYEsBh_0LR0WSGHKdbNx9Dh-m5bb78lEVYSvASGzxw/s200/olivier-luggage.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The French attack the boys<br />
and the luggage</td></tr>
</tbody></table>
This method allows Olivier to fill his screen with much of what the Chorus tells us can not be shown — the vast battlefield, the huge armies fighting, the horses, the lavish costumes. He can show us these things because he keeps them looking artificial and imaginary: he follows the Chorus' instruction to imagine that which can not be shown on stage and projects for us one possible imagining of Shakespeare's play, an imagining directed by the Chorus on stage at the Globe Theater in 1600. Therefore, it is not the case of Olivier making concessions in order to keep the Chorus relevant to his screen adaptation, but of the Chorus guiding Olivier's production in the same way it would guide an audience member's imagination at the Globe. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglFOXSGdsFiJ7rxZ12uUvn_Rb3T3b5RkNuGiP2JSN6eI7g4f1eVIGlocOYU_zGthq7zQWG5CBK5jvbAXIl8nCx5jd48lsxsD62zftE5xmezXYxor0oLiKPMoDnwUmjRYBXLbYeZa5az9k/s1600/olivier-work.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1200" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglFOXSGdsFiJ7rxZ12uUvn_Rb3T3b5RkNuGiP2JSN6eI7g4f1eVIGlocOYU_zGthq7zQWG5CBK5jvbAXIl8nCx5jd48lsxsD62zftE5xmezXYxor0oLiKPMoDnwUmjRYBXLbYeZa5az9k/s200/olivier-work.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"On your imaginary forces work"</td></tr>
</tbody></table>
Realizing this, it becomes apparent why so many of the Chorus' directives are included in Olivier's adaptation: "Linger your patience on," "Still be kind / And eke out our performance with your mind," "Suppose that you have seen," "Play upon your fancies." It also becomes apparent why such emphasis is given to the first instance of these directives, during the Prologue: As the Chorus address the audience at the Globe, there is a long pause after the line "That did afright the air at Agincourt," during which the Chorus walks to the front of the stage and looks right into the camera in medium close-up (at the audience in the theater sitting right in front of him, perhaps, but most definitely at us, the film audience) before continuing with "On your imaginary forces work."
<h4>Branagh's Method</h4>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-TXFXBg87jyX41h7ANoB61ohS1qA7mNcbvxX5vI3wuYlRwU_pzvHHEDmrSm69RKHG8GzehnxeXDktVkEXLaemfl0cmr2NloJvGzmSrpnP_sle_GEEvvcVB9FBTdCZmaG_jqOhWsek_Cs/s1600/branagh-backstage.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="871" data-original-width="1425" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-TXFXBg87jyX41h7ANoB61ohS1qA7mNcbvxX5vI3wuYlRwU_pzvHHEDmrSm69RKHG8GzehnxeXDktVkEXLaemfl0cmr2NloJvGzmSrpnP_sle_GEEvvcVB9FBTdCZmaG_jqOhWsek_Cs/s200/branagh-backstage.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Branagh's Chorus behind the scenes</td></tr>
</tbody></table>
Branagh begins his film in a "behind the scenes" fashion similar to some of the early moments of Olivier's version, but where Olivier shows us the backstage preparations of stage players, Branagh takes us behind a movie set to a space cluttered with the trappings of film production. He presents the Prologue among assorted props and light riggings in a scene that instantly confirms the Chorus' claims of artifice — from this vantage point, we can see that what we are being shown is all artificial, or "just a movie." <br />
<br />
What follows, though, starting in the following scene (1.1) and continuing throughout the film, appears anything but artifical. The acting, costumes, and sets all seem to match what an audience of the late 20th century would consider "realistic," or acurate for the period depicted. Branagh shows us much of what Shakespeare's Chorus asks us to imagine or to supplement with our minds — horses, kings dressed in authentic costumes, the seige of Harfleur. He does so, however, in a way which ulitimately keeps the Chorus relevant. Branagh's method centers on his presentation of space. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikBhgieS58dEIOrhma4gBu-hyT0tF_orhlr3zxkce4scWSQ12Evk_vbp1ztcbWPxM5GyEehAvxS6TAbkKDKuMBEYwrzpfl8TMkDEYZ0Bd-zx7ndtenWQjPorco4GG0Kl_BEgYqL2f8lw4/s1600/branagh-eastcheap.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="871" data-original-width="1425" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikBhgieS58dEIOrhma4gBu-hyT0tF_orhlr3zxkce4scWSQ12Evk_vbp1ztcbWPxM5GyEehAvxS6TAbkKDKuMBEYwrzpfl8TMkDEYZ0Bd-zx7ndtenWQjPorco4GG0Kl_BEgYqL2f8lw4/s200/branagh-eastcheap.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Branagh's Eastsheap: Tight framings<br />
in small spaces</td></tr>
</tbody></table>
Branagh imposes spatial limitations on his film by confining the action within small spaces. In doing so, he conceals from us the larger expanses of Henry's surroundings and references a larger world, a world accessible to the characters on screen but witheld from us. Much of the film is shot in tight framings, with scenes unfolding in a series of close-ups or medium shots, without an all-encompassing establishing long shot of the characters' environment. Interiors are shot in small rooms, confined spaces which suggest the characters' larger environments but do not actually show them. The Eastcheap scenes, for example, show us only one room of the boarding house. Characters enter from and exit to other rooms (a couple of extras walk into other rooms before Bardolph's first line, Pistol and Nell enter from an adjoining room, Nell goes upstairs to check on Falstaff, the men go downstairs when departing for France), but the camera remains in the main room, never allowing us to move throughout the larger space implied by the mobile characters. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixmfecZpfmRkmYmr7RMDkiVOU_3AcIGE8KUoyti2Xl1OsWDbLMj5zYP0XhwSZc5m5gatQdU4rqqdJuaZxqYdUAquQ8jb3g_IBXoHwaCvlgGUwKM2LEhruLv-koqFoYXitE-IrEgMWV9SY/s1600/branagh-southampton.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="871" data-original-width="1425" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixmfecZpfmRkmYmr7RMDkiVOU_3AcIGE8KUoyti2Xl1OsWDbLMj5zYP0XhwSZc5m5gatQdU4rqqdJuaZxqYdUAquQ8jb3g_IBXoHwaCvlgGUwKM2LEhruLv-koqFoYXitE-IrEgMWV9SY/s200/branagh-southampton.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In little room confining mighty men:<br />
The trap at Southampton</td></tr>
</tbody></table>
The apprehension of the traitors is another example. The walls and the ceiling of the room at Southampton are shown to emphasize this restricted space and to emphasize a feeling of entrapment — the traitors set a trap for Henry, but walk into one themselves. Branagh and cinematographer Kenneth MacMillan keep the focus shallow and the framings tight. The deepest shot in this scene is the first one, which looks across the room at the three traitors. Even then, though, our view is obstructed at first by the woodwork in front of the camera, reducing the sense of uninterrupted visual access to large spaces. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNjs9f6HCmamG9_9FVCTr9yFp6k_gnayiE521Rf_ga2Il-BQ1wK-CF9MU8FnsmoDyJJ3_MG_g3O5vU1LLUKAqMiJJeG7mIPm9wi9ae3-V8JiaTvtXrQkEJrhJLv-Pd9afKM_8BFp4E7lc/s1600/branagh-cliffs.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="871" data-original-width="1425" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNjs9f6HCmamG9_9FVCTr9yFp6k_gnayiE521Rf_ga2Il-BQ1wK-CF9MU8FnsmoDyJJ3_MG_g3O5vU1LLUKAqMiJJeG7mIPm9wi9ae3-V8JiaTvtXrQkEJrhJLv-Pd9afKM_8BFp4E7lc/s200/branagh-cliffs.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The introduction of the traitors:<br />
rising land and a white sky<br />
obstruct a view of the horizon</td></tr>
</tbody></table>
Even when Branagh ventures out into open, natural spaces, he confines them with relatively tight framings. Never is there an extreme long shot showing the French countryside, not even during the most significant outdoor scene, the Battle of Agincourt. The closest Branagh comes to revealing a vast outdoor landscape is at Southampton, as the Chorus introduces the traitors. Even here, however, Branagh fills his background with a grassy cliff rising behind the Chorus, concealing from us the infinite depth possible as perspective fades into the horizon. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-plx5VBOnZyMxIbWM87vYySYI8ia8JoMPTs_FuOTlmDtiphCCXCJZ5xwhel2LFiOrv1XZZnabX4SgHhSXmm2TtI8yMFTcinBMlN-Ev5ccLzFv94TY6ZRSwQCwcNMxjU7WKKzGiCRApoc/s1600/branagh-shadow.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="871" data-original-width="1425" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-plx5VBOnZyMxIbWM87vYySYI8ia8JoMPTs_FuOTlmDtiphCCXCJZ5xwhel2LFiOrv1XZZnabX4SgHhSXmm2TtI8yMFTcinBMlN-Ev5ccLzFv94TY6ZRSwQCwcNMxjU7WKKzGiCRApoc/s200/branagh-shadow.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Henry passes the Archbishop's<br />
antechamber: a larger space<br />
is implied with shadow.</td></tr>
</tbody></table>
Essential to Branagh's spatial restriction is his lighting. Many shots are darkly lit, so that hidden from our view is not only the space beyond the frame, but the space immediately surrounding the characters in the frame. The first scene after the prologue is a good example — the Archbishop and Ely are kept in tight framings, engulfed in darkness. We see very little of their surroundings, just the door the archbishop closes behind him and the faint glimpse of one of the antechamber's walls. When the Archbishop peers out the door to see Henry walk by, escorted by his guard, we do not see Henry or the guards except in shadow. By showing only a brick wall, one prop (a candelabra), and the shadows of a pillar and five walking figures, Branagh implies a larger area — a pllar-lined hallway leading to Henry's presence chamber. <br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlHCAjealWkFtL1SjYUcMLVh3uLusnyUjfNciiqpP4aD3cPSftmkW0m_nJZIKSyPeH4i46lHW4koTaoyDkmAFTXgmd2Qn7HRNAjuUbTbUF4Pc3EIKpQ9LLH58qFFsZAcrQzyHInqKfCM0/s1600/branagh-presencechamber.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="871" data-original-width="1425" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlHCAjealWkFtL1SjYUcMLVh3uLusnyUjfNciiqpP4aD3cPSftmkW0m_nJZIKSyPeH4i46lHW4koTaoyDkmAFTXgmd2Qn7HRNAjuUbTbUF4Pc3EIKpQ9LLH58qFFsZAcrQzyHInqKfCM0/s200/branagh-presencechamber.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Henry's presence chamber</td></tr>
</tbody></table>
Even when surroundings are shown, the sets are relatively plain. Unlike Olivier, whose sets, though artificial-looking, are nonetheless very ornate and complex, Branagh keeps his sets relatively sparse. Many, whether they are darkly lit or not, are simple despite their apparent realism. Henry's presence chamber, in which he hears the argument presented by the Archbishop concerning Salic law, contains his chair, the chairs of the lords and nobles, and a few candlesticks. The rest of the room is concealed by darkness and by the selective presentation of Branagh's camera. The equivalent French room, while more brightly lit, gets the same selective treatment — we never see a long establishing shot of the entire room, just close-ups and medium shots of the speaking characters in it. Once again, there is little in the way of a set featured — there is a set, of course, but because we are shown so little of it, it does not need to be large and eloborate. <br />
<br />
This strategy of presenting sparse sets in tight framings, of witholding from our view the "complete picture" of Henry's surroundings, allows Branagh to present his film with great economy, but also to create a sense that something is missing, which is just what the Chorus claims to be the case. Furthermore, this method adheres to the spatial restrictions imposed on the production by the Chorus in the Prologue. The Chorus and its claims, therefore, do not contradict what is shown on screen. This method is most effective during Branagh's depiction of Agincourt, where it assumes thematic significance, and where it does something more important than keep the Chorus relevant to Branagh's film — it keeps the film relevant to Shakespeare's Chorus.
<h4>Branagh's Agincourt</h4>
Perhaps the most striking element of Branagh's adaptation is his battle of Agincourt, which certainly runs counter to the low expectations set by the Chorus — it is graphic, violent, dirty, and bloody. There is little need during the battle to compensate with our imaginations for a lacking sense of "realism." Nonetheless, Branagh's method is still at work, imposing the same spatial restrictions on the battle as it does on the rest of the film. (Upon recent watching, I noticed a certain "theatricality" to Branagh's "realism" which I may write about in the future. For now, suffice it to say that for all immediate purposes, the film presents a much more graphic depiction of the battle than Olivier's.)
<br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg48mpxpY3ePfhi3WPzGC6GAJn2azoW_wsVahX1tlSr9z-N7xw7bfACrSrdINvKjFaJ9-mI7pf-hcJeRO1jOsncGdkkEgxdlxMaJt0mGVgp6MEuuaQLjBz84AWRNjbFSiilXfRgDH84jYA/s1600/branagh-york.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="874" data-original-width="1428" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg48mpxpY3ePfhi3WPzGC6GAJn2azoW_wsVahX1tlSr9z-N7xw7bfACrSrdINvKjFaJ9-mI7pf-hcJeRO1jOsncGdkkEgxdlxMaJt0mGVgp6MEuuaQLjBz84AWRNjbFSiilXfRgDH84jYA/w500-h304/branagh-york.jpg" width="500" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">York is killed by the French</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk7d6GLU0Pu-m-V3rY5p_G22R563mjNjQYxk9CjOkgFpCjTVm0t9ooYy6BVu3uJKlSSxFqfVP00_NUzhJsX-KuC_t5UazM1xRMMaHZLqsYbAgz-W_ctbvIus3PW_6FjlEqCI3EMIJ_Dw4/s1600/branagh-nym.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="874" data-original-width="1428" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk7d6GLU0Pu-m-V3rY5p_G22R563mjNjQYxk9CjOkgFpCjTVm0t9ooYy6BVu3uJKlSSxFqfVP00_NUzhJsX-KuC_t5UazM1xRMMaHZLqsYbAgz-W_ctbvIus3PW_6FjlEqCI3EMIJ_Dw4/w500-h303/branagh-nym.jpg" width="500" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pistol finds Nym dead</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj60j1VP1aaCguWvdz5G5aZatW7c4YLhEIgNett8lNWGNtYQ0WNK7dkCB30DKeNe08UM5DQCrGrkq6-j-vqYgZX2tXPQo_5pkJO8_RQhMsZH9fQcnniwqiR-O1U1RthLFX9D8OwbqwapEI/s1600/branagh-boys.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="874" data-original-width="1428" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj60j1VP1aaCguWvdz5G5aZatW7c4YLhEIgNett8lNWGNtYQ0WNK7dkCB30DKeNe08UM5DQCrGrkq6-j-vqYgZX2tXPQo_5pkJO8_RQhMsZH9fQcnniwqiR-O1U1RthLFX9D8OwbqwapEI/w500-h303/branagh-boys.jpg" width="500" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The boys, murdered by the French</td></tr>
</tbody></table>
<br /><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAl77x-_sbvbcvYretevdPM1_9QLGnyKn6G4mlbSBkPoZQyR2kv2wgwAmLYnPG-_9hD7kWVzjYYgLwulPgm6Y9JqLyxEhXRhysEnw9uQwZ2u8_o7raJNI9-pORt4j3C5Bk_lFrxQGMBOQ/s1600/branagh-williams.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="874" data-original-width="1424" height="122" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAl77x-_sbvbcvYretevdPM1_9QLGnyKn6G4mlbSBkPoZQyR2kv2wgwAmLYnPG-_9hD7kWVzjYYgLwulPgm6Y9JqLyxEhXRhysEnw9uQwZ2u8_o7raJNI9-pORt4j3C5Bk_lFrxQGMBOQ/s200/branagh-williams.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Williams watches as the<br />
French forces charge</td></tr>
</tbody></table>
Branagh withholds from our view the larger space of the battlefield by shooting most of the action in medium to close framing. As the English await the charging French, for example, we see close-ups of their faces, never an extra wide shot of the entire army. Nor do we see the French army charge en masse as we do in Olivier's film — instead we are shown only the key speaking characters (the Constable, the Dauphin, Orleans, Montjoy) in a medium shot right before their charge, then more close-ups of the English faces who see the charge denied to our view. The suspense and tension we feel for the imminent clash is created by the looks on the faces of the English and the off-screen sound of beating hoofs growing progressively louder. The subsequent fighting is also shown in tight framing: even as York is bloodily skewered in slow motion, we have very little sense of his greater surroundings. <br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7oaMb4q5GgwqfTLJ3_hPkXlBDrK3Q0UYvDiYssKu1iTP2WTTZVpSxBeVen7KpRv1p2G_xb040Q2neMf5fLxwXmYcw9vlZKTBWqletD3W2SwAvC0FccbWhIH11u_TH0ar2uM1ZvmBG_h4/s1600/branagh-brothers.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="873" data-original-width="1425" height="122" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7oaMb4q5GgwqfTLJ3_hPkXlBDrK3Q0UYvDiYssKu1iTP2WTTZVpSxBeVen7KpRv1p2G_xb040Q2neMf5fLxwXmYcw9vlZKTBWqletD3W2SwAvC0FccbWhIH11u_TH0ar2uM1ZvmBG_h4/s200/branagh-brothers.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Band of brothers:<br />
A large army implied<br />
by shots of smaller groups</td></tr>
</tbody></table>
Instead of showing the two large armies with hundreds of extras in sweeping long shots as Olivier does, Branagh implies greater numbers through multiple close-ups of familiar characters. The above-mentioned charge of the French is one example, as is the St. Crispin's Day speech. During Henry's pep talk only a relative few of the English soldiers are shown in the same frame as the king. A greater number is referenced, however, by Henry's offscreen looks and by shots of the individual soldiers responding to Henry's words. By using medium shots of the previously-introduced speaking characters (Macmorris, Nym, Exeter, etc.) with a handful of extras behind them, Branagh is able not only to imply a large army without the use of long shots crammed with extras, but also to adhere to another of the Chorus' directives, one which Branagh edits from his Prologue but could just as well have been left in place: "Into a thousand parts divide one man." Granted, Branagh's actors do not double up on roles, but their repeated presentation in close-up creates an effect similar to one long shot filled with many characters. <br />
<br />
Still, while Branagh's spatial strategy creates a formal "lack" in accordance with the Chorus' disclaimers, the graphic nature of the fighting seems to violently contradict them. This contradiction seems further complicated by Branagh's editing of the fourth Chorus, although unlike the above-mentioned line ("Into a thousand parts divide one man") which was excised though it seemed relevant, in this case Branagh includes five lines which seem to greatly contradict the subsequent realism shown on screen: <br />
<br />
<blockquote>
And so our scene must to the battle fly;<br />
Where — O for pity! — we shall much disgrace<br />
With four or five most vile and ragged foils,<br />
Right ill-disposed, in brawl ridiculous,<br />
The name of Agincourt.</blockquote>
<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgufFh9w0sZ57hyjG5vk_70q3uUtW2qIHoTSzdD4iI35QZDJz2e7JMe_-P6WTuTskZrBSZbCoplZ1_Vc5Uesispx38y0lCJJYkP8XeDKvmCpa43tJAvwhEsEqDO8qysw4BZoV3cFC0FakE/s1600/branagh-agincourtchorus.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="873" data-original-width="1425" height="122" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgufFh9w0sZ57hyjG5vk_70q3uUtW2qIHoTSzdD4iI35QZDJz2e7JMe_-P6WTuTskZrBSZbCoplZ1_Vc5Uesispx38y0lCJJYkP8XeDKvmCpa43tJAvwhEsEqDO8qysw4BZoV3cFC0FakE/s200/branagh-agincourtchorus.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"And so our scene must<br />
to the battle fly..."</td></tr>
</tbody></table>
Not only are these lines not removed, but they are displaced from the top of act four to the moment just before the French charge and the bloody battle begins. This displacement, as elsewhere in Branagh's adaptation, gives the Chorus' exposition — and its reminders of artifice — immediate significance. We are told, it would seem, right before the battle begins, that what we are about to see is but a feeble and artificial imitation of the actual event, though what follows does not appear so. <br />
<br />
Why, then, would Branagh not only include these lines, but place them so close to the action they seem to contradict? The answer is derived both from Branagh's innovation and ideas Shakespeare included in his play four hundred years ago, ideas absent from the wartime film Olivier made. To see it, we must jump ahead to Shakespeare's Epilogue, which is edited substantially in Olivier's film but which Branagh keeps intact. It reminds us, after the exhilarating St. Crispin's Day speech, after the agonizing victory at Agincourt, after the lighthearted courtship of Katherine, that under the reign of Henry VI, the son and successor to Henry V, England would lose the land won by Harry and his "band of brothers": <br />
<br />
<blockquote>
Henry the Sixth, in infant bands crown'd king<br />
Of France and England, did this king succeed;<br />
Whose state so many had the managing,<br />
That they lost France, and made his England bleed:<br />
Which oft our stage hath shown; and for their sake,<br />
In your fair minds let this acceptance take.</blockquote>
<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix5TENSx3zTB93qJPB0YJAca13FPjWMngPZYcMpP5mc4L4DD5nhpyk9CAd_kH0mF_6dLVsrYztc62uhHsZHgo05l7i2vku6QZgRjCmHXKU3pVR32nP3At_fEisMSm5v8tM3rEKzz8wqgs/s1600/branagh-epilogue.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="874" data-original-width="1428" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix5TENSx3zTB93qJPB0YJAca13FPjWMngPZYcMpP5mc4L4DD5nhpyk9CAd_kH0mF_6dLVsrYztc62uhHsZHgo05l7i2vku6QZgRjCmHXKU3pVR32nP3At_fEisMSm5v8tM3rEKzz8wqgs/s200/branagh-epilogue.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"In your fair minds<br />let this acceptance take."</td></tr>
</tbody></table>
The last line — the Chorus' last instruction — bids us to accept a historical fact which more than somewhat deflates the victory just depicted. Now it becomes clear why Branagh included the lines from the fourth Chorus. The mention of the "four or five most vile and ragged foils" is not meant to imply that the subsequent filmed battle will look artificial, but rather that no depiction of war, no matter how seemingly "realistic," can convey its true horror. Likewise, the "brawl ridiculous" does not refer to the feeble imitation of battle shown on stage or screen, but to war itself: it is often pointless and fought in vain. Branagh uses his filmic realism to graphically enhance Shakespeare's ideas about the nature of war.* <br />
<br />
<div style="font-size: 10px; line-height: 15px;">
*Or at least this war. Shakespeare may have intended the comment to apply specifically to Agincourt and to the redemption Henry's victory seemed to give his lineage (see Henry's prayer in 4.1). However, Branagh's film makes these ideas applicable to any time. (One of my college professors described hearing some of the audience cry during the St. Crispin's Day speech when he saw the film during the early days of the first Gulf War.)</div>
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<h3>A Chorus' Lines: Appendices</h3>
<h4 style="text-align: left;">I. Branagh's Other Methods</h4>
While Branagh's cinematic techniques are perhaps the most impressive elements of his strategy to keep the Chorus relevant, they are not the only methods he uses. Most noticeable is his editing of Shakespeare's text. Whole scenes are removed, as are certain characters, their lines eliminated or abbreviated and given to others. The Chorus' lines fall victim to this same treatment.
<br /><br />
Several — but significantly not all — of the Chorus' disclaimers are removed entriely. Gone from the Branagh's prologue, for example, are the instructions to imagine horses "Printing their proud hoofs i'th'receiving earth," to allow one actor to play several parts, or to "make imaginary puissance." By removing such directives, Branagh is free to show us horses, for example, without running counter to the expectations set by the Chorus.
<br /><br />
The Chorus' appearances are also segmented and displaced throughout the film, instead of occuring only at the beginning of each act, where they were placed by Shakespeare. The Chorus at the top of Act 2, for example, first explains how the able men of England are eager to follow Henry to France, then tells us of the three traitors and their plan to kill Henry in Shouthampton. Scene 1, however, is set in the boarding house in Eastcheap, removed from Southampton, and not related to the just-mentioned conspiracy. Branagh, instead of presenting the complete Chorus at the begining of the act, divides this Chorus into two parts, and places each part immediately before the action it describes. Therefore the mention of the men excited to find fortune in France is followed by the scene at Eastcheap, and the exposition about the traitors immediately precedes Scene 2, when Henry confronts those conspirators. This helps keep the Chorus and its function as scene-setter important on a scene-to-scene, rather than act-to-act, basis and the Chorus' lines more relevant to the immediate action on screen.
<br /><br />
Still, Branagh doesn't remove the Chorus entirely. He leaves in enough of the Chorus' apologies to give the impression that something is lacking, so his film must therefore reflect that lack.
<br /><br />
(Olivier also edits the play substantially. Indeed, he rearranges scenes and segments the Chorus' lines much more than Branagh does. Because his method is based upon the Chorus' instructions to imagine, however, Olivier's edited text still maintains these instructions and disclaimers. His elimination of other lines, scenes, and characters has less to do with keeping the Chorus relevant and more to do, it would seem, with time restrictions, clarifying language for a modern audience, and with making a pro-English statement during World War II [see Appendix IV for more on this].)
<br /><br />
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<h4 style="text-align: left;">II. Branagh and the Muse of Arc Light</h4>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW_1uXEg03hrjGaagCJm8DOEpptRv92u7AV6OIFbnhoTXBxjCl3PO7tAfYpfh52ZSuBC6DIn7OsC_FNCnzJ0zblw7Hp1lg3Bs5rn2xXF27MOSbgv7XLjNjM5HjbEgXnfKJRHduthvVAzY/s1425/branagh-ourplay.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="871" data-original-width="1425" height="122" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW_1uXEg03hrjGaagCJm8DOEpptRv92u7AV6OIFbnhoTXBxjCl3PO7tAfYpfh52ZSuBC6DIn7OsC_FNCnzJ0zblw7Hp1lg3Bs5rn2xXF27MOSbgv7XLjNjM5HjbEgXnfKJRHduthvVAzY/w200-h122/branagh-ourplay.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Chorus shouts "our play!"</td></tr></tbody></table><br />What struck me the most about Branagh's Prologue was the way the Chorus loudly (angrily?) shouts the last two words of the Prologue — "our play!" — in noticeable contrast to his more subdued presentation of the previous lines, as he throws open the doors which lead, presumably, to some part of the on-camera set, with great and sudden energy. This burst of energy and what sounded to me like frustration or anger seemed very sudden, certainly unexpected.
<br /><br />
In reexamining this scene later, a few things caught my attention. One was the "behind the scenes" setting in general, which is similar to that of some of the early shots in Olivier's film. But while Olivier's behind-the-scenes shots were of the backstage of a theater production, Branagh's are behind the scenes of a movie set. Like Olivier's backstage moments, which establish that what is about to be shown is a play, not an attempt to reproduce reality, Branagh's backstage Prologue references the fact that his production is produced and manufactured, too.
<br /><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQEJ7qjIrMpeQ5dPYoE69lXjkQfLZmTNehO4KoeK41nL24EE2mvabza49ecmVaW0QAlzA5ihyIHcGpWDOJ5-M7TJGIUP3SvnWr0qwSiQTn2jXRLsAI04RIMGMvF0RNekXMPSOlp4AdknM/s1425/branagh-chorusmatch.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="871" data-original-width="1425" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQEJ7qjIrMpeQ5dPYoE69lXjkQfLZmTNehO4KoeK41nL24EE2mvabza49ecmVaW0QAlzA5ihyIHcGpWDOJ5-M7TJGIUP3SvnWr0qwSiQTn2jXRLsAI04RIMGMvF0RNekXMPSOlp4AdknM/w205-h126/branagh-chorusmatch.jpg" width="205" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"O for a Muse of fire..."</td></tr></tbody></table><br />The Chorus delivers the Prologue while wandering among the trappings of film production — extra props, large lighting rigs, plywood sets. The fact that implements of lighting are very prominent among these trappings also caught my attention: the large lighting rigs, certainly, but also the various large candlesticks which not only decorate the sets we are soon to see, but provide the lighting (at least the diegetic lighting) so vital to Branagh's method. This juxtaposition of fire light and electric light recalls the very opening seconds of the film, where the Chorus, after making the first shot appear from the darkness by striking a match, throws a switch that fills the sound stage with the light and electric hum of the overhead rigging. I am almost certain he then gives a certain knowing look to the camera, perhaps a subtle comment on the light overhead, as if he realizes something about it that he expects us to realize as well.
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvrXKb6W3mNW4yauwXKkc6AFxBWOhuJQZQEDd4c21ypp4OjqkEsxRh9c5IOErkYG8JXjIXyNGE-fZi6A-8UPxaXK23gXS1XqbEn2PBaeXS3toz9OBzZqhp85AYB1yQSFSgAJirc5SzxoQ/s1425/branagh-choruslook.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="871" data-original-width="1425" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvrXKb6W3mNW4yauwXKkc6AFxBWOhuJQZQEDd4c21ypp4OjqkEsxRh9c5IOErkYG8JXjIXyNGE-fZi6A-8UPxaXK23gXS1XqbEn2PBaeXS3toz9OBzZqhp85AYB1yQSFSgAJirc5SzxoQ/w500-h306/branagh-choruslook.jpg" width="500" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Chorus looks at the camera after throwing the switch.</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLkCy1JkYjvfMsdyGL-j6YGzd8nlKtwRn7k5vMJ3IHa4XzI__7IN65f6-jO5XaKqBQtXf-pcWFJiTpur9Ogl0-Ak2lrfU3jpgqP-1_jB70KLE2R5r7Nu6Rdb1DUyfyBSr6EXtuZZW6Cz8/s1425/branagh-lights.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="871" data-original-width="1425" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLkCy1JkYjvfMsdyGL-j6YGzd8nlKtwRn7k5vMJ3IHa4XzI__7IN65f6-jO5XaKqBQtXf-pcWFJiTpur9Ogl0-Ak2lrfU3jpgqP-1_jB70KLE2R5r7Nu6Rdb1DUyfyBSr6EXtuZZW6Cz8/w500-h306/branagh-lights.jpg" width="500" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br />The Chorus walks past electric lights...</td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGUpxd7VJdb4I1RczBFAAQQfP4ZZanf7RSP_hCMU7xCJSTrWzn9rPRbqqyYS9vRCqsUzdx6UgHWYxz-lqvtLqTiWoYNV5MCtkdUn6BIzFKfgspgFGd86tzyEJqYhJNu9WetrVECCTa798/s1425/branagh-choruscandles.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="871" data-original-width="1425" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGUpxd7VJdb4I1RczBFAAQQfP4ZZanf7RSP_hCMU7xCJSTrWzn9rPRbqqyYS9vRCqsUzdx6UgHWYxz-lqvtLqTiWoYNV5MCtkdUn6BIzFKfgspgFGd86tzyEJqYhJNu9WetrVECCTa798/w500-h306/branagh-choruscandles.jpg" width="500" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br />...and then past candles.</td></tr></tbody></table><br />This look, and the exclamation that follows, frame the Prologue and its instructions to imagine that which can not be shown. They give the impression that the Chorus is frustrated, as if he knows that his match — his "muse of fire" — is meager power compared to that of the lights above, to the power of film. He may also realize that his place as expositor is very precarious in the film — as he throws the electrical switch he sees that film with its electric light has the ability to show everything, while he and his fire have the ability to show only a relative little. Branagh allows his Chorus to make the demonstration of the great power of electric light, though I suspect the Chorus is aware that the true control of that light rests with the filmmaker, and that he is given only a token role, maintained merely by the filmmaker's wishes. (Another image occurred to me upon re-watching, that of the Chorus as an employee caught in a corporate takeover of stage by screen, an employee who must adapt to the latter to survive, regardless of his disdain for it.)
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It could be, though, that the Chorus realizes the limitations of film itself, and is frustrated that even film, with all its ability, with its power of arc light — a light brighter than the light of fire shown by the match and subsequent candles — can be revealed as artifice. Throwing the light switch reveals the implements of film production, exposes the film as unreal, and shows that with too much light, the fantasy is betrayed (imagine the overhead lights in a movie theater being turned on in the middle of a screening). It reminds us that despite any cinematic realism that may follow, this, too, is not real, and therefore not as spectacular as the actual events depicted.
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<h4 style="text-align: left;">III. Olivier's Visual Reference</h4><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibQGiM5ZwQqzQwhWdoAQ6TQXiNd4jnirbBWlbRiMPODX9ZpyKDghFPMx5Zrb4eZKyn_M6M-yug6oUECwL8N3Fl1xL2o1QAeFPNhu7ETpIJu-NmwFbG5Z1aQomLOcxfuVBYtLRMJrgqzFE/s1198/olivier-harfleur-lg.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1198" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibQGiM5ZwQqzQwhWdoAQ6TQXiNd4jnirbBWlbRiMPODX9ZpyKDghFPMx5Zrb4eZKyn_M6M-yug6oUECwL8N3Fl1xL2o1QAeFPNhu7ETpIJu-NmwFbG5Z1aQomLOcxfuVBYtLRMJrgqzFE/w200-h151/olivier-harfleur-lg.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Olivier's Harfleur<br /></td></tr></tbody></table><br />If we accept that Olivier's film is the projected imagination of the audience he depicts at the Globe Theater in 1600, then the artificial sets and backdrops are not just devices used to keep the Chorus' lines relevant, but elements of that audience's imagined vision. Olivier's artifice-rich mise-en-scene, which recalls the perspective and composition of 15th century painting, seems to be based on the assumption that an audience of 1600 would have no other visual reference of Henry's time than the artwork produced in it. Therefore, the imagination of Olivier's depicted audience is based greatly on paintings made in Henry's time.
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Granted, all of this is filtered through the perceptions of much later decades. I thought this way in the year 2000 (when this essay was first written) about a film made in 1944 about how an audience in 1600 would imagine the early 1400's. Therefore, putting an exact range of dates on a certain group of paintings is perhaps unnecessary: as we recognize that much of Olivier's film reflects a 1944 perception of Shakespeare's time, we must also allow that an audience in 1600 would have its own perceptions of Henry's time, and that perception could be influenced by a general style of painting without strict attention to dates. (To be really technical, it is likely that many of the groundlings at the Globe would not have had access to such paintings...)
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It is also interesting that the natural landscape is used in Olivier's film, primarily at the field at Agincourt, perhaps because a large empty field would look the same to people in 1400, 1600, and 1944. Olivier's shots of the battlefield, then, are set in nature — a nature common to people throughout time and therefore able to be recalled and imagained by people throughout time — but the non-natural elements which furnish that landscape — the horses' and soldiers' costuming, the banners, tents, castles, etc. — are part of the imagined vision which references the artwork of an earlier time.
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When I set out to find (via internet search, using keywords like "15th century painting," etc.) specific works to illustrate my thoughts on Olivier's visual reference, I eventually came across a group of paintings from <i>Les Tres Riches Heures du Duc de Berry,</i> a "book of hours" painted in the early 15th century by the Limbourg brothers. These paintings not only show the stylistic elements I saw recreated in Olivier's film (the earlier form of perspective, the arrangement of people in clusters, etc.), but seem to provide an actual blueprint for certain of Olivier's scenes.
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I later learned that <i>Les Tres Riches Heures</i> was used as reference and inspiration during the making of the film, though I was unaware of this when I was looking for examples (though once I found <i>Les Tres Riches Heures</i>, I made the assumption that it must have been consulted). I mention this not to tout my powers of observation, but in support of <a href="http://second-reel.blogspot.com/p/about-second-reel.html">my belief</a> that while all "meaning" rests with the viewer, filmic communication is not entirely random: in many instances a filmmaker's "intentions" can be communicated succesfully, even when they are not entirely superficial.
<h5>Example 1</h5>
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<td align="center" valign="top"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU_yitAJvb7XbgJcUH9kds6bqsp2Wr-ScMYCzMyNqRIHEGsaKKn1vfXPkDTUKA5ir9Yl67RUilrT87DqUoVliCU_WU8hc0jJCJtFGZ4tlbaVxxgC4WLmGb_cWiNyfuZLkN4M7tQHEhkPQ/s1198/olivier-harfleur-lg.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1198" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU_yitAJvb7XbgJcUH9kds6bqsp2Wr-ScMYCzMyNqRIHEGsaKKn1vfXPkDTUKA5ir9Yl67RUilrT87DqUoVliCU_WU8hc0jJCJtFGZ4tlbaVxxgC4WLmGb_cWiNyfuZLkN4M7tQHEhkPQ/w200-h150/olivier-harfleur-lg.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Henry before the gates of Harfleur</td></tr></tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbFvC-YWV7cDf_crOr9b3Bri7VKrpQMfPIVHBUd47m-iOBQY_97UGLNEefvGoXAfHSXxnRY3DWRySdOTJ9WGZgRwrGvDq5bW3QGFNfHmsQtH10GRzfKK5Ke9K5bU-eBIoNpRQKlntbUL4/s1198/olivier-table-lg.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1198" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbFvC-YWV7cDf_crOr9b3Bri7VKrpQMfPIVHBUd47m-iOBQY_97UGLNEefvGoXAfHSXxnRY3DWRySdOTJ9WGZgRwrGvDq5bW3QGFNfHmsQtH10GRzfKK5Ke9K5bU-eBIoNpRQKlntbUL4/w200-h150/olivier-table-lg.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The French king and his lords at the table<br /></td></tr></tbody></table></td>
<td align="center" valign="top"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIGQ6pIF-OzGY95PL5oUw3MyeULkWBaR5nuuhU1gBvqcOLBsS0a9aZmoBOq_YFnnydx6MtO6yY8smJxcWL9JtJXRfl893qW1jL9b2O0BiTTQu7Qqb8YQnlzpVqk3jAFaxe2tZMmQDTPXc/s2048/heures-jan-lg.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1324" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIGQ6pIF-OzGY95PL5oUw3MyeULkWBaR5nuuhU1gBvqcOLBsS0a9aZmoBOq_YFnnydx6MtO6yY8smJxcWL9JtJXRfl893qW1jL9b2O0BiTTQu7Qqb8YQnlzpVqk3jAFaxe2tZMmQDTPXc/s320/heures-jan-lg.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"January" from <i>Les Tres Riches Heures du Duc de Berry,</i> painted by the Limbourg brothers, c. 1412 - 1416</td></tr></tbody></table></td>
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The French soldiers positioned on the upper right portion of Olivier's Harfleur gate are arranged in a similar clustered fashion as those in the top of the <i>January</i> painting. The view of the table at which the French king and his lords sit simulates the method of perspective used in the painting — we see more of the tabletop (which is tilted forward on Olivier's set) than we should for a relatively straight-on side view.
<h5>Example 2</h5>
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<td align="center" valign="top"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUMGugg4imFwOOFCxGVD6QQs9M81uB6OX-pEwqIho-kGSBqll-t71mczev_wuOodG7rQZjY5-50sO_eEwRbW3DOACSJdQNj095t7nJGCBRl2njEAzZPxcihmxewZ-0r9PKvjQTgoKYMPo/s1198/olivier-feb1-lg.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1198" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUMGugg4imFwOOFCxGVD6QQs9M81uB6OX-pEwqIho-kGSBqll-t71mczev_wuOodG7rQZjY5-50sO_eEwRbW3DOACSJdQNj095t7nJGCBRl2njEAzZPxcihmxewZ-0r9PKvjQTgoKYMPo/w200-h150/olivier-feb1-lg.jpg" width="200" /></a></div>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBUqifexY5QxUAHhZZ4wAehCcNMyF3gP6CWews9uebz9-zjsAK8n9E5d_ppsvq5wBoca53ptsmhYaMcvkfecwSItGfAZTrGLpE9C6F5QCXpsohBMGsB-eawqN31H7sAiQVV0UJl86Ki6Y/s1198/olivier-feb2-lg.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1198" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBUqifexY5QxUAHhZZ4wAehCcNMyF3gP6CWews9uebz9-zjsAK8n9E5d_ppsvq5wBoca53ptsmhYaMcvkfecwSItGfAZTrGLpE9C6F5QCXpsohBMGsB-eawqN31H7sAiQVV0UJl86Ki6Y/w200-h150/olivier-feb2-lg.jpg" width="200" /></a></div>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj48xftzJeML6CGTeEzkxS5Li0QBM02D_JxT-944saptP0dPr-DqADwQ8EFqhGCcclfrm9jzowB89k_1VmmVu-S-uzMhjvYOCT2w91ucwp4eC6HM8Ab599-wq6etUNzj1VsvqOfNdF5Oio/s1198/olivier-feb3-lg.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1198" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj48xftzJeML6CGTeEzkxS5Li0QBM02D_JxT-944saptP0dPr-DqADwQ8EFqhGCcclfrm9jzowB89k_1VmmVu-S-uzMhjvYOCT2w91ucwp4eC6HM8Ab599-wq6etUNzj1VsvqOfNdF5Oio/w200-h150/olivier-feb3-lg.jpg" width="200" /></a></div></td>
<td align="center" valign="top"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB0v34HL4f-26wmqilbUgQjWxXVVDVE06lkQ0oyfWnodN4Z4t4P7YvvfSI_7acywxZwboB4JjzNiMt_GdiK4QTN-NCPSOJt17sHquxxMGalvNxcVe-9t6go7nEEgBH0MHOb2Wh_tGUxqY/s1899/heures-feb-lg.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1899" data-original-width="1141" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB0v34HL4f-26wmqilbUgQjWxXVVDVE06lkQ0oyfWnodN4Z4t4P7YvvfSI_7acywxZwboB4JjzNiMt_GdiK4QTN-NCPSOJt17sHquxxMGalvNxcVe-9t6go7nEEgBH0MHOb2Wh_tGUxqY/s320/heures-feb-lg.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">"February" from Les Tres Riches Heures du Duc de Berry, painted by the Limbourg brothers, c. 1412 - 1416</td></tr></tbody></table></td>
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The three frames at left, from the shots preceding 5.1, suggest a composite version of the <i>February</i> painting. The top frame shows the snow-covered hills and the distant village, seen in the top left of the Limbourgs' painting, the center frame shows a faithful re-creation of the open-sided hut and other of the painting's barnyard elements, and the bottom frame echoes the capped mule-driver at the top of the painting in the form of the capped man walking behind Fluellen and Gower.
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<h4 style="text-align: left;">IV. Olivier's <i>Henry V</i> and Eisenstein's <i>Alexander Nevsky</i></h4>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz1LQU06LFXW9KycY98PG-GHy-unNk_QEhiKzx5KvlapnDlpF4Rr7FwXn4A-iF4lIgJvYQs54aiGXqf_oR9yhnRE1YtT4Fntb5anYAUVlVYOYeiTimz1WCqZGa4LjHGQdUOOmH5hi0P_E/s1176/nevsky-charge-lg.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1176" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz1LQU06LFXW9KycY98PG-GHy-unNk_QEhiKzx5KvlapnDlpF4Rr7FwXn4A-iF4lIgJvYQs54aiGXqf_oR9yhnRE1YtT4Fntb5anYAUVlVYOYeiTimz1WCqZGa4LjHGQdUOOmH5hi0P_E/w200-h153/nevsky-charge-lg.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Alexander Nevsky</i> (1938)<br /></td></tr></tbody></table><br />I first watched Olivier's <i>Henry V</i> shortly after having seen <i>Alexander Nevsky</i> for the first time. I noticed during the battle of Agincourt several shots which strongly echoed certain shots from Eisenstein's battle on frozen Lake Chudskoe, which got me thinking about how Olivier's film originally functioned in a way that Eisenstein's did — as political propaganda. I'm assuming much has already been written on the role of Olivier's film as World War II Allied propaganda (or pep talk, at least), and I'm not going to attempt any in-depth examination here. What follows is a brief overview, anyway.
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Eisenstein's <i>Alexander Nevsky</i> was made in 1938, six years before Olivier's <i>Henry V,</i> and is based upon an actual victory won by a relatively small army of Russian soldiers, led by Nevsky, over invading Germanic forces in 1242. As in <i>Henry V,</i> this small army is led against a seemingly overwhelming force by a well-loved leader and eventually triumphs in a climactic battle. Eisenstein's anti-Axis message is quite clear, as his film pits Nevsky's Russians against actual Germans, while Olivier's suggestion is only a little less direct, with the English fighting for control of France, which was held for a time during World War II by the Nazis.
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In an attempt perhaps to rally Allied sentiment, Olivier eliminated from his film many of the more savage and warlike tendencies Shakespeare attributed to Henry. Henry's threatening at the gates of Harfleur is gone — only Nazis, after all, could have been associated with the atrocities Henry claims his troops would commit should the town not surrender — as is his order to kill all prisoners during the battle of Agincourt (Branagh also eliminates this command, though keeps much of the graphic Harfleur threatening intact). The discovery of the three traitors in Act 2 is banished from Olivier's film, as is the mention of Bardolph's hanging, perhaps to spare Olivier's Henry from having to give any direct order to kill, especially an order to kill Englishmen.
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The pivotal moment in Eisenstein's battle on the ice occurs when Alexander challenges the Germanic leader to one-on-one combat on horseback. Alexander is successful in toppling the German from his horse with a blow to the face, and the battle is subsequently won by the Russian army. Olivier's Agincourt contains a similar moment, when Henry, angered by the murder of the boys, rides to challenge the Constable of France and knocks him off his horse in similar fashion. This sequence borrows from Eisenstein's duel quite directly, as do other moments of Olivier's Agincourt from other moments of Eisenstein's ice battle. Even William Walton's musical score for Olivier's Agincourt echoes at times Prokofiev's music for Eisenstein's clash on the ice.
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While I'm not prepared at the moment to examine this relationship in any more detail (nor to extend it to include Branagh, though the comparison of Branagh's and Olivier's methods tempts a hasty comparison with Eisenstein's early and later works — the montage of the early films implying larger space through the quick editing of various close-ups [Branagh?], the slower style of the later films presenting vast landscapes and armies in much wider framings and longer takes [Olivier?]), I have provided stills to illustrate the similarities.
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<table border="0" cellpadding="0" cellspacing="0">
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<td align="center" valign="middle" width="50%"><b><i>Henry V</i> (1944)</b></td>
<td align="center" valign="middle" width="50%"><b><i>Alexander Nevsky</i> (1938)</b></td>
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<td align="center" valign="top" width="50%"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm4Bk_DmG2AjR9HYE9qHlvvwpW9u2v7jbiBtSIqZ2OjADhmc9LOmyZ-iXZOM-_gZPITTs9hzm5d3G7flAqclVBjixSy_AIHT1rlJyR1WHzjO5TVD812ePEFzuQOPBaGAMcjBwiNJsW-WQ/s1200/olivier-cloud-lg.jpg"><img border="0" data-original-height="900" data-original-width="1200" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm4Bk_DmG2AjR9HYE9qHlvvwpW9u2v7jbiBtSIqZ2OjADhmc9LOmyZ-iXZOM-_gZPITTs9hzm5d3G7flAqclVBjixSy_AIHT1rlJyR1WHzjO5TVD812ePEFzuQOPBaGAMcjBwiNJsW-WQ/w200-h150/olivier-cloud-lg.jpg" width="200" /></a></div>
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<td align="center" valign="top" width="50%"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTImF12_kZ_YHatLSURakdyZnQPHnxrKUUATStR2oShy8t8uYd74rjE5w7RGbXxggEatO2H6BYvmuuJtfqnvrHi5S8gMoAgV6GdYebmPAPSW1GkWzvvAmKhpuYdTtqZuTqL99EGH8I9zU/s1176/nevsky-cloud-lg.jpg"><img border="0" data-original-height="900" data-original-width="1176" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTImF12_kZ_YHatLSURakdyZnQPHnxrKUUATStR2oShy8t8uYd74rjE5w7RGbXxggEatO2H6BYvmuuJtfqnvrHi5S8gMoAgV6GdYebmPAPSW1GkWzvvAmKhpuYdTtqZuTqL99EGH8I9zU/w200-h153/nevsky-cloud-lg.jpg" width="200" /></a></div>
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<td align="center" valign="top" width="50%"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBYsWUYLNAPhK1imlEuLXXY_mUDU6vZcI7JvVcVt1QdDaxtzsOonVyxpOu5q95SpwvveDGIr-IAGeiGXK2c440fxlsVsCDdrDTYqISyyfc-uc_WOWmsvWQe2D8Faa47GoD9YEZiQwdLHE/s1200/olivier-poles-lg.jpg"><img border="0" data-original-height="900" data-original-width="1200" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBYsWUYLNAPhK1imlEuLXXY_mUDU6vZcI7JvVcVt1QdDaxtzsOonVyxpOu5q95SpwvveDGIr-IAGeiGXK2c440fxlsVsCDdrDTYqISyyfc-uc_WOWmsvWQe2D8Faa47GoD9YEZiQwdLHE/w200-h150/olivier-poles-lg.jpg" width="200" /></a></div>
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<td align="center" valign="top" width="50%"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB9k6TXQPr_Z7adY2RDL_LYruALZe_69tVr3EZ974TPy0484-xZJ6RgSqO-AvvRt_j36YpAw620SdK4auiDYxsKx8PfOy027xDAmxi2nEwbrXlIqnjpm_7Q5f0tW7XcKLImncpob6hleM/s1176/nevsky-poles-lg.jpg"><img border="0" data-original-height="900" data-original-width="1176" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB9k6TXQPr_Z7adY2RDL_LYruALZe_69tVr3EZ974TPy0484-xZJ6RgSqO-AvvRt_j36YpAw620SdK4auiDYxsKx8PfOy027xDAmxi2nEwbrXlIqnjpm_7Q5f0tW7XcKLImncpob6hleM/w200-h153/nevsky-poles-lg.jpg" width="200" /></a></div>
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<td align="center" valign="top" width="50%"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBbNYfCC2QRv4yomoJdAVMYHWZe6oywjHMPYF3Lln_RDXi49I-gucqJfnJb82HQe-7UB0CSBKAiO0DWcoRav6nInxQc3ANuKD7dwTRqU2_3byLr52tnesOR9opr1_gnWcZg3VFgwCXKDA/s1200/olivier-charge-lg.jpg"><img border="0" data-original-height="900" data-original-width="1200" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBbNYfCC2QRv4yomoJdAVMYHWZe6oywjHMPYF3Lln_RDXi49I-gucqJfnJb82HQe-7UB0CSBKAiO0DWcoRav6nInxQc3ANuKD7dwTRqU2_3byLr52tnesOR9opr1_gnWcZg3VFgwCXKDA/w200-h150/olivier-charge-lg.jpg" width="200" /></a></div>
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<td align="center" valign="top" width="50%"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6hcbAkDx4H05TPVHDfoNVTaERmhy8uZksRK-1rPvYMG6XRAcFMmLyY3bHqBGGn6d9Ah7B99Kp6Me8J7jYe4pK3i7HopxpIAQXv9-Xc2yma88nI_DOMtmvlT-8EzvRpgtE_ODlnynzqBs/s1176/nevsky-charge-lg.jpg"><img border="0" data-original-height="900" data-original-width="1176" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6hcbAkDx4H05TPVHDfoNVTaERmhy8uZksRK-1rPvYMG6XRAcFMmLyY3bHqBGGn6d9Ah7B99Kp6Me8J7jYe4pK3i7HopxpIAQXv9-Xc2yma88nI_DOMtmvlT-8EzvRpgtE_ODlnynzqBs/w200-h153/nevsky-charge-lg.jpg" width="200" /></a></div>
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<td align="center" valign="top" width="50%"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid7fAj4S8gkLMeFbfgFp_jSMTTdpGUBHfk0pR9R9MK2n91B9GK_BR3-RlaIgnJ2aBxUGpIFhqG40Y2zlxQqqVBBRf-h8Z8naIkJRvz38eRKVDfECxgaaaPyIYZoynsavv8r1lJsfGy16g/s1200/olivier-battle-lg.jpg"><img border="0" data-original-height="900" data-original-width="1200" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid7fAj4S8gkLMeFbfgFp_jSMTTdpGUBHfk0pR9R9MK2n91B9GK_BR3-RlaIgnJ2aBxUGpIFhqG40Y2zlxQqqVBBRf-h8Z8naIkJRvz38eRKVDfECxgaaaPyIYZoynsavv8r1lJsfGy16g/w200-h150/olivier-battle-lg.jpg" width="200" /></a></div>
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<td align="center" valign="top" width="50%"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiQBgf7BOTGvyx-M1FgXt2KgwIc-tsgqnSXY2cTj2ha6YyQBZNmOjpybc_AII6Nmxy_jElBiuLc7GLFuyvI9ZTctUxg5-f27lLvuhvHNU5kOGL7CgKe3XVOWlNqiPo0aCLkgSQ18Ik4FA/s1176/nevsky-battle-lg.jpg"><img border="0" data-original-height="900" data-original-width="1176" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiQBgf7BOTGvyx-M1FgXt2KgwIc-tsgqnSXY2cTj2ha6YyQBZNmOjpybc_AII6Nmxy_jElBiuLc7GLFuyvI9ZTctUxg5-f27lLvuhvHNU5kOGL7CgKe3XVOWlNqiPo0aCLkgSQ18Ik4FA/w200-h153/nevsky-battle-lg.jpg" width="200" /></a></div>
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<td align="center" valign="top" width="50%"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDzdFaQXzNVgVMN4yBHFXHW5zpBFR46BoKzZT_qktdtOvJcvRTMdeZ1981MY4mGGwvtyjaJmFgVRvQnCaTZQ1QfpEBg7jw4UubM-GpYwedLOcAMFtorRpuog7QOLDHDIkDM2kz0LOsED4/s1200/olivier-duel-lg.jpg"><img border="0" data-original-height="900" data-original-width="1200" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDzdFaQXzNVgVMN4yBHFXHW5zpBFR46BoKzZT_qktdtOvJcvRTMdeZ1981MY4mGGwvtyjaJmFgVRvQnCaTZQ1QfpEBg7jw4UubM-GpYwedLOcAMFtorRpuog7QOLDHDIkDM2kz0LOsED4/w200-h150/olivier-duel-lg.jpg" width="200" /></a></div>
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<td align="center" valign="top" width="50%"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4I4d3RWEmv0EGtnfxpSmv6exTTlJ2b3DX2CWvqkcfkZDKL0mwKOy3-s5q_hyphenhyphenlO60BMS6HYEYy5T7o7CLhfzFVtdfwLzO6uHi3uaAbFTe6cd7zSHxLu_tkqEByf53Lsse-jwnPjqSAg9U/s1176/nevsky-duel-lg.jpg"><img border="0" data-original-height="900" data-original-width="1176" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4I4d3RWEmv0EGtnfxpSmv6exTTlJ2b3DX2CWvqkcfkZDKL0mwKOy3-s5q_hyphenhyphenlO60BMS6HYEYy5T7o7CLhfzFVtdfwLzO6uHi3uaAbFTe6cd7zSHxLu_tkqEByf53Lsse-jwnPjqSAg9U/w200-h153/nevsky-duel-lg.jpg" width="200" /></a></div>
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<td align="center" valign="top" width="50%"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdvn1tGokWdLSikeHIpN9Xau_4anKIToXxOFBP9UeWXyPPeiIBa1HkzImvN72dZGUDLL8N327UfdW4kQxyIvyrKRatMFGP2yNt3Svv2LSagq5D3OtsQrMZik6iSMTTlRW8b3caK8UCSrQ/s1200/olivier-hit-lg.jpg"><img border="0" data-original-height="900" data-original-width="1200" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdvn1tGokWdLSikeHIpN9Xau_4anKIToXxOFBP9UeWXyPPeiIBa1HkzImvN72dZGUDLL8N327UfdW4kQxyIvyrKRatMFGP2yNt3Svv2LSagq5D3OtsQrMZik6iSMTTlRW8b3caK8UCSrQ/w200-h150/olivier-hit-lg.jpg" width="200" /></a></div>
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<td align="center" valign="top" width="50%"><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWJumY0X4tRmTqeyyA7fX_zwP1Iqoz1YZFvVyAFwxjQyqv92_g-jZ5E8wyFgANLcwuFIEwosWZILwBaWc9uvHGf2nL3qK57M1Ckdpg1-TSFM0GAuQpXe9FORdwzWirrp-cl9jlcT4giOI/s1176/nevsky-hit-lg.jpg"><img border="0" data-original-height="900" data-original-width="1176" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWJumY0X4tRmTqeyyA7fX_zwP1Iqoz1YZFvVyAFwxjQyqv92_g-jZ5E8wyFgANLcwuFIEwosWZILwBaWc9uvHGf2nL3qK57M1Ckdpg1-TSFM0GAuQpXe9FORdwzWirrp-cl9jlcT4giOI/w200-h153/nevsky-hit-lg.jpg" width="200" /></a></div>
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<h4 style="text-align: left;">V. Olivier's Lesson</h4>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-HczIEjLFxj7aI24YMZYrBxZYaJ-vtb8K-obPFivRI9AeDa11AlnLRJoith1ot7VA72wL5pqKFeU-Mh0aJqz7AkJTZcFprTKMLDk_0QoiAX_lgZlteEoFRDeqc0jOVIZ4EMSSaP6melQ/s1200/olivier-southampton.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1200" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-HczIEjLFxj7aI24YMZYrBxZYaJ-vtb8K-obPFivRI9AeDa11AlnLRJoith1ot7VA72wL5pqKFeU-Mh0aJqz7AkJTZcFprTKMLDk_0QoiAX_lgZlteEoFRDeqc0jOVIZ4EMSSaP6melQ/w200-h150/olivier-southampton.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Olivier's Henry at Southampton</td></tr></tbody></table><br />Olivier's visual style also provides a certain amount of instruction about film itself, particularly about our expectations of how film communicates. All film does this, as do all forms of communication — a poem, for example, by its very form is always "about" not only its "subject" (a perfect rose, a Grecian urn, a dying mining town) but itself, its formation and existence as verse. We can look at a given form of communication and discern not only its "message," but also something of how that message was communicated to us. Often the "message" dominates the event, and we notice it more than how it was actually communicated. When we watch a TV news story about an apparent injustice perpetrated by a large corporation, for example, our shock and anger about the reported atrocity often overshadow how that atrocity was reported, how the shooting and editing of the footage contributed to our emotional reaction.
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Like the TV news, movies are often constructed in a way which conceals the fact that they are made to manipulate an audience in order to provoke a certain response. Sometimes we become aware that certain mechanisms are at work, like when we predict the way a plot will unfold after having seen the same plot in countless other movies. Other times the mechanism at work is less obvious, but plays upon our noticeable anticipation, as when a character looks off screen in surprise and we expect to have the cause of that character's surprise revealed to us in the next shot, which we also expect will come quickly. When we don't get what we expect from film, we know it, though often our disappointment fails to become realization — realization of why we are disappointed, of what the film did to provoke our response.
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Some filmmakers deliberately play against our expectations in order to expose the mechanisms behind the film. One of my first breakthrough realizations about how film "works" came to me after watching Godard's <i>Weekend</i> — in the middle of ranting to a friend about the ridiculously long, boring, and pointless French film I was made to watch in class it occurred to me that I had probably responded just as the filmmaker predicted I would, the way he was depending on me to respond, all because of the ways he violated everything I had come to expect from traditional narrative movie-making.
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Olivier's <i>Henry V,</i> while perhaps not as radically instructive as <i>Weekend,</i> had a similar effect on me. I had a hard time being drawn into it at first, and to this day do not have the same connection with it as I do with Branagh's film. This has to do with the almost ever-present artifice of Olivier's visual style. The skewed perspective of the sets, the artificial backdrops, the theatrical acting style — all kept me aware that I was watching something unreal, constructed. I was able to become more involved with the film the more the artifice was repealed, so by the time the English were jumping out of trees onto the French soldiers at Agincourt, in an actual outdoor location, the film seemed to me as natural as <i>The Adventures of Robin Hood</i> with Errol Flynn, which, granted, is only "natural" in a very stylized way. This apex was too long coming, though, and too quickly replaced, it seemed, by the return to the distorted sets of the French palace, and shortly thereafter to the inside of the Globe Theater.
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Along with playing upon expectations of how a film should hold our attention — even a Shakespeare film, which must always deal with the problem of Shakespeare's language, which anchors the film to something not only outdated (the various words and references no longer in common use), but stylized (put into verse), despite any other apparent realism — Olivier's adaptation also traces the experience of watching movies in a theater, or perhaps even plays on a stage: First, the entry into the theater, as depicted in Olivier's opening scene as we are taken into the Globe. Then the detachment we feel from the film as it first starts and we settle into our seats and wait for the noisy folks around us to quiet down and do the same, as the spectators in Olivier's Globe do. A gradually increasing involvement follows — some might call it a "suturing" — which Olivier demonstrates by gradually removing layers of artifice as his play leaves the stage. The highest point of audience involvement follows, represented by Olivier's Agincourt, the point of the film we've most been waiting for, the event that everything has been building up to and upon which all narrative resolution depends, shown outside, away from the artifice of the indoor sets, engrossing. Then, a mild detachment, the anticlimax of the resolution — shown as Olivier's film becomes artificial again, now inside the French palace, and the action, the casual wooing of Katherine, less engrossing than and certainly anticlimactic to the previous battle. Finally, the abrupt disruption, the eviction from the fantasy as the movie ends (perhaps augmented by an impossibly "happy" ending which makes us question the reality we have been shown up to this point), the credits roll, the lights come on in the theater, which Olivier shows as the newly wed Henry and Katherine turn around and are revealed once again as actors at the Globe, wearing heavy make-up, facing and acknowledging the audience in the theater, which we now see once again, as we do when the lights come on in our (movie) theater.
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<h4 style="text-align: left;">VI. Stage vs. Screen: <i>Henry V</i> in the Park</h4>
<h5>Introduction</h5>
Several months prior to writing this essay I saw for the first time a stage production of <i>Henry V</i>. It was a "Shakespeare in the park" type of thing, which was also new to me. I wondered prior to going if the outdoor production would be able to hold my attention, since I was much more accustomed to watching movies or an occasional indoor stage production where the atmosphere was almost cinematic — lights dimmed, audience siting in a darkened space away from the illuminated stage, the actors "in character" throughout, not acknowledging the audience in any way until curtain call. I wondered if the vast and less focused outdoor setting of this daytime production would be a distraction from the action on stage, and what it would be like to watch actual people — not the projected images of people — perform live a play which repeatedly addresses its audience, pointing out its own supposed weaknesses through the Chorus.
<br /><br />
At that point, I had read Shakespeare's play once or twice, and had been re-reading it and working with it quite a bit to generate ideas for <i>A Chorus' Lines.</i> The only performances of <i>Henry V</i> that I had seen were the film adaptations by Olivier and Branagh. Watching Olivier's film had in many ways been to me like watching a stage production — I admit to having a more difficult time being drawn into it than into Branagh's version, and much of that, I think, has to do with Olivier's stage-like presentation.
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This "stage-like" presentation had been the focus of much of my initial thoughts for <i>A Chorus' Lines, </i>which I had been formulating slowly in the several years since college, where I had my first exposure to <i>Henry V</i> and the two film adaptations in question. College was also my first exposure to psychoanalytic film theory and its notion of "suture," a complex phenomenon whose applicability depends (as does the applicability of all psychoanalytic theory) on how much credence you give to the psychology of Freud and Lacan (I have another essay which touches on this that I will post eventually). Briefly, "suture" is the process by which a film "sucks in" its spectators, envelops them within the world of the film and makes them believe that what they are seeing is, if not real, exactly what they would want to see. Every film, it would therefore seem, has the power to make itself desirable to everybody. This isn't in fact the case, however, and this discrepancy contributes to the debate over suture and psychoanalytic film theory in general. In any event, while I am undecided on some of the more detailed particulars of the suture theory, I do believe that film has a unique ability to connect with its audience in ways that the stage can not, and for me that connection has always been more profound than any with the stage.
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I also believe in a saying told to me by one of my professors, though I forget to whom it was originally attributed — "Theater is the real attempting to become the unreal, while film is the unreal realized." That is, theater, while it depicts something imaginary, is still presented by physical beings who are subject to the same reality as their audience. Film, on the other hand, is pure fantasy: there are no physical performers — no physical <i>anything</i> — present in the same space as the audience. All that exists within the projected beam of light is the unreal, the new imagined reality the film is presenting.
<h5>Stage</h5>
When we watch a play, we are constantly aware, to varying degrees, that we are in fact watching actual people in the same room pretending to be things they are not. Their shared goal is to present the make-believe, to defy reality and show us something that does not exist, but always they are anchored to the reality of the stage. Regardless of how profoundly the players' communication makes us believe in the <i>idea</i> of the fantasy, it can not free itself from the physical world that we and the players both inhabit at the same time in the same place.
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For example, while watching a play I have a constant anxiety (which varies in intensity each time and from moment to moment during the play, sometimes remaining a very subtle underlying feeling and sometimes becoming a more palpable sense of discomfort) that one of the actors may flub a line, fall off the stage, be heckled, or somehow suffer an intrusion of physical reality which calls attention to the fact that s/he is not Henry V, Willie Lohman, or Eliza Doolittle, but merely another person in the room who has taken on certain affectations not just for our mild amusement, but to fulfill our collective wish to be taken somewhere else, to deny reality and accept what is not true.
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Always while watching a play there is the potential for awkwardness or embarrassment. If an actor makes a mistake, we can empathize with that actor's possible embarrassment, and we can also feel awkward that we have all been exposed — exposed as spectators who now have more to deny. We have been denying reality up until the mistake by accepting the idea that this actor is something other than just another person in the room. Now we must deny it again, deny it further as we try to overlook the mistake which calls attention to the entire charade.
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Embarrassment and awkwardness are not the only "risks" of watching theater — the spectator also risks losing the privileged position of anonymous, detached viewer. The notion of "safe spectatorial distance" is more easily threatened in theater. If an actor were to fall off the stage, some in the audience might react out of real concern and rush to the aid of the fallen actor. Most, though, would be either too far from the stage to provide help or, more importantly and more likely, so overcome by the awkwardness of the situation that they would sit in their chairs and feel the pressure to help but also the desire not to — people just don't experience something like that enough to know what to do with confidence. They don't have enough prior experience to feel comfortable in further interrupting the ritual — in further calling attention to the denial — by getting out of their seats and becoming an attraction. By getting up and helping, they would become part of the ritual, the "show," and would no longer be anonymous spectators.
<br /><br />
Many plays deliberately make the audience part of the show, in overt ways (making the space of the audience the space of the extended stage, having actors converse with audience members) and subtle ones (actors pausing to wait for audience applause or laughter to subside before continuing, a Chorus which looks and speaks directly to the audience without soliciting a reply). There is always some degree of interaction between the players and the audience due to the fact that the two inhabit the same space at the same time. This interaction, or perhaps more specifically the physical conditions which make it possible, coupled with the overall physical apparatus of theater — lights, costumes, curtains, sets pieces, etc. — allows for the ever-present possibility that physical reality will intrude upon the fantasy which the play is attempting to make real.
<h5>Screen</h5>
With film, on the other hand, there is no threat of physical intrusion because there is nothing physical upon which to intrude. There are no actors on stage in the same room. The "performers" are all part of the same intangible ray of light. They are shadows incapable of being addressed or disturbed. They won't make mistakes, because they've had countless takes to get everything right and only the "good" takes (those the filmmaker sees fit to include, for whatever reason) make it into the final film. If a blunder were presented on film, we would not feel embarrassment for that performer because s/he is not in the theater. We probably wouldn't even consider it a mistake, but part of the show — our knowledge of how movies are made assures us that this is all premeditated and perfected long before it is displayed to us. This is perhaps why there is more "heckling" in movies — talking during a movie may annoy others in the audience, but it won't cause an awkward moment with any actors or disturb any ritual being performed because it is not an actual interpersonal confrontation. In the movie theater, we are safe to be anonymous — in relation to the presented fantasy — no matter what.
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Granted, there are some ways a film spectator can experience awkwardness. I've been in screenings where the focus was off, a general murmur confirmed that the rest of the audience realized this as well, though no one was immediately willing to get up and report the problem to theater personnel. People talking during movies is a distraction to many (myself included), and subsequent confrontation can be very awkward. These moments of awkwardness, however, do not influence the fantasy being projected onscreen. Even if the film strip breaks, the fantasy continues the moment the film is repaired and projection resumes. There may be physical intrusions upon the technology which delay the presentation of the fantasy, but there is nothing which betrays that fantasy.
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There is also ritual in movie-going, but again this ritual is more one-sided than that of theater. The ritual of watching a movie involves gathering with others to watch a fantasy. The ritual of theater is gathering with other people to watch a fantasy being enacted by even more people, people who often must adjust their performance according to the reactions of the first group, the audience. There is no such interaction, though, between an audience and a projected film.
<h5><i>Henry V</i> in the Park</h5>
The outdoor production of <i>Henry V</i> was presented in an amphitheater-style venue in a downtown park. By the time had I arrived, there was no more seating available on the large marble steps set into the small hillside immediately across from the stage. I had to join the crowd seated on the grass higher up the hill, above the last row of stone steps. Immediately I could tell that this was going to be somewhat uncomfortable. I was worried about my legs falling asleep, and needed to keep shifting my weight to keep them from doing so and to stay as comfortable as possible.
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From the height of my "seat," the small stage did not easily command my view. In back of the stage was the rest of the park, a cement and iron "riverwalk" type of thing which I have always found interesting to look at, and beyond that the tall buildings of the city. There were a number of people seated around me, some who had, like myself, come downtown just to watch the play. Others, judging by the way they were sprawled out on the lawn sleeping, appeared to be at the park for other reasons. People were leaving their spots on the grass and returning with carnival-style snacks, which they shared with their friends in a ritual which became for them more entertaining than that offered by the play. The sparsely decorated stage below was but one of many sights competing for my attention.
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Eventually the actor portraying the Chorus appeared on stage and began the Prologue. He was hardly audible. At this point, I really thought about leaving. I could barely hear what the actor was saying, and I knew there were over two hours left to go on the uncomfortable lawn, straining to hear. Eventually a few people began shouting that they couldn't hear, and the actor, once he realized what they were shouting, left the stage. When he returned, he had a new lapel microphone which he tested by ad-libbing, "Technological problems, even in the 16th century!", which was met with applause and laughter. Such recoveries often are, because the audience feels a sort of relief when the inadvertent causes of its secret anxiety — the actors pretending to be something else, pretending not even to see the audience — reveal themselves as human, admit to the charade, admit that they know they are not these characters, and that they know we all know they — and we — are pretending.
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He continued, "As I was saying, 'O for a muse of fire'," and rushed through the few lines he had spoken prior to replacing his microphone and began with an earnest delivery once he had caught up to the unsaid lines. Now I could hear, though the actors' voices would fade and grow louder mid-line if they turned their heads during delivery. The microphones picked up the noise of sporadic gusts of wind, so occasionaly an actor's lines were stifled even if s/he were talking right into the mic. The PA system was loud and often distorted the actors' voices. At times, the actors walked through the audience, not interacting with us but certainly being mindful that we were there so they wouldn't step on us, and delivered their lines to actors on stage. Our space became part of the play. The safe spectatorial distance had been violated.
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(Olivier depicts these kinds of distractions in the opening scenes of his film. He shows us the physical apparatus by taking us backstage to see the actors' preparations. Then he shows us what can go wrong with that apparatus as the Archbishop of Canterbury's entrance in 1.2 is delayed not only by Shakespeare, but by the commotion backstage which prevents the actor's timely appearance. Later, the actors portraying Canterbury and Ely [not the film actors, but the actors they portray] have problems with their props during the explanation of Salic law. In 1.1, Ely is heckled after he says "We are blessed in the change," and rain begins to fall in the theater during Act 2.)
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This was a process very different from that of film, though while I was always aware of my physical surroundings, sometimes distracted by them, and while I was not experiencing the same "suturing" effect that, say, Branagh's film adaptation has on me, I was still interested in how the performance was unfolding, and I was genuinely enjoying the experience. The "ritual-ness" of theater became very apparent. I was not concerned with being "transported" somewhere else, or with believing in the fantasy, in the "unreal." My enjoyment derived from witnessing the enactment of a text with which I was already familiar, and from seeing how this particular company would perform each familiar scene.
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It also occurred to me, however, that had I not been so immediately familiar with the text of this enactment it may not have been as enjoyable. My wife, who was with me at the park and who had not read <i>Henry V</i> since college, was distracted by the surroundings and did not have the same enjoyable experience. (She recently reminded me of two other distractions I had since forgotten — a wedding party posing for photos nearby and the seemingly constant air traffic overhead.) This is also a somewhat extreme example — not all theater is presented in this manner. Had this been an indoor presentation our response would no doubt be different. This is not to say that indoor productions are not ritualistic, but due to the physical nature of theater the experience will change as the physical environment of the play changes.
<h5>Final Thoughts</h5>
<i>Henry V</i> is a particularly interesting case because on stage or screen its Chorus addresses the audience directly, though in each situation the effect is different. Being in a darkened movie theater watching Derek Jacobi speak the Chorus' lines, even with him looking right into the camera, right "at us," is an entirely different thing than having a stage actor in the same room speaking the same lines. The stage actor, though s/he is reciting a pre-written script, is still addressing us directly, talking to us, acknowledging us as spectators to the ritual. The projected image of the film actor looking right into the camera is still just an image, not an actual person before us. It is not a cognizant entity capable of making the distinction between screen and spectator, so we are free to remain protected anonymous observers.
<br /><br /></div>Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-49101616219002364982020-04-27T16:58:00.002-04:002020-05-06T14:18:36.820-04:00"Pre-Text and Text" Meets "Feds"<i>Here's another college essay from decades past. Nowadays I would probably not be so bold as to write a blog post about someone else's writing, only to essentialy throw out their premise and propose a "better" one, but such was college me. In truth, Arbuthnot and Seneca's article is one of only a handful of readings that have stuck with me through the decades, and I didn't at all mean to sound dismissive or disrespectful. I was trying, I suppose, to show -- in the words of my professor -- that "Arbuthnot and Seneca's methodology is ultimately more valuable than their argument for <b>Gentlemen.</b>"</i><br />
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<tr><td class="tr-caption" style="text-align: center;">Jane Russell and Marilyn Monroe in <i>Gentlemen Prefer Blondes</i></td></tr>
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In their article "Pre-text and Text in <b>Gentlemen Prefer Blondes</b>," Lucie Arbuthnot and Gail Seneca argue that the 1953 film contains a feminist text which undermines the patriarchal "pre-text" of heterosexual romance. This text, they claim, satisfies two feminist requirements: female resistance to sexual objectification and strong interpersonal female relationships. The authors concede that the film is a product of the patriarchy. They argue, however, "that it is important to recoup from male culture some of the pleasure which it has always denied [feminist-thinking women]." <nobr><a href="#fedsnote1">[note 1]</a></nobr> Their reading of <b>Gentlemen</b> isolates elements which define the proposed feminist text, and is a more compelling feminist reading than one might think possible of such a film. Still, claiming that <b>Gentlemen Prefer Blondes</b> contains a subversive feminist text is a tough sell. While Arbuthnot and Seneca cite various examples of how Dorothy and Lorelei resist objectification and favor their own friendship over their romantic relationships with men, these examples are dwarfed by the overwhelming presence of a patriarchal construct which seeks to objectify women and make them subordinate to the patriarchy.<br />
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Dorothy and Lorelei are most certainly constructed as objects to be looked at by men: they are performers who sing and dance for men in the film (and therefore for the men in the film's audience); they are made into spectacle during unjustified (offstage) musical numbers; and their entrances into film space are prefaced by the leering offscreen gazes of the male characters, while their own glances are never illustrated in the same way (through eyeline matches or subjective shots). Furthermore, the two women succeed only by acquiescing in their sexual objectification and by using that objectification to advance only as far as they, as women, are allowed within the confines of the male-dominated society. Their success is gauged in their ability to marry -- marriage is the only way the two women can finally "make the grade."<br />
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As difficult as it is to fully accept the authors' feminist reading of <b>Gentlemen,</b> however, it is impossible to disregard it. That any progressive feminist material could be found within a 1950's Hollywood production featuring two women whose entire careers centered on the marketing of their fetishized sex appeal is, at least, interesting. That Arbuthnot and Seneca were able to find as much material as they did in <b>Gentlemen</b> is fascinating. Also of great interest is the authors' desire to "recoup" female pleasure and "discover feminist pleasures within films of the dominant culture." <nobr><a href="#fedsnote2">[note 2]</a></nobr> Hollywood productions, though undeniably products of the patriarchy, constitute the largest part of this country's filmic output. While the debate over the possibility of female spectatorship often seems more the subject of critical treatises than of films easily accessible to most women, finding feminist pleasure in Hollywood productions seems not merely an interesting idea, but a feminist necessity.<br />
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This task, which may certainly seem as overwhelming as the patriarchal structure which complicates it, is advanced by the model adopted by Arbuthnot and Seneca for their reading of <b>Gentlemen.</b> While that film, as mentioned above, is perhaps not the most cooperative subject for their model, the 1988 production <b>Feds</b> demonstrates remarkable compliancy to their criteria. Like <b>Gentlemen,</b> this film features two female lead characters who value their own friendship more than their romantic relationships with men, and who resist sexual objectification. Unlike <b>Gentlemen,</b> however, <b>Feds</b> subverts the patriarchal construct which undoes the reading of <b>Gentlemen,</b> and in doing so preserves a significant feminist text.<br />
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<tr><td class="tr-caption" style="text-align: center;">Mary Gross and Rebecca De Mornay in <i>Feds</i></td></tr>
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<b>Feds</b> plots the trials of two women, Ellie DeWitt (Rebecca DeMornay) and Janice Zuckerman (Mary Gross), trying to graduate from the FBI training academy. Both women have been made aware that they have been accepted into the program only to fulfill a female quota. DeWitt, an ex-marine, and Zuckerman, a bookish scholar, both have trouble succeeding alone (DeWitt fails at academics, Zuckerman at physical exercises). At one point, Zuckerman is so discouraged that she announces her intention to quit. DeWitt convinces her to stay, and with each other's help the two show great improvement. The two trainees advance to the final challenge, the rescue of a mock hostage in a simulated terrorist kidnaping, and accomplish the task while their male peers fail miserably. The two women graduate, earn a special merit award, and are assigned to work together in Los Angeles.<br />
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It is very apparent that DeWitt and Zuckerman place more importance in their own friendship than they do in their romantic relationships with men. DeWitt ends her relationship with a male trainee, Brent, on their first date, after he speaks poorly of Zuckerman. At the film's end, Zuckerman is elated to learn that she will be stationed with DeWitt in Los Angeles, and is not at all bothered that she and Howard Butz, the man she is somewhat romantically paired with, will be separated (indeed, there is almost a tone of relief in her voice).<br />
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While there is no heartache at the end of these romances, there is great concern when the women are almost separated. When Zuckerman announces her intention to quit the program, DeWitt explains that she is counting on her for help, and tells Zuckerman that she can also help her. What is established here is the women's dependence upon each other. They are not just friends, but vital assistants in and instructors of each other's success. The women are not dependent upon men, but upon each other. Each begins to succeed in her area of weakness only after the two begin to help and depend upon each other.<br />
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"Socially it is the prerogative of men to gaze at women and the requirement of women to avert our eyes in submission." This is how Arbuthnot and Seneca explain the objectification of women via the male gaze. The issue of sexually objectifying male gazes is not problematic in Feds, namely because such gazes are absent. Male gazes are present, however, and sexually objectifying gazes are replaced with gazes which connote women as mentally and/or physically inferior to men. The power of these gazes is subverted, however, in various ways. The first such gaze is countered by the point-of-view shot of the female character. As DeWitt waits her turn to be interviewed for admission to the training program, we see one male applicant staring at her. His stare (like the stares of the men we see in DeWitt's subjective shots) singles her out as an anomaly among FBI applicants: she is a woman applying for a position in a field dominated by men. She becomes aware of the stare and returns the look, and we experience her returned look twice through point-of-view shots. She also resists her objectification verbally, sarcastically asking the staring men, "You guys in a gang or something?" Never do we hear such a resistant retort from Dorothy or Lorelei, nor do we ever see their return looks through point-of-view shots.<br />
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These objectifying looks are also resisted, even defeated, with events of the narrative. During a classroom exercise in which DeWitt and Zuckerman are shot with blank cartridges by Training Director Bilecki, there is a reverse eyeline match of Brent and another man laughing at the women's failure. Their mocking look, and its objectifying connotation that women are mental and physical inferiors to men, is defeated when the two women succeed in later, more important exercises which those men fail.<br />
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What is most outstanding about the objectifying gaze in <b>Feds,</b> however, is that it is very rare. Despite the women's ability to attract men (Brent asks DeWitt for a date, and Howard Butz and a sailor in a bar are attracted to Zuckerman), at no time are their entrances preceded by the ogling stares which signal so many of Dorothy and Loreiei's entrances in <b>Gentlemen</b> (save for the above-mentioned interview scene; that glance is resisted and returned, however). Even when DeWitt enters in a dress for her date with Brent (the only time she "masquerades" as the male definition of "beautiful woman," or "visual spectacle"), her entrance is not shown as Brent's eyeline match. She enters in a long shot which also includes Zuckerman and Brent, whose back is turned towards her. Furthermore, DeWitt's construction as visual spectacle in this scene is de-emphasized because the film spectator is allowed to see her in this costume before Brent arrives. The spectator does not see DeWitt through the stares of a male character. She is therefore not formally established as a "sight" for male pleasure.<br />
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It is also of importance to note that the truest examples of sexual objectification are perpetrated by the women. Zuckerman's treatment of the sailor she dances with during a night out is motivated only by her sexual attraction to him. She identifies him only in terms of her sexual interest, and her conversation with him -- a conversation which she dominates -- is limited to the same. DeWitt reduces Brent to a sexual object while the two women are talking with Butz in the cafeteria. After Butz identifies Brent with a summary of his background, DeWitt views him in a subjective shot and says "He's cute," apparently disregarding the more personal description just given by Butz.<br />
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Arbuthnot and Seneca cite the costuming of Dorothy and Lorelei as a way those characters avoid sexual objectification. While the costuming argument is not very convincing for <b>Gentlemen</b> (the two characters wear clinging outfits which accentuate their famous breasts, and the dresses they wear in the opening number are slit high to expose their legs), it applies well to <b>Feds.</b> Neither DeWitt nor Zuckerman wears costumes which transform them into sexual objects. While the two are often seen in apparel connoted "female" by patriarchal culture (skirts, earrings), they are never clothed in articles which are designed to draw attention to their physicalness in the way Dorothy and Lorelei's clothing does. Zuckerman dresses conservatively; when she wears skirts they are the type associated with formal business attire. DeWitt also wears such skirts, but more often is seen in slacks, t-shirt, and leather jacket. While the t-shirt is clinging and accentuates her breasts, it is more connotative of "tough marine than of "sex object" (this connotation is supported by the similar costuming of male military characters in other films: Robert Duvall's characters in <b>The Great Santini</b> or <b>Apocalypse Now,</b> for example). Furthermore, DeWitt does not wear jewelry, nor does she ever appear 'made-up" (beyond the make-up used to make DeMornay look so "natural"). Even the dress she wears on her date with Brent, while being the most connotative of "visual object," is far from revealing (its color -- black -- also prevents the use of suggestive shadows, and thus satisfies another of the criteria listed by Arbuthnot and Seneca).<br />
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Character posture is also cited by Arbuthnot and Seneca. They claim that Dorothy, at least, conveys an air of authority with her confident stance. This authoritativeness is offset, however, by the more frequent sultry maneuvers she uses while walking past the men on the dock, or while performing in the musical numbers. Such movement is even more typical of Lorelei. DeWitt and Zuckerman, however, never carry themselves in such a seductive manner. Indeed, DeWitt is often seen almost slouching, with her hands in her pockets or her thumbs in the belt loops of her slacks. Even when "masquerading" (on her date with Brent), she does not adopt a posture which connotes "to-be-looked-at-ness" (to use Laura Mulvey's famous term <a href="#fedsnote3">[note 3]</a>).<br />
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Arbuthnot and Seneca also claim that the two women in <b>Gentlemen</b> resist objectification by controlling their own space and by invading the space of men. DeWitt and Zuckerman also control their own space: the first time DeWitt enters their room, she does so without knocking, and no men enter their room without their permission (whether that permission is explicit, as when Zuckerman tells Butz to enter, or implied, as when Zuckerman opens the door for Brent). The two also freely enter and disrupt male space. While investigating the theft of some navy blankets, they walk uninvited into a male dormitory at a college and shut the television off while several men are watching it. They then control those men during interrogation with threats of imprisonment. Later, they enter a predominantly male night club and cause chaos by unplugging the sound system, then restore order by firing several gunshots above the heads of the crowd. The two also invade the male space of the conference room used by the instructors as the hideout during the simulated kidnaping. Here, their entrance is just as disruptive as the previous ones, as they enter by breaking through a window. Zuckerman also invades the personal space of the sailor in the bar by reaching under his shirt and feeling his chest.<br />
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Activity, too, claim Arbuthnot and Seneca, is a way in which Dorothy and Lorelei subvert objectification. They cite the scene in which the women drug Malone and remove his pants. This approach is far more applicable to <b>Feds,</b> however, for the quantity and success of the actions of DeWitt and Zuckerman far exceed those of Dorothy and Lorelei. DeWitt is shown constantly to be capable of action: she is expert with a handgun and has no trouble overcoming her (male) practice arrest partner. The two successfully capture a gang of bank robbers on their own time. The two are praised by Bilecki for their work on the stolen blanket case, after the male trainees decide the matter is too insignificant. They act on two men who try to assault them in the street (they kick them in the genitals), and their action prevents those men from acting upon them. The two formulate and enact the successful plan to rescue the mock hostage, while the male trainees hastily head for careless failure. The two also collaborate on lesser accomplishments, like defeating a male trainee in a pizza eating contest.<br />
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DeWitt and Zuckerman are also active in their heterosexual romances. Zuckerman is the aggressor in her experiences with the sailor and Butz. She initiates the action: she brings the sailor to the dance floor and actively feels his chest, and she invites Butz to watch a television program and is the first to initiate a kiss. DeWitt, while not the instigator of her relationship with Brent, takes an active role by ordering wine for Brent, and then determines the future of the relationship by ending it on the first date.<br />
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What makes their actions so much more important than those of Dorothy and Lorelei, however, is the fact that only their successes are emphasized. Although we see them fail (DeWitt on written tests, Zuckerman in physical trials), we also see them succeed. We are never shown any of the men's successes, only their failures. Indeed, the male trainees are portrayed as easily-duped buffoons blinded by their own machismo. They fail because they do not heed the advise of the two women. Both men and women are instigators of action in <b>Feds,</b> but only women are instigators of successful action.<br />
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All of these things help DeWitt and Zuckerman resist objectification by males. They do not, however, entirely free the feminist text from the confines of patriarchal culture. Various narrative and formal elements exist which anchor the feminist text to the patriarchy. What is remarkable about this film, though, is the great extent to which these elements are subverted. The feminist text is given so much attention that the film's patriarchal construct is significantly obscured.<br />
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The most problematic of the narrative elements is the presence of Howard Butz, who anchors the actions of DeWitt and Zuckerman to the patriarchy merely by being part of them. DeWitt and Zuckerman are not allowed to look around the cafeteria in subjective shots until Butz sits down with them and points to various people in the room. The two women do not make the final rescue attempt alone -- they are assisted by Howard, whose idea to misinform the other men gives the women more time to fulfill their objective. Furthermore, the two women are not allowed to enter the male space of the hideout until Howard rushes through the door and secures the location. It is implied here that, while DeWitt and Zuckerman are successful in their actions, only with male assistance can they act and succeed.<br />
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This problem becomes almost insignificant, though, with consideration of Howard's portrayal. As his last name foretells, Butz is the victim of much derision (the "butt" of jokes). His masculinity is constantly in question. Like Zuckerman, he excels in the more passive arena of academics. His physical ability is slight. He is lampooned on the obstacle course as the other men drop heavy bags on him. He is singled out by the arrest instructor and then easily overcome. He is unable to get through the front door of the academy until DeWitt opens the door and frees his stuck suitcase. He makes the decision to follow the women on the hostage exercise and then asks them for a plan. Although he kisses Zuckerman passionately, he does so only after she kisses him first. It is only after the kiss -- after he has been empowered by a woman -- that he becomes physically potent and kicks in the door during the rescue. While he is present during the final rescue, he is not present during the women's bank robbery arrest or during the stolen blanket case. On this narrative level, Butz does not pose a threat to the two women and is not a major influence on their actions. Indeed, he is virtually dependent upon them. He is merely a token male presence which links the narrative to the patriarchy without making that connection explicit.<br />
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(A more Freudian reading could posit that Butz is a castrated male. Castration is a recurring motif in the film as a way DeWitt and Zuckerman disable several male opponents: both kick the street assailants in the genitals and escape unharmed, and such a kick is the only way Zuckerman is able to overpower her practice arrest partner, Brent. Butz's entrance to the academy demonstrates castration when his suitcase, released from the door by DeWitt, recoils and hits him in the genitals. DeWitt, therefore, removes any threat Butz may pose with this symbolic castration. Without the phallus, he is no longer a man holding exclusive franchise on power and action, and is equal to the female characters).<br />
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The film also makes formal connections with the patriarchy, but these connections are also greatly subverted. Several segments are introduced by a male character, and the implication is that the space being introduced is male space. Often this introduction subverts itself. The first shot of some of these segments is a close-up of a "maleness"-connoting prop accompanied by a man's voice (an interviewer's hands holding DeWitt's file, or a gun shop sign). The following shot, however, is not a close-up of that man, but of one of the women or of that man and both women (in the interviewer's office this is a tilt up to DeWitt, in the gun shop it is a medium-long three-shot of the shop owner, DeWitt, and Zuckerman). At other times, the formal connections to patriarchy are simply subverted under the narrative emphasis on the success of the women's actions. In any case, nowhere does the filmic technique introduce these women as the sexual spectacle into which Dorothy and Lorelei are transformed by <b>Gentlemen</b>'s male eyeline matches.<br />
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The feminist text is also subject to conflicts generated by the film's ideological statements. This film's ideology is not as overtly stated as that of <b>Gentlemen,</b> however, and this helps preserve the feminist text. It might be inferred that the film's main ideological announcement is that women can only be successful in a man's world by adopting male characteristics (surprisingly similar to that of <b>Gentlemen</b>). This is implicit in the more masculine (through costume, posture, military involvement), and favored portrayal of DeWitt (she is featured at the beginning with insight to her background, and at the end with her unique costume and closing statement) and the apparent ease with which she conducts herself in the world of action. It may also be inferred that the two women abandon their heterosexual romances in favor of an implicit lesbian relationship which, in its sexual interest in women, makes them "more like men." This ideology, then, favors the abandoning of femaleness as a useless and unproductive state of being.<br />
<br />
It is also true that DeWitt and Zuckerman, like Dorothy and Lorelei, succeed only within the confines of the patriarchy. While they are the two most successful trainees of the academy, they are nonetheless trainees of the academy. Any work done outside the restrictions of the patriarchal institution (the FBI) is punished, no matter how successful that action is. When the two trainees stop the bank robbery while in town on leave, they are reprimanded by Bilecki for not adhering to strict FBI procedure (which includes, explains Bilecki, calling for back-up assistance, presumably male agents). Praise is bestowed upon them only when they work as "by the book" FBI agents, that is, as agents of the patriarchy (during the blanket theft case or the final hostage exercise). That praise, in turn, is given to them only by the FBI/patriarchy. Only within the male order can these women succeed and find acceptance.<br />
<br />
As stifling as these ideological conflicts appear, however, they are recuperated by a narrative which stresses female success and the apparent ineptitude of male peers. While the film implicitly advocates "maleness" and the patriarchy, it explicitly lampoons machismo and the need to contain women through heterosexual romance. What is most featured in <b>Feds</b> is the close relationship between DeWitt and Zuckerman, a relationship that favors the women's dependence upon each other, not men, and the ability of those women to act and succeed. The refusal of those women to be sexually objectified, the formal strategies through which the film allows that refusal, the absence of visible male success, and the dependence of a male character (Butz) on the two female characters places a feminist text in the foreground and makes <b>Feds</b> a fascinating exception to the Hollywood model.<br />
<br />
<hr />
<b>Notes</b><br />
<br />
<a name="fedsnote1"></a><b>Note 1: </b>Arbuthnot, Lucie and Gail Seneca. "Pre-Text and Text in <b>Gentlemen Prefer Blondes</b>." 1980.<br />
<br />
<a name="fedsnote2"></a><b>Note 2: </b>Arbuthnot, Lucie and Gail Seneca. "Pre-Text and Text in <b>Gentlemen Prefer Blondes</b>." 1980.<br />
<br />
<a name="fedsnote3"></a><b>Note 3: </b>Mulvey, Laura. "Visual Pleasure and Narrative Cinema." Reprinted in <b>Feminism and Film Theory, </b>edited by Constance Penley. (New York: Routledge, Chapman, and Hall, Inc. 1988), p. 62.Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-72743158087102116872018-10-10T00:01:00.000-04:002018-10-12T17:41:38.721-04:00Cheat Sheet: 4 Non(-native) Blondes<table border="0" cellpadding="0" cellspacing="0" style="width: 100%px;">
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<td align="left" valign="top"><b>Anita Ekberg</b><br />
<i>Born:</i> September 29, 1931 in Malmö, Skåne län, Sweden<br />
<i>Died:</i> January 11, 2015 (age 83)<br />
<ul>
<li><i>Blood Alley</i> (1955)</li>
<li><i>Man in the Vault</i> (1956)</li>
<li><i>Back from Eternity</i> (1956)</li>
<li><i>La Dolce Vita</i> (1960)</li>
<li><i>4 for Texas</i> (1963)</li>
<li><i>Call Me Bwana</i> (1963)</li>
</ul>
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<td align="left" valign="top"><b>Ursula Andress</b><br />
<i>Born:</i> March 19, 1936 in Ostermundigen, Bern, Switzerland<br />
<ul>
<li><i>Dr. No</i> (1962)</li>
<li><i>4 for Texas</i> (1963)</li>
<li><i>The 10th Victim</i> (1965)</li>
<li><i>What's New Pussycat</i> (1965)</li>
<li><i>Casino Royale</i> (1967)</li>
<li><i>Clash of the Titans</i> (1981)</li>
</ul>
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<td align="left" valign="top"><b>Elke Sommer</b><br />
<i>Born:</i> November 5, 1940 in Berlin, Germany<br />
<ul>
<li><i>The Prize</i> (1963)</li>
<li><i>A Shot in the Dark</i> (1964)</li>
<li><i>The Money Trap</i> (1965)</li>
<li><i>Boy, Did I Get a Wrong Number!</i> (1966)</li>
<li><i>The Wrecking Crew</i> (1969)</li>
<li><i>The Prisoner of Zenda</i> (1979)</li>
</ul>
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<td align="left" valign="top"><b>Britt Ekland</b><br />
<i>Born:</i> October 6, 1942 in Stockholm, Sweden<br />
<ul>
<li><i>The Double Man</i> (1967)</li>
<li><i>Too Many Thieves</i> (1967)</li>
<li><i>The Bobo</i> (1967)</li>
<li><i>The Night They Raided Minsky's</i> (1968)</li>
<li><i>Get Carter</i> (1971)</li>
<li><i>The Man with the Golden Gun</i> (1974)</li>
</ul>
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Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-41035504729081593142017-04-11T23:48:00.001-04:002017-04-11T23:48:45.349-04:00Cheat Sheet: Davids, Brian, and KeithThree first names do double duty to denote four fine actors.<br />
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<td align="left" valign="top"><b>David Brian</b><br />
<i>Born:</i> August 5, 1914 in New York City, New York<br />
<i>Died:</i> July 15, 1993 (age 78)<br />
<ul>
<li><i>Flamingo Road</i> (1949) </li>
<li><i>The Damned Don't Cry</i> (1950) </li>
<li><i>Fort Worth</i> (1951) </li>
<li><i>Springfield Rifle</i> (1952) </li>
<li><i>The High and the Mighty</i> (1954) </li>
</ul>
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<br /></td>
<td align="left" valign="top"><b>Brian Keith</b><br />
<i>Born:</i> November 14, 1921 in Bayonne, New Jersey<br />
<i>Died:</i> June 24, 1997 (age 75)<br />
<ul>
<li><i>Run of the Arrow</i> (1957) </li>
<li><i>The Parent Trap</i> (1961) </li>
<li><i>The Rare Breed</i> (1966) </li>
<li><i>With Six You Get Eggroll</i> (1968) </li>
<li><i>The Wind and the Lion</i> (1975) </li>
</ul>
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<td align="left" valign="top"><b>Keith David</b><br />
<i>Born:</i> June 4, 1956 in New York City, New York<br />
<ul>
<li><i>The Thing</i> (1982) </li>
<li><i>Platoon</i> (1986) </li>
<li><i>Bird</i> (1988) </li>
<li><i>They Live</i> (1988) </li>
<li><i>The Quick and the Dead</i> (1995) </li>
</ul>
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<td align="left" valign="top"><b>David Keith</b><br />
<i>Born:</i> May 8, 1954 in Knoxville, Tennessee<br />
<ul>
<li><i>The Great Santini</i> (1979) </li>
<li><i>The Rose</i> (1979) </li>
<li><i>An Officer and a Gentleman</i> (1982) </li>
<li><i>Firestarter</i> (1984) </li>
<li><i>The Two Jakes</i> (1990) </li>
</ul>
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</table>Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-53220179041485491692015-07-17T17:54:00.000-04:002015-10-27T17:32:42.091-04:00Cheat Sheet: Margarets and Maureens (and one Jean)<p>It seems that for every Hollywood Margaret, there's a corresponding Maureen with an echoing last name. Here's a guide to who's who.</p>
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<td align="left" valign="top"><b>Margaret Sullavan</b><br />
<i>Born:</i> May 16, 1909 in Norfolk, Virginia, USA<br />
<i>Died:</i> January 1, 1960 (age 50)<br />
<ul>
<li><i>Three Comrades</i> (1938) </li>
<li><i>Shop Around the Corner</i> (1940) </li>
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<td align="left" valign="top"><b>Maureen O'Sullivan</b><br />
<i>Born:</i> May 17, 1911 in Boyle, County Roscommon, Ireland<br />
<i>Died:</i> June 23, 1998 (age 87)<br />
<ul>
<li><i>Tarzan the Ape Man</i> (1932) </li>
<li><i>Tarzan and His Mate</i> (1934) </li>
<li><i>The Big Clock</i> (1948) </li>
<li><i>The Tall T</i> (1957) </li>
<li><i>Hannah and Her Sisters</i> (1986) </li>
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<td align="left" valign="top"><b>Margaret O'Brien</b><br />
<i>Born:</i> January 15, 1937 in San Diego, California, USA<br />
<ul>
<li><i>Jane Eyre</i> (1943) </li>
<li><i>Meet Me in St. Louis</i> (1944) </li>
<li><i>Little Women</i> (1949) </li>
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<td align="left" valign="top"><b>Maureen O'Hara</b><br />
<i>Born:</i> August 17, 1920 in Ranelagh, County Dublin, Ireland<br />
<i>Died:</i> October 24, 2015 (age 95)<br />
<ul>
<li><i>Rio Grande</i> (1950) </li>
<li><i>The Quiet Man</i> (1952) </li>
<li><i>Lady Godiva</i> (1955) </li>
<li><i>The Parent Trap</i> (1961) </li>
<li><i>Only the Lonely</i> (1991) </li>
</ul></td>
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<td width="215" align="left" valign="top"><div class="separator" style="clear: both; text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRJfcS1LtHuSv18D2qEB_CSh4KzhegV_LxgHkHBDrqWuUjMq1BwfwXrtORcBdw9SgUxSsUw1KxPYvGK1ftTV0uOPD4I8gJUsW52QuftogHftRgalzWQ08M5wEk7y84SaK9ceusy98sYz4/s1600/margaret_hamilton.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRJfcS1LtHuSv18D2qEB_CSh4KzhegV_LxgHkHBDrqWuUjMq1BwfwXrtORcBdw9SgUxSsUw1KxPYvGK1ftTV0uOPD4I8gJUsW52QuftogHftRgalzWQ08M5wEk7y84SaK9ceusy98sYz4/s200/margaret_hamilton.jpg" width="166" /></a></div>
<br /></td>
<td align="left" valign="top"><b>Margaret Hamilton</b><br />
<i>Born:</i> December 9, 1902 in Cleveland, Ohio, USA<br />
<i>Died:</i> May 16, 1985 (age 82)<br />
<ul>
<li><i>The Wizard of Oz</i> (1939) </li>
<li><i>The Ox-Bow Incident</i> (1943) </li>
<li><i>The Red Pony</i> (1949) </li>
<li><i>People Will Talk</i> (1951) </li>
</ul></td>
</tr>
<tr>
<td width="215" align="left" valign="top"><div class="separator" style="clear: both; text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZQP2eUhS-9bwS9JCvVZDgolYJvwhPXo1oltVxPsiq_QzBo0gMXGRHy6dyu8qjjp0xmym7p63wnwnKUqw_zOKIjzZ4zM7B7qBXp1rruiCFRVC-Cfy3X78TzqsPr70jdXmUxEA3Ik6XDTQ/s1600/maureen_stapleton.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZQP2eUhS-9bwS9JCvVZDgolYJvwhPXo1oltVxPsiq_QzBo0gMXGRHy6dyu8qjjp0xmym7p63wnwnKUqw_zOKIjzZ4zM7B7qBXp1rruiCFRVC-Cfy3X78TzqsPr70jdXmUxEA3Ik6XDTQ/s200/maureen_stapleton.jpg" width="166" /></a></div>
<br /></td>
<td align="left" valign="top"><b>Maureen Stapleton</b><br />
<i>Born:</i> June 21, 1925 in Troy, New York, USA<br />
<i>Died:</i> March 13, 2006 (age 80)<br />
<ul>
<li><i>Airport</i> (1970) </li>
<li><i>Interiors</i> (1978) </li>
<li><i>Reds</i> (1981) </li>
<li><i>Cocoon</i> (1985) </li>
<li><i>The Money Pit</i> (1986) </li>
</ul></td>
</tr>
<tr>
<td width="215" align="left" valign="top"><div class="separator" style="clear: both; text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_e4oMctr7J05CliHlTPyQ3s_GA_QSLL20oCz6Sjwef7H7kgs2SwJEIhMzY2VANhR-ZtlyFOTqO4rw-ZbpNoxJJFLAfyI588hEunN9eirWQCmhGqOQmSPw5fceTziaSNqqoecYJDKqDIY/s1600/jean_stapleton.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_e4oMctr7J05CliHlTPyQ3s_GA_QSLL20oCz6Sjwef7H7kgs2SwJEIhMzY2VANhR-ZtlyFOTqO4rw-ZbpNoxJJFLAfyI588hEunN9eirWQCmhGqOQmSPw5fceTziaSNqqoecYJDKqDIY/s200/jean_stapleton.jpg" width="166" /></a></div>
<br /></td>
<td align="left" valign="top"><b>Jean Stapleton</b><br />
<i>Born:</i> January 19, 1923 in New York City, New York, USA<br />
<i>Died:</i> May 31, 2013 (age 90)<br />
<i>No relation to Maureen.</i><br />
<ul>
<li><i>Damn Yankees!</i> (1958) </li>
<li><i>Something Wild</i> (1961) </li>
<li><i>All in the Family</i> (TV series, 1968-1979) </li>
<li><i>You've Got Mail</i> (1998) </li>
</ul></td>
</tr>
</tbody>
</table>Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-81577016473778572882014-10-15T20:25:00.001-04:002015-04-01T15:40:46.975-04:00The Impossible POV: Dark Passage<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxYTCagXGY5M7SyLQ195RCmbTMAlFHvXZv3dKl4DyaAQv9KlTeuHAJt5ZMrnxoUiZuXcAFvkvadGF7F01VBMEXPMuoF6DKN-eFHIw7T8RlFAvnYUSgESLIZNzd6DOV2jdZf6jDowrmQJY/s1600/dp-opening_title.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxYTCagXGY5M7SyLQ195RCmbTMAlFHvXZv3dKl4DyaAQv9KlTeuHAJt5ZMrnxoUiZuXcAFvkvadGF7F01VBMEXPMuoF6DKN-eFHIw7T8RlFAvnYUSgESLIZNzd6DOV2jdZf6jDowrmQJY/s1600/dp-opening_title.jpg" height="196" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Dark Passage</i> (1947)</td></tr>
</tbody></table>
The first 37 minutes of <i>Dark Passage</i> (1947) make extensive use of the subjective shot by representing the film's main character almost exclusively through his own point-of-view. Vincent Parry, an escaped criminal convicted of killing his wife, is defined by what he sees. The camera acts as his eyes, so when other characters look at him, they're looking directly at the camera. While not every shot in this part of the film is from Vincent's point-of-view (there are establishing shots, for example, not attached to any character's point of view), with only a few exceptions, Vincent's presence is always indicated this way. What is presented as Vincent's authentic subjectivity, however, is not always what it seems. The film uses a number of techniques to <i>simulate</i> Vincent's uninterrupted point-of-view while still presenting it as authentic. While some of these methods help to preserve this illusion, others work against it. Here's a look at three sequences in the film that demonstrate this.<br />
<b><br /></b>
<b>The ride with Baker</b><br />
<br />
This sequence is actually part of the longer opening scene, which shows the truck leaving San Quentin, Vincent tipping the barrel over the side and rolling down the hill, and his approach to the road. We begin with the last part of the last shot of that action, as Vincent looks to his left (which is also frame left) and considers his options (shot 1).<br />
<!-- Hitch-hiking -->
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<table border="0" cellpadding="0" cellspacing="0" style="width: 100%;">
<tbody>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaWHu4FQtcWMJobrX7qawGAhCOjkFKn6wPDKMOz8R7Wb9YKI7szw3bKHD3WyOStt3x9qv0chBL6d4BXmzSc85Ufq1arPUXySjANHu-s2IBqDbOWL3yafc2W6OVUvdCAQuXW0jevS7zoc4/s1600/dark_passage-hitch-hiking-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaWHu4FQtcWMJobrX7qawGAhCOjkFKn6wPDKMOz8R7Wb9YKI7szw3bKHD3WyOStt3x9qv0chBL6d4BXmzSc85Ufq1arPUXySjANHu-s2IBqDbOWL3yafc2W6OVUvdCAQuXW0jevS7zoc4/s1600/dark_passage-hitch-hiking-1.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUw6FlUgRbd_SpBdziK8XHWxk1gy-zNt7v5-yHcBAqybloAV1EKFsO6g13qIc3kbRcQy9iPs0Fn5EHZhFLgMm7jkOnxs7k0yQanfe4x5HsTq_HBWwOrA8lQ8S_mnjnQNloWRWx6Vm5-Yo/s1600/dark_passage-hitch-hiking-1-pan.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUw6FlUgRbd_SpBdziK8XHWxk1gy-zNt7v5-yHcBAqybloAV1EKFsO6g13qIc3kbRcQy9iPs0Fn5EHZhFLgMm7jkOnxs7k0yQanfe4x5HsTq_HBWwOrA8lQ8S_mnjnQNloWRWx6Vm5-Yo/s1600/dark_passage-hitch-hiking-1-pan.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1 pans right, concealing cut</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju9Y68G6KU-ivTZdSPWkZj1KRsoxGhNAzHy9UGDv6mIfPNgLqsN81FtXarEg6jOrD_J1DEfQjb7u3Nki2RExN0cs3nJ2YDLl5vtofZiDQlWOncdeKBdhlpRtTvbqD4KFNlX4IglNGortU/s1600/dark_passage-hitch-hiking-2A.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju9Y68G6KU-ivTZdSPWkZj1KRsoxGhNAzHy9UGDv6mIfPNgLqsN81FtXarEg6jOrD_J1DEfQjb7u3Nki2RExN0cs3nJ2YDLl5vtofZiDQlWOncdeKBdhlpRtTvbqD4KFNlX4IglNGortU/s1600/dark_passage-hitch-hiking-2A.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2A</td></tr>
</tbody></table>
</td>
</tr>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5SRWbPdQahkmhvM-TkG6d-NPZfcZ9_u5ArM9RnU_7C9jd59uXgWKDmXJPmwLlLk8tZkKJL926XlRSGvkIS8EptxkuWGF0eYmOvprQsGUg1OXrayL0OdIQFaXpS026xdaQ7zcwYnfOk_o/s1600/dark_passage-hitch-hiking-2A-wave.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5SRWbPdQahkmhvM-TkG6d-NPZfcZ9_u5ArM9RnU_7C9jd59uXgWKDmXJPmwLlLk8tZkKJL926XlRSGvkIS8EptxkuWGF0eYmOvprQsGUg1OXrayL0OdIQFaXpS026xdaQ7zcwYnfOk_o/s1600/dark_passage-hitch-hiking-2A-wave.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2A - Vincent waves</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_F26bvuuVsITaVrdkVEXorFrMM_A74WMhj9LbCBbgEi5Xy-GQPkudikpQ5FWaOFKxruEb8Z05e-ebPa-9GtXiaeP4fGu4qyfqLpJTMLeotOi7862GGc2WIbzGhe9IeTSUWD4QOJ7klRU/s1600/dark_passage-hitch-hiking-2B.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_F26bvuuVsITaVrdkVEXorFrMM_A74WMhj9LbCBbgEi5Xy-GQPkudikpQ5FWaOFKxruEb8Z05e-ebPa-9GtXiaeP4fGu4qyfqLpJTMLeotOi7862GGc2WIbzGhe9IeTSUWD4QOJ7klRU/s1600/dark_passage-hitch-hiking-2B.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2B</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXNWLxZABMHDzK23wQakBlLxFZQz84TpChZnKwZJCttzdd7JDx4qNdHbQrfXWjXPk5ahrl9GLIpBpcZoCmBONQcg-ni3vuFRApKrlO57Xgm6Z00u-3y48Jel6eYoRc-xQn-EC553mJjkI/s1600/dark_passage-hitch-hiking-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXNWLxZABMHDzK23wQakBlLxFZQz84TpChZnKwZJCttzdd7JDx4qNdHbQrfXWjXPk5ahrl9GLIpBpcZoCmBONQcg-ni3vuFRApKrlO57Xgm6Z00u-3y48Jel6eYoRc-xQn-EC553mJjkI/s1600/dark_passage-hitch-hiking-2.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2B - movement conceals cut</td></tr>
</tbody></table>
</td>
</tr>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwzEwWTBJt2Jbcqv0tLumil7hICKymSStjNjksbwy_3e9XA2INnGcIUNvgvdZftmlG_f93L_6qjxMApV1a-SyegWdLDFj6LyIkw3CFL3YFiaBzj7N6LkGVm9fC4xaQT6Z9Xj2CliBYfYY/s1600/dark_passage-hitch-hiking-3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwzEwWTBJt2Jbcqv0tLumil7hICKymSStjNjksbwy_3e9XA2INnGcIUNvgvdZftmlG_f93L_6qjxMApV1a-SyegWdLDFj6LyIkw3CFL3YFiaBzj7N6LkGVm9fC4xaQT6Z9Xj2CliBYfYY/s1600/dark_passage-hitch-hiking-3.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">3</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1BIc9T4xVzQ8oMODu-cHROV1_pB1ZTLFMbQRPo7NlUWBBYmIVfFM8taey9rWBzPFQ27qhmC5nEcK1JkiLg43Cws93UJFzvZ1kZcvkvOrI98vwrqmUuJEF9gbQsWU0HOiy0IUDIHi2wT4/s1600/dark_passage-hitch-hiking-3-pan.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1BIc9T4xVzQ8oMODu-cHROV1_pB1ZTLFMbQRPo7NlUWBBYmIVfFM8taey9rWBzPFQ27qhmC5nEcK1JkiLg43Cws93UJFzvZ1kZcvkvOrI98vwrqmUuJEF9gbQsWU0HOiy0IUDIHi2wT4/s1600/dark_passage-hitch-hiking-3-pan.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">3 moves left, concealing cut</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0Q2M-L5iFIxy57omKHLM002qSWbW2evmkdt5tlDzEk__aQ-zLNtJGxlkwwv6qwwOuuDkN8ooRQLs5GZv00rsWzZLKK3Jnd8cc5DYlDUnXvOkUt1ID8JhH_1zKrYwlf_vc5x4njNjWrks/s1600/dark_passage-hitch-hiking-4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0Q2M-L5iFIxy57omKHLM002qSWbW2evmkdt5tlDzEk__aQ-zLNtJGxlkwwv6qwwOuuDkN8ooRQLs5GZv00rsWzZLKK3Jnd8cc5DYlDUnXvOkUt1ID8JhH_1zKrYwlf_vc5x4njNjWrks/s1600/dark_passage-hitch-hiking-4.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">4</td></tr>
</tbody></table>
</td>
</tr>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlBMHoQ1bZLqOuEY8R0ihzj0Nda44MmSjduiYndynCk9M-8rN17zfRlB5NA9X_EjUwjnwQrqZaI51gE80Ec2NsQhDegLjqUGtO2HnEykGs75XrHE91D3NE2hljo_qMcKMCKOJi2B3hhdk/s1600/dark_passage-hitch-hiking-4-pan.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlBMHoQ1bZLqOuEY8R0ihzj0Nda44MmSjduiYndynCk9M-8rN17zfRlB5NA9X_EjUwjnwQrqZaI51gE80Ec2NsQhDegLjqUGtO2HnEykGs75XrHE91D3NE2hljo_qMcKMCKOJi2B3hhdk/s1600/dark_passage-hitch-hiking-4-pan.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">4 pans right, dissolves</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE1Tj_X5nLZHDk3Lp4KEPKWJAUJs12hrsmj7eK0crWS2lf2HLodKctRU29F0hL6lrEAxhxQ41y8tJ97MqOVraDhZZ5HeY3K9m0YXgoann8GR60V7P_fBq-I6ol4qcgFAWfait08l2ggyc/s1600/dark_passage-hitch-hiking-5A.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE1Tj_X5nLZHDk3Lp4KEPKWJAUJs12hrsmj7eK0crWS2lf2HLodKctRU29F0hL6lrEAxhxQ41y8tJ97MqOVraDhZZ5HeY3K9m0YXgoann8GR60V7P_fBq-I6ol4qcgFAWfait08l2ggyc/s1600/dark_passage-hitch-hiking-5A.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">5A</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD5OOdM2P0O2tepI69lKDykUNoz7CYYdnpqaxrYtMGOFaarkSjlfuN6N9n9xb1oRR9GiBKvdApkZrapSa_UruIfGDzD8t6WFWlH8CZX-30-9lAtOlXTndlva5Ys9YT2OCkytFthdt3q8c/s1600/dark_passage-hitch-hiking-5B.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD5OOdM2P0O2tepI69lKDykUNoz7CYYdnpqaxrYtMGOFaarkSjlfuN6N9n9xb1oRR9GiBKvdApkZrapSa_UruIfGDzD8t6WFWlH8CZX-30-9lAtOlXTndlva5Ys9YT2OCkytFthdt3q8c/s1600/dark_passage-hitch-hiking-5B.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">5B</td></tr>
</tbody></table>
</td>
</tr>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeBY_DTAvLAJi4l8ag8A0M3dJ9zPzA3gPhKSp3ZAnk_Tg-WGHJTZXop1_VfrjFJmHhyZ0ps0HWtsAfZubDxHUxE1XAGgOVaH9iAp5UWheiVAphWbIaGI8IfYAq8ToBIKU9c6pwS7y7Mpk/s1600/dark_passage-hitch-hiking-5C.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeBY_DTAvLAJi4l8ag8A0M3dJ9zPzA3gPhKSp3ZAnk_Tg-WGHJTZXop1_VfrjFJmHhyZ0ps0HWtsAfZubDxHUxE1XAGgOVaH9iAp5UWheiVAphWbIaGI8IfYAq8ToBIKU9c6pwS7y7Mpk/s1600/dark_passage-hitch-hiking-5C.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">5C</td></tr>
</tbody></table>
</td><td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9LZKwP-8hBuIB8KKKKF9p9m7oo7meQ_kP3-vCD-40aZXUmHv8mArcDLtqS2oEMznYGH5a0SDG2Ie8VqTmAWL8d0CKzX_4rdDYK7VOkeFaQB96QRVvpoVzWHASG-0fKF2yRBwaOXK2xWU/s1600/dark_passage-hitch-hiking-5C-pan.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9LZKwP-8hBuIB8KKKKF9p9m7oo7meQ_kP3-vCD-40aZXUmHv8mArcDLtqS2oEMznYGH5a0SDG2Ie8VqTmAWL8d0CKzX_4rdDYK7VOkeFaQB96QRVvpoVzWHASG-0fKF2yRBwaOXK2xWU/s1600/dark_passage-hitch-hiking-5C-pan.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">5C pans right, concealing cut</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif3WELBEyKmxvFvXdmRxisWgUohHEnHZ9Z-QOyBvI_N_4VvMtHxdnDBR4APVxBG9ucCTJe8vXQAFVlarK4Vt9EBvYz7wG6Q2nKH_9UJhl8qqatr9leJt167KeI1RzKEnzGipLHz5Ngs2M/s1600/dark_passage-hitch-hiking-6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif3WELBEyKmxvFvXdmRxisWgUohHEnHZ9Z-QOyBvI_N_4VvMtHxdnDBR4APVxBG9ucCTJe8vXQAFVlarK4Vt9EBvYz7wG6Q2nKH_9UJhl8qqatr9leJt167KeI1RzKEnzGipLHz5Ngs2M/s1600/dark_passage-hitch-hiking-6.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">6</td></tr>
</tbody></table>
</td>
</tr>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTtWIA1WBU5MigZVaZlkiTtlDe8TdvZkT6YcS0EkBvj00AvOECt02C_weS_BjqOH0jq3B4OdTZ2VLeYHSuIh07vNRHfke1GqBbguicU16pjfNrFKERAyK6mokIq2_V2HA_hbTpHlcMzTA/s1600/dark_passage-hitch-hiking-7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTtWIA1WBU5MigZVaZlkiTtlDe8TdvZkT6YcS0EkBvj00AvOECt02C_weS_BjqOH0jq3B4OdTZ2VLeYHSuIh07vNRHfke1GqBbguicU16pjfNrFKERAyK6mokIq2_V2HA_hbTpHlcMzTA/s1600/dark_passage-hitch-hiking-7.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">7</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNzSXfAB3EqjooVcJ_P25ULt20RQXx0xpCjkqOhlQm1jfEWc2el3IlTwsymBHRVWB78_9QQ9J7-gmh-7oXFRae2RpjBY4ZN8uJQHl9iXsgH6lDKPRTLcImhoRHRGRqRSdZ2y6vNv4HFnU/s1600/dark_passage-hitch-hiking-8.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNzSXfAB3EqjooVcJ_P25ULt20RQXx0xpCjkqOhlQm1jfEWc2el3IlTwsymBHRVWB78_9QQ9J7-gmh-7oXFRae2RpjBY4ZN8uJQHl9iXsgH6lDKPRTLcImhoRHRGRqRSdZ2y6vNv4HFnU/s1600/dark_passage-hitch-hiking-8.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">8</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWp_hHFI9pcejQWBqx_ntCZPryJpMDHTp-ie8jsujHqJKfkZAdV_fhQKVwkS3zEJeHiNKnpaZBS2A-sqIJG448NCHzkRoMu2KFLR7u8gNnxhzOToqRkqWB2gz3TMV2u1XqDjQB7H8ru3U/s1600/dark_passage-hitch-hiking-8-look-down.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWp_hHFI9pcejQWBqx_ntCZPryJpMDHTp-ie8jsujHqJKfkZAdV_fhQKVwkS3zEJeHiNKnpaZBS2A-sqIJG448NCHzkRoMu2KFLR7u8gNnxhzOToqRkqWB2gz3TMV2u1XqDjQB7H8ru3U/s1600/dark_passage-hitch-hiking-8-look-down.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">8 - Baker looks down</td></tr>
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</td>
</tr>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWUOpD0XVY3lkgpxYFpdAVN2VtIJ2Htvm9Vx9e2_rLgmQESbJ24DWcNYK76s4Ufqq5lO6PnPlguY_RJexrhs4ULEqk4yEVCnbXHcxMXYztiWyyJxuTOVdFylfSn47f41veE-y_fkMs08o/s1600/dark_passage-hitch-hiking-9.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWUOpD0XVY3lkgpxYFpdAVN2VtIJ2Htvm9Vx9e2_rLgmQESbJ24DWcNYK76s4Ufqq5lO6PnPlguY_RJexrhs4ULEqk4yEVCnbXHcxMXYztiWyyJxuTOVdFylfSn47f41veE-y_fkMs08o/s1600/dark_passage-hitch-hiking-9.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">9</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRoLuz9D6APYUgQ3d80JsKBiJwcTFrX5ApnUQy-gPXdDm90lwy6EIWjqF3CI6DKJr40JwQokZG_EX7FdFaypn9WeAIiSFNTGkV88a0nVQnH3RENaOTMGoipCW9qG4gPloi0FlMu-5_YM8/s1600/dark_passage-hitch-hiking-9-pan.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRoLuz9D6APYUgQ3d80JsKBiJwcTFrX5ApnUQy-gPXdDm90lwy6EIWjqF3CI6DKJr40JwQokZG_EX7FdFaypn9WeAIiSFNTGkV88a0nVQnH3RENaOTMGoipCW9qG4gPloi0FlMu-5_YM8/s1600/dark_passage-hitch-hiking-9-pan.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">9 pans left, concealing cut</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUDFa1k5IpzY1cbFFmDGR9cTzkjqxqD7LomJZUmUuOgqm5LaIgqiEWHLRByqY5bHgD0q9qz05vJsVzyfUILAXsF1W0IwXQtoYdAE4RSlvydJTCYr2Lwog8HK4d6gu6QI3rLv6NFsygoKo/s1600/dark_passage-hitch-hiking-10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUDFa1k5IpzY1cbFFmDGR9cTzkjqxqD7LomJZUmUuOgqm5LaIgqiEWHLRByqY5bHgD0q9qz05vJsVzyfUILAXsF1W0IwXQtoYdAE4RSlvydJTCYr2Lwog8HK4d6gu6QI3rLv6NFsygoKo/s1600/dark_passage-hitch-hiking-10.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">10</td></tr>
</tbody></table>
</td>
</tr>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCBjSM45kQVFK1dpb9QioV5nHgVFXD99Q51Oi8n1RprakZHHXrNjjMVIgErxx8SGcfwdGjLU1pdkFTYPD1792tjaApNVW-2_jziOSFioUteClOr9UaMdnnUphfAPY5H0PgUDwBH_D6wFA/s1600/dark_passage-hitch-hiking-11A.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCBjSM45kQVFK1dpb9QioV5nHgVFXD99Q51Oi8n1RprakZHHXrNjjMVIgErxx8SGcfwdGjLU1pdkFTYPD1792tjaApNVW-2_jziOSFioUteClOr9UaMdnnUphfAPY5H0PgUDwBH_D6wFA/s1600/dark_passage-hitch-hiking-11A.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">11A</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg4chVuIQ7TgtV69UZW1ObUc1AJ0hC5jTX9s_PSCQ5wPlX9O6N0REGTqB-lV7k4EucNE3b9Ti_-PH17HyMB8rXAwJUgBv_TEXzCEi_TNsq0saWOpGwRkQ-7LxUtYHbuahlh8LQhF56ZUk/s1600/dark_passage-hitch-hiking-11B.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg4chVuIQ7TgtV69UZW1ObUc1AJ0hC5jTX9s_PSCQ5wPlX9O6N0REGTqB-lV7k4EucNE3b9Ti_-PH17HyMB8rXAwJUgBv_TEXzCEi_TNsq0saWOpGwRkQ-7LxUtYHbuahlh8LQhF56ZUk/s1600/dark_passage-hitch-hiking-11B.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">11B</td></tr>
</tbody></table>
</td>
<td><br /></td>
</tr>
</tbody></table>
<br />
After Vincent looks to his left (frame left), he then turns his head to the right in a rapid pan which conceals a cut to shot 2. In shot 2A, then, he should be looking down the street in the opposite direction from shot 1 and the approaching car should stop in front of him heading frame left. When Baker stops his car, however, it is facing frame right. The rapid pan used to simulate the turn of Vincent's head and to create the illusion of prolonged continuous action<sup>1</sup> has also instantly moved Vincent to the other side of the road. This places Vincent conveniently on the passenger side of the car, but it does so without depicting the crossing of the road.<br />
<br />
As Vincent enters Baker's car in shot 2B, camera movement and the car's dark interior conceal the cut to shot 3, of Vincent's muddy shoes, which Baker has just called attention to by asking "How'd you get your feet wet? Been wading?" There is a change in perspective here, as Vincent's shoes are shown in close-up, not in a framing that would accurately represent what he would see when looking down at his feet (compare this to shot 9). The cut to shot 4 is then concealed by a pan left, and Vincent's eyes come to rest on Baker as Baker continues his questioning. This cut also conceals a change from location shooting to sound stage, and for the rest of this shot the car's motion is simulated by rear-screen projection.<br />
<br />
A transition back to location shooting is made via a rightward pan and a noticeable dissolve between shots 4 and 5A. It is unclear if this dissolve indicates a passage of time, but the way the conversation overlaps shots 4 and 5 seems to imply that no time has lapsed.<sup>2</sup> This actually makes the dissolve more pronounced, and more of a violation of Vincent's point-of-view — what would such a dissolve, within a point-of-view shot, indicate? Dizziness? A momentary lack of consciousness? Nothing that seems applicable to Vincent at the moment.<br />
<br />
During the rest of shot 5, all dialog is spoken off-camera — by Vincent, mostly, but also by Baker as the camera pans left to the back seat, leaving him out of frame as he asks "Where you from?" This allows the conversation to span two shooting locations without the need to synchronize the audio to shots of Baker made at each one. Another rightward pan in shot 5C conceals the cut back to the sound stage, where Baker continues to grill Vincent, in shot 6, about his appearance.<br />
<br />
Shot 6 is interesting because it is a longer-than-usual (about 30 seconds) shot of Baker that doesn't do anything to indicate Vincent's discomfort with Baker's questions. The shot is supposed to be Vincent's point-of-view, yet during Baker's grilling, the camera (Vincent's eyes) are fixed unwaveringly on Baker with nothing (like camera movement away from Baker's eyes, for example<sup>3</sup>) to simulate Vincent's discomfort but his words. Here we see that while this shot satisfies the requirement of presenting Vincent's point-of-view, it also functions in a way more important to the film by emphasizing what the film wants us to see, regardless of how Vincent would really be seeing it — here, Baker's growing suspicion about Vincent. This choice is perhaps more effective than the alternative of more camera movement — our constant view of Baker scrutinizing Vincent allows us to feel scrutinized as well, so we feel the discomfort Vincent articulates when he demands that Baker stop the car.<sup>4</sup><br />
<br />
Before Baker agrees to stop the car, however, a description of Vincent is read over the radio, and the cut to shot 7 — the sequence's first straight cut, not concealed in any way — further emphasizes the importance of Baker's thoughts by framing this shot of the radio from Baker's — not Vincent's — point-of-view. What was supposed to be the continuous presentation of Vincent's point-of-view has now been interrupted by the point-of-view of another character. Like the framing of Vincent's shoes in shot 3, the radio is framed more tightly than it would appear to Baker, but it is shot from the driver's seat position that he occupies, indicating that his reaction to the announcement is more important than Vincent's.<br />
<br />
A straight cut to shot 8 returns the camera to Vincent's point-of-view as Baker slows and stops the car to compare Vincent with the description being read over the radio. We see Baker's eyes look up as the announcer describes Vincent's hair, then look down when Vincent's trousers and shoes are described. This downward look is the perfect setup for Baker's eyeline match, but the straight cut to shot 9 gives us a shot of the radio from Vincent's point-of-view instead. While the two previous straight cuts have interrupted Vincent's point-of-view, this is the first that violates it — this cut implies no lapse in time, but certainly a change in perspective. Vincent could not instantly change his perspective this way and would need, as is illustrated by the various rapid pans, to turn his head to do so.<br />
<br />
A rapid leftward pan conceals a cut and a return to an outdoor location in shot 10, which shows Baker from a slightly higher angle, indicating, perhaps, that Vincent is no longer sitting. Vincent then punches Baker with hands that swing from behind camera right and left. As Baker falls forward, there is a straight cut to shot 11A, which, though still presented as Vincent's POV, uses a noticeably different framing to show Baker's head hit the steering wheel. Once again, Vincent appears to have instantly changed position without any camera movement to show a transition. Vincent then reaches from behind camera right, takes Baker by the collar, and drags him out of the car and begins to unbutton his jacket in shot 11B.<br />
<b><br /></b>
<b>Irene's apartment</b><br />
<br />
The sequence begins with a dissolve from the previous shot. Unlike the dissolve from the previous example in Baker's car, though, this dissolve does present a lapse in time, however brief, between when Vincent and Irene get out of the elevator and their first moments inside Irene's apartment. Even though this dissolve is between two of Vincent's POV shots, it aids in the a transition of time and place, and is not a violation of a seemingly uninterrupted POV shot.<br />
<!-- Irene's Apartment -->
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<table border="0" cellpadding="0" cellspacing="0" style="width: 100%;">
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<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNpm-S6-RlGQdERRDEVwqYWqKiWxKh8cj_2HvbdxyRNSXg08Y3hCFM1zxx1f1CA71kK_PDzGzeWhD0pcwTBatLsOu1urCObICg-H_WhgoZFIQJNbtTPDZNCr8LJxqYH6nDQcUad6EennM/s1600/dp-irene-1A-open-dissolve.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNpm-S6-RlGQdERRDEVwqYWqKiWxKh8cj_2HvbdxyRNSXg08Y3hCFM1zxx1f1CA71kK_PDzGzeWhD0pcwTBatLsOu1urCObICg-H_WhgoZFIQJNbtTPDZNCr8LJxqYH6nDQcUad6EennM/s1600/dp-irene-1A-open-dissolve.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1A opening dissolve</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja1cdAm21X-XZjbRDUL5bdsFzA6sQJiZQUjScaaHPYUs6ui7OlM74tID8WA7GKWl5RujpLgreMXPKpKtw8JLILV9oLwWVu-vMSasoNFXk_OLHMYw03Q9ReQ5XR1in6vrbQqV11YLXfkGg/s1600/dp-irene-1A.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja1cdAm21X-XZjbRDUL5bdsFzA6sQJiZQUjScaaHPYUs6ui7OlM74tID8WA7GKWl5RujpLgreMXPKpKtw8JLILV9oLwWVu-vMSasoNFXk_OLHMYw03Q9ReQ5XR1in6vrbQqV11YLXfkGg/s1600/dp-irene-1A.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1A</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjheF1TnOqWA3TUqNWQBu8y8v1fICpfQ3sPlfg3Tgb3Ms6s_jy1r_cJZWCSYSjUEo95hDSO3qi-gz08ekaS4laaneLmAfdCPHBckw2ltaFvBDRiNyxKuu84BOF5MMSSS4v0olVt5oFq_Mc/s1600/dp-irene-1B.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjheF1TnOqWA3TUqNWQBu8y8v1fICpfQ3sPlfg3Tgb3Ms6s_jy1r_cJZWCSYSjUEo95hDSO3qi-gz08ekaS4laaneLmAfdCPHBckw2ltaFvBDRiNyxKuu84BOF5MMSSS4v0olVt5oFq_Mc/s1600/dp-irene-1B.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1B</td></tr>
</tbody></table>
</td>
</tr>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1LAa8YzpOqtOzUqpHNV_FEEijqvaZ5cVg5LPCrIKslfjFdn5hb53AWKSrlr0wyxkYkMQqfopuyGsBztMvQbCAbwTpmUrZ4d0HU-TaXQ-U-b4kMB3AIhEa-XzTRqdJMlMIS4cpthrJFXE/s1600/dp-irene-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1LAa8YzpOqtOzUqpHNV_FEEijqvaZ5cVg5LPCrIKslfjFdn5hb53AWKSrlr0wyxkYkMQqfopuyGsBztMvQbCAbwTpmUrZ4d0HU-TaXQ-U-b4kMB3AIhEa-XzTRqdJMlMIS4cpthrJFXE/s1600/dp-irene-2.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBg5Bl0plzjYlyREoY0acTyWfT8ZDpzhKVtSHH7Z7TxPas7mhug_hTB-OGVtKugNDj3TBI7-Osze2nxoI0rYXm_dXGODZc5dWeKoNBi5x4HckO-JS4esTTFh24DsQBXjYBbc3QRUkq2nU/s1600/dp-irene-2-pan-left.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBg5Bl0plzjYlyREoY0acTyWfT8ZDpzhKVtSHH7Z7TxPas7mhug_hTB-OGVtKugNDj3TBI7-Osze2nxoI0rYXm_dXGODZc5dWeKoNBi5x4HckO-JS4esTTFh24DsQBXjYBbc3QRUkq2nU/s1600/dp-irene-2-pan-left.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2 pans left, conceals cut</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKaEU51gqO4mdXLpTB7tlhKzxcsPimJBLdfjNqL7VJUjbVVWCfOxtMaL_tURgWCMYs-U-ID2byIGIbMWsIcGAJ0dyaEqjfHKnc9ZhVkEqbvVkawMh-QaK3rKry2MhzhXiyEXiQjTbhl3Y/s1600/dp-irene-3A.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKaEU51gqO4mdXLpTB7tlhKzxcsPimJBLdfjNqL7VJUjbVVWCfOxtMaL_tURgWCMYs-U-ID2byIGIbMWsIcGAJ0dyaEqjfHKnc9ZhVkEqbvVkawMh-QaK3rKry2MhzhXiyEXiQjTbhl3Y/s1600/dp-irene-3A.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">3A</td></tr>
</tbody></table>
</td>
</tr>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGALBjv-jk7dDzRJdrf50ubl1Lrys6SYXbbcXCWezyyPxBfs2F0lm44xM09ZtxR8Em8L4R07zf0OuQSIv3aaPD1bFRH1f9Gfy6CuSsr2C_WkespMY8Lu4CFpkJgvwZWIBezrsYHzgFvLY/s1600/dp-irene-3B.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGALBjv-jk7dDzRJdrf50ubl1Lrys6SYXbbcXCWezyyPxBfs2F0lm44xM09ZtxR8Em8L4R07zf0OuQSIv3aaPD1bFRH1f9Gfy6CuSsr2C_WkespMY8Lu4CFpkJgvwZWIBezrsYHzgFvLY/s1600/dp-irene-3B.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">3B</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJuO8x3cCnRR2cPjQK8QxD8oQBEFxDP4QdOEKnoWPSminkFJIMC0-Ky-nNOGMkO9lM_RlY7zPX9M6To2kuqaaXCFrMCrScTgOrOyleGA5TmM8kla-eOWtUGxBSxU6_pQtnfBOHvKwgB4M/s1600/dp-irene-4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJuO8x3cCnRR2cPjQK8QxD8oQBEFxDP4QdOEKnoWPSminkFJIMC0-Ky-nNOGMkO9lM_RlY7zPX9M6To2kuqaaXCFrMCrScTgOrOyleGA5TmM8kla-eOWtUGxBSxU6_pQtnfBOHvKwgB4M/s1600/dp-irene-4.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">4</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaicQXShTLHy55NMTkRI0xdbyEO61IdaXSTlwad6iegvFrbjf8EEtazKh7AC552vUI3gX9Hcd1H4rUrU4MLGHaKEyo9GLhXu_NRjy1enPKp2GkQGoXBDdqEbHdh3XUwnmdK2WQ_v_HcG0/s1600/dp-irene-5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaicQXShTLHy55NMTkRI0xdbyEO61IdaXSTlwad6iegvFrbjf8EEtazKh7AC552vUI3gX9Hcd1H4rUrU4MLGHaKEyo9GLhXu_NRjy1enPKp2GkQGoXBDdqEbHdh3XUwnmdK2WQ_v_HcG0/s1600/dp-irene-5.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">5</td></tr>
</tbody></table>
</td>
</tr>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhglJJu2hZw6meAGq6RRu5MSmQ41G4P0i0dVt6Efm9uS00URtXpmAdktdRfM8gUukHdjpOmI8-bA6gmX0wVcX4yTWImAADs84czOs61AJyInSuyEomr9yimbdTLzK8lmchSFfdq58id-yQ/s1600/dp-irene-6A.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhglJJu2hZw6meAGq6RRu5MSmQ41G4P0i0dVt6Efm9uS00URtXpmAdktdRfM8gUukHdjpOmI8-bA6gmX0wVcX4yTWImAADs84czOs61AJyInSuyEomr9yimbdTLzK8lmchSFfdq58id-yQ/s1600/dp-irene-6A.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">6A</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn4MFrTElquKiIzTxFpvRxM16xlcP7NC0955RzpLPtuZvZisSxYqYOHaFf5fGjd6Re90RR4rCEOxopKP8rMvjobDHTqH7d9d8lwBTKthDKPh37DxM9JV3-7Jwk_t3VUzgCJ1S40TC6SHs/s1600/dp-irene-6B.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn4MFrTElquKiIzTxFpvRxM16xlcP7NC0955RzpLPtuZvZisSxYqYOHaFf5fGjd6Re90RR4rCEOxopKP8rMvjobDHTqH7d9d8lwBTKthDKPh37DxM9JV3-7Jwk_t3VUzgCJ1S40TC6SHs/s1600/dp-irene-6B.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">6B</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUTFoJguTMIqBt1sG8rwYATH9afC1-qKJG4JlJdY_TfTSpoqJ9f50VdAJHpijE64esbUz-S4gyChsrzAa-Jsx1eBsZk_TgjApILcdPzARPk0PKWvSLXiQA7zr5YffQFd5bizgISqvj058/s1600/dp-irene-6C.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUTFoJguTMIqBt1sG8rwYATH9afC1-qKJG4JlJdY_TfTSpoqJ9f50VdAJHpijE64esbUz-S4gyChsrzAa-Jsx1eBsZk_TgjApILcdPzARPk0PKWvSLXiQA7zr5YffQFd5bizgISqvj058/s1600/dp-irene-6C.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">6C</td></tr>
</tbody></table>
</td>
</tr>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW1azdYF_PXDLI-ns-RSFvEKH7nFQ3ha2135jaCxJ95nF3G85xIblFFbnCF_8TrPsoYK8dtT0bc5cpZfqiqZaz4DrY8gwQiQ5bd2a5KLdljwjSAMryuTJNSjskWw8vFs58epqp2NI8Drg/s1600/dp-irene-6D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW1azdYF_PXDLI-ns-RSFvEKH7nFQ3ha2135jaCxJ95nF3G85xIblFFbnCF_8TrPsoYK8dtT0bc5cpZfqiqZaz4DrY8gwQiQ5bd2a5KLdljwjSAMryuTJNSjskWw8vFs58epqp2NI8Drg/s1600/dp-irene-6D.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">6D</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDs_GI32E-91YLZAUsc0XllpK1o9rmd3geuhF2RIUSbpMUUxB5yzof4acsWz8G0DMHUC21P2xwRTvEM3UHOFyYxaGIuyKsAetGh6eYjTS2WS7mKShAOcVL4-boNQCtPi1qAaVLrtYzCTY/s1600/dp-irene-6E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDs_GI32E-91YLZAUsc0XllpK1o9rmd3geuhF2RIUSbpMUUxB5yzof4acsWz8G0DMHUC21P2xwRTvEM3UHOFyYxaGIuyKsAetGh6eYjTS2WS7mKShAOcVL4-boNQCtPi1qAaVLrtYzCTY/s1600/dp-irene-6E.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">6E</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgztYL8GWwdhPYOmovRfs6md5QWi68iWe4btVwxjuHPWgTpGSspisGRmMD5YckiXzXh0p7DnHbROP8SNHQ_dApmP_YU7_G3M1-iCHFCGlM7chM7KbLrLcTkSgGSbnsirKP74vOWdIoXwfc/s1600/dp-irene-6F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgztYL8GWwdhPYOmovRfs6md5QWi68iWe4btVwxjuHPWgTpGSspisGRmMD5YckiXzXh0p7DnHbROP8SNHQ_dApmP_YU7_G3M1-iCHFCGlM7chM7KbLrLcTkSgGSbnsirKP74vOWdIoXwfc/s1600/dp-irene-6F.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">6F</td></tr>
</tbody></table>
</td>
</tr>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaEtvrcwIoH1pC8nO2aWvPVbiKMabzyCWPgDFm_Vdzcw_YRUFAEwVoP1rEtPG1ZPc2XNdNgeQjS6l3qC78yJvZOIcRONXU7NswgJPlrM3Uh9KRm-LRUoCgqBgKICSrqJsxnZ7Q4xdxoUw/s1600/dp-irene-6G.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaEtvrcwIoH1pC8nO2aWvPVbiKMabzyCWPgDFm_Vdzcw_YRUFAEwVoP1rEtPG1ZPc2XNdNgeQjS6l3qC78yJvZOIcRONXU7NswgJPlrM3Uh9KRm-LRUoCgqBgKICSrqJsxnZ7Q4xdxoUw/s1600/dp-irene-6G.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">6G</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ4eIMt0wYrBRan74vNLYH0X0_hMX8M1ZeYY7UDuIIaIF1oQlhdllIRw8WAyWDIiYW6X__dO62gymxLZZEqL7iTO-3IqGbC2FaiVSeQluupu9mUBcss4vouXir6JkoNuuARm_zMgJfwBc/s1600/dp-irene-6G-dissolve.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ4eIMt0wYrBRan74vNLYH0X0_hMX8M1ZeYY7UDuIIaIF1oQlhdllIRw8WAyWDIiYW6X__dO62gymxLZZEqL7iTO-3IqGbC2FaiVSeQluupu9mUBcss4vouXir6JkoNuuARm_zMgJfwBc/s1600/dp-irene-6G-dissolve.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">6G dissolve</td></tr>
</tbody></table>
</td>
<td></td>
</tr>
</tbody></table>
<br />
In shot 1B, Vincent's point-of-view follows Irene as she ascends the stairs, the camera movement motivated by her action. She pauses close to the top of the stairs to say, "Turn on the music if you like," motivating a straight cut to shot 2. Immediately after this cut, we hear Irene's final footsteps up the stairs, which appear to aurally continue an action she makes in the very last frames of shot 1B, as she turns her head, ostensibly to continue up the stairs that instant. This would indicate, then, that no time has been omitted between shot 1B and shot 2. Therefore, this cut clearly violates the consistency of Vincent's point-of-view by changing his perspective instantly, without a pan to simulate the movement of his head and eyes to the record player.<br />
<br />
Irene's return to the room is shown when a rapid leftward pan conceals the cut to shot 3A. Irene walks toward Vincent, looking him in the eye (that is, looking right into the camera), then stops and hands him the newspaper clipping, which Vincent accepts and looks at in shot 3B. Then, when Vincent begins to read aloud, there is a straight cut to shot 4, a close-up of the clipping which shows Irene's letter to the editor. This instant change of framing, which does not indicate a lapse in time, is another violation Vincent's fluid point-of-view.<br />
<br />
After Vincent reads the second sentence, there is a straight cut to shot 5, the most problematic shot of the sequence. It begins with Irene looking down, listening as Vincent reads. At one point, however, she looks up, directly into the camera. In <i>Dark Passage</i>, to look at the camera is to look Vincent in the eye, but we know that Vincent can not be looking back to see Irene looking at him, because his eyes are on the newspaper clipping that he is reading aloud. Furthermore, we know from Irene's placement in shot 3B that she is standing face-to-face with Vincent, but shot 5 is from an angle to Vincent's right. Her look into the camera, then, could not be at Vincent's eyes. This shot therefore creates the illusion of being Vincent's point-of-view, even though it is not. (Or perhaps the illusion excuses her look into the camera — this could have been a cheat shot inserted during editing, though the effect it has is confusing.)<br />
<br />
Another straight cut to shot 6A brings us back to almost the same framing as shot 3B. The rest of the sequence plays out in this shot, with the movement of the camera/Vincent's eyes motivated by narrative elements: the ringing telephone (6C), Irene talking on the phone (6D), Irene walking back to her position behind the table (6E), Irene sitting at her desk (6F), and Irene standing and gathering her things (6G). As in the previous example in Baker's car, Vincent's eyes are constantly trained on Irene or other important elements; there is no stray camera movement to simulate wandering eyes.<br />
<b><br /></b>
<b>George's apartment</b><br />
<br />
The first scene in George's apartment is comprised of seven shots. All but the first three or four (depending upon how you consider shot 4) are from Vincent's point-of-view. What makes this sequence interesting is that all shots are joined by straight cuts which, in the case of the point-of-view shots, violate the consistency of Vincent's point-of-view.<br />
<!-- George's Apartment -->
<br />
<table border="0" cellpadding="0" cellspacing="0" style="width: 100%;">
<tbody>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1PwU7iWOEKFWlaVSnhjt3G1Jmxj2OI4LDCTt2JJgZRUWlvnT-gPUtRPsYvcTICjClw0iSqWg5-47m4GHf2dxStSRgUwbwfRN557pN86NYyTpPCvUQbe7Enjkvx58wFeaPHl8DZZtQ9Pw/s1600/dp-george-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1PwU7iWOEKFWlaVSnhjt3G1Jmxj2OI4LDCTt2JJgZRUWlvnT-gPUtRPsYvcTICjClw0iSqWg5-47m4GHf2dxStSRgUwbwfRN557pN86NYyTpPCvUQbe7Enjkvx58wFeaPHl8DZZtQ9Pw/s1600/dp-george-1.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrMxfez956IuPDdjRjbBFkMxAFUr8oM5ULD4UyFu52Zbn2pxszCD2kHIjFuEYbLSn7vBmpoMVqVe2VY00KBHiIsWKkehrETWtPp45WB_kp3SjWeUrwPjFIsqUTUpfm9nnIO9UUIGYmqb4/s1600/dp-george-2A.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrMxfez956IuPDdjRjbBFkMxAFUr8oM5ULD4UyFu52Zbn2pxszCD2kHIjFuEYbLSn7vBmpoMVqVe2VY00KBHiIsWKkehrETWtPp45WB_kp3SjWeUrwPjFIsqUTUpfm9nnIO9UUIGYmqb4/s1600/dp-george-2A.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2A</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv2dvmdgbkNWg2prLKCSNiVzycSmwB6oLjKncOVwE_7ryo2YWBnB-QGo3P9mzNnWPbzBPuWqElJBEa5U9KSnTM1lXcoD96zMHot74bZoWRVe8yFatSWAkzVYJTechI-JdhYTLCtYbpHi0/s1600/dp-george-2B.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv2dvmdgbkNWg2prLKCSNiVzycSmwB6oLjKncOVwE_7ryo2YWBnB-QGo3P9mzNnWPbzBPuWqElJBEa5U9KSnTM1lXcoD96zMHot74bZoWRVe8yFatSWAkzVYJTechI-JdhYTLCtYbpHi0/s1600/dp-george-2B.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2B</td></tr>
</tbody></table>
</td>
</tr>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_PDpku4IkbPvqs5ld9PYC8RIrk-I8ziEnQS025XhY5egmKwJQy4c-K_UDi5rr59EWZngFpDQGBuOAlTPSeHNreG48bgTWFznKqRWPLVX74R1mQkwMOqvHdah4zNlKIRQifjnBhuaiPT8/s1600/dp-george-3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_PDpku4IkbPvqs5ld9PYC8RIrk-I8ziEnQS025XhY5egmKwJQy4c-K_UDi5rr59EWZngFpDQGBuOAlTPSeHNreG48bgTWFznKqRWPLVX74R1mQkwMOqvHdah4zNlKIRQifjnBhuaiPT8/s1600/dp-george-3.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">3</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIqAqbuni9M5lTZyTmHAgBhNbPEa7HhwmdMI-LthTt6300XdOtOpMWmb1qmnL30CdLiHToIi5dnjU8UODMkuddNtw28XfGQo-K-_miKLICw0gTensFoILLecTpWCclRSIbSUWPghH3ICQ/s1600/dp-george-4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIqAqbuni9M5lTZyTmHAgBhNbPEa7HhwmdMI-LthTt6300XdOtOpMWmb1qmnL30CdLiHToIi5dnjU8UODMkuddNtw28XfGQo-K-_miKLICw0gTensFoILLecTpWCclRSIbSUWPghH3ICQ/s1600/dp-george-4.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">4</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyFRV3JTEukz45disVYWS5FtC6pPCuH7Qf5vzbONREUGFLCGBFfLVpVX8aX0qt9dNBTB9a1xMCRaadjb5QnzqCWEHBNrju8OHOFNE7cTd1dy7n6Rgiuyb6v5jD7F9LVCUw3sLCgLaRK1Q/s1600/dp-george-5A.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyFRV3JTEukz45disVYWS5FtC6pPCuH7Qf5vzbONREUGFLCGBFfLVpVX8aX0qt9dNBTB9a1xMCRaadjb5QnzqCWEHBNrju8OHOFNE7cTd1dy7n6Rgiuyb6v5jD7F9LVCUw3sLCgLaRK1Q/s1600/dp-george-5A.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">5A</td></tr>
</tbody></table>
</td>
</tr>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_bZF7EvSOGqv03PXZNxd6jgoy10gvaquwA2fu6AG4wgiXOAvivCAUVhXJTMRJYqmuj5ecASjMfmFuPtgG9dE-cUXm-23XlHkEt0Z3huM_MJka08rbkjurTOu_n6Z_CzLYnhWnOI0DBBU/s1600/dp-george-5B.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_bZF7EvSOGqv03PXZNxd6jgoy10gvaquwA2fu6AG4wgiXOAvivCAUVhXJTMRJYqmuj5ecASjMfmFuPtgG9dE-cUXm-23XlHkEt0Z3huM_MJka08rbkjurTOu_n6Z_CzLYnhWnOI0DBBU/s1600/dp-george-5B.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">5B</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6ULWIe3ZPFE_emMIpyyoRG6jaWf0ehftUXlADeLsZGBST4_7lYrP-P7JK7G2zzAbVoamOXsvj_pHUS1yYcUmu3TQxslPWUqdm7QV4XDLJPAKXXsv9pnQbRnUF2drNtfdZZmTLr5YIEYc/s1600/dp-george-5C.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6ULWIe3ZPFE_emMIpyyoRG6jaWf0ehftUXlADeLsZGBST4_7lYrP-P7JK7G2zzAbVoamOXsvj_pHUS1yYcUmu3TQxslPWUqdm7QV4XDLJPAKXXsv9pnQbRnUF2drNtfdZZmTLr5YIEYc/s1600/dp-george-5C.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">5C</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjfE345Fk7yWascS1sNM1y03dIyQ1GPnJiODrgtiE21H9UsWfmC_mBfdy9nUeitRSpQCaHiN3qiyRt_bNsGwF7iZPwKwalnNlK7viBKVOxDkRbJtqREYfjKw3tMU6LB_9aoKszDDVkM6U/s1600/dp-george-5D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjfE345Fk7yWascS1sNM1y03dIyQ1GPnJiODrgtiE21H9UsWfmC_mBfdy9nUeitRSpQCaHiN3qiyRt_bNsGwF7iZPwKwalnNlK7viBKVOxDkRbJtqREYfjKw3tMU6LB_9aoKszDDVkM6U/s1600/dp-george-5D.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">5D</td></tr>
</tbody></table>
</td>
</tr>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuWOfEG7LmwsyJghZVEwf9Cq3hox44IINrIDDZue_xp0-vkak7Ny85jmKT1R-akenytUTWmJgjVs1BVSTtHRTyFgP6oX-aOQtUliw27UNDGBa8FIyqYm8YlvZS4RGLemJSLa2uneJ41lA/s1600/dp-george-5E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuWOfEG7LmwsyJghZVEwf9Cq3hox44IINrIDDZue_xp0-vkak7Ny85jmKT1R-akenytUTWmJgjVs1BVSTtHRTyFgP6oX-aOQtUliw27UNDGBa8FIyqYm8YlvZS4RGLemJSLa2uneJ41lA/s1600/dp-george-5E.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">5E</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQIwUJGPqSiCsLWcZ1eS-92PLgmXNfMZJfQ5R4S04otXw2QYnSaWt8o7HVTHdFdvk192JzM37ukZv79ZyDOPweBaoDmLojrVigMG8baAYkHbGgw8rzW-d7mBDOtLY1fYi9LRlbr_wow4o/s1600/dp-george-5F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQIwUJGPqSiCsLWcZ1eS-92PLgmXNfMZJfQ5R4S04otXw2QYnSaWt8o7HVTHdFdvk192JzM37ukZv79ZyDOPweBaoDmLojrVigMG8baAYkHbGgw8rzW-d7mBDOtLY1fYi9LRlbr_wow4o/s1600/dp-george-5F.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">5F</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWds71H9ANVOHeBAS5bpXmM_UJD4fx7J8spvqQZup6-k_3DwSJnTXrd87iG4HtTl7bB5MERflpHA9K9QkMeNPb9RRl4174QPCxYJG31xS2BHfMvBVPIt3E4p-0_7EpPf12ubyt76_BKBs/s1600/dp-george-6A.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWds71H9ANVOHeBAS5bpXmM_UJD4fx7J8spvqQZup6-k_3DwSJnTXrd87iG4HtTl7bB5MERflpHA9K9QkMeNPb9RRl4174QPCxYJG31xS2BHfMvBVPIt3E4p-0_7EpPf12ubyt76_BKBs/s1600/dp-george-6A.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">6A</td></tr>
</tbody></table>
</td>
</tr>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifeYiRJgAsWZIbxvSCzqGGRf4k5SJPG_XVz2Qu5Wk_58_B2BQdVjjMZch-XHZkGTOMSoAc5BK3cdjVZgzeeKZgmiHIbeuNajPcJCilXjVr-zlzGCatgyjoSP_LvGMbmzbtnShUekGGONo/s1600/dp-george-6B.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifeYiRJgAsWZIbxvSCzqGGRf4k5SJPG_XVz2Qu5Wk_58_B2BQdVjjMZch-XHZkGTOMSoAc5BK3cdjVZgzeeKZgmiHIbeuNajPcJCilXjVr-zlzGCatgyjoSP_LvGMbmzbtnShUekGGONo/s1600/dp-george-6B.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">6B</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7tn1iiPYsG1dz5w3oAIfxsxUCF0JXtXJrRyLv2w-lfY_fS5o05HTLDR1hAD8f2TLhx8DA4merxXuA-L208Rl4C4jbZabbR8P9E00miDt6lgSdxUcxW2z4Lc2L-PihIT-FPlzFBEuO3p8/s1600/dp-george-6C.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7tn1iiPYsG1dz5w3oAIfxsxUCF0JXtXJrRyLv2w-lfY_fS5o05HTLDR1hAD8f2TLhx8DA4merxXuA-L208Rl4C4jbZabbR8P9E00miDt6lgSdxUcxW2z4Lc2L-PihIT-FPlzFBEuO3p8/s1600/dp-george-6C.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">6C</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFsPcwpO-t21xvfQNtkhi9zGkmuyAWjko_aB3kxyr7xTGT5k6bRsVpvmbjxeLOzthNK_kXhkwAWHh9bew_ZnuTxxkQEgqJlYsVBSyOZmvRVNE9Mdd5T7v6y6B52NPVnA1BKwTMy4_zzHY/s1600/dp-george-6D.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFsPcwpO-t21xvfQNtkhi9zGkmuyAWjko_aB3kxyr7xTGT5k6bRsVpvmbjxeLOzthNK_kXhkwAWHh9bew_ZnuTxxkQEgqJlYsVBSyOZmvRVNE9Mdd5T7v6y6B52NPVnA1BKwTMy4_zzHY/s1600/dp-george-6D.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">6D</td></tr>
</tbody></table>
</td>
</tr>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilmn32mfAyLUUBI4hKvvQYQpDICILVTQzC03Hws8eymn8FJfHBfsizoWY0yfatImBDG3o0jrPEm-NEi4-mIkBiMOVIXwYBn02BCclDmp6fBCRPGpMHViSBICitRlDf1j1Z1uacPPNtwXY/s1600/dp-george-6E.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilmn32mfAyLUUBI4hKvvQYQpDICILVTQzC03Hws8eymn8FJfHBfsizoWY0yfatImBDG3o0jrPEm-NEi4-mIkBiMOVIXwYBn02BCclDmp6fBCRPGpMHViSBICitRlDf1j1Z1uacPPNtwXY/s1600/dp-george-6E.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">6E</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifx3KtL_bodyNVUCWUfQdgpelzxiM5v2FdfbZYSgt3_qXHpwn9pvw_DRiSRh28dC_ELxL_OucYqpXaBZJ6gTZKLR02L893wjio4r0Zu3dd_3I9kfp3dtgPMNw41LzIHlST7BXxnRnAYp4/s1600/dp-george-6F.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifx3KtL_bodyNVUCWUfQdgpelzxiM5v2FdfbZYSgt3_qXHpwn9pvw_DRiSRh28dC_ELxL_OucYqpXaBZJ6gTZKLR02L893wjio4r0Zu3dd_3I9kfp3dtgPMNw41LzIHlST7BXxnRnAYp4/s1600/dp-george-6F.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">6F</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4eMQnj_X7GKdUH9e_pHEEPNV59OXqcsBdSP2TKxbdVjXvQX9ZIK3I384a1AjHvj5A7z-5zBGiNDTzqCJNPEIgxEV2s_0Ho93IXZ4GHZVFrj_51FD9hfs2xZj6rCU2W2O-90k0ZEaERs8/s1600/dp-george-6G.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4eMQnj_X7GKdUH9e_pHEEPNV59OXqcsBdSP2TKxbdVjXvQX9ZIK3I384a1AjHvj5A7z-5zBGiNDTzqCJNPEIgxEV2s_0Ho93IXZ4GHZVFrj_51FD9hfs2xZj6rCU2W2O-90k0ZEaERs8/s1600/dp-george-6G.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">6G</td></tr>
</tbody></table>
</td>
</tr>
<tr>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTVLWKAIJXp3HNrRn0wEfgrIHrk4_YjLwVot3_-faL8xEW2ogh4cb0cvEhMMXO15FdMlVw4Wq77u99aoY5pqBX2GTKSnXkB-ZXvl3Z6eUmGpPmN3mTNt3Aq6uczsIGhbLWcvW7GEXhEEU/s1600/dp-george-7A.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTVLWKAIJXp3HNrRn0wEfgrIHrk4_YjLwVot3_-faL8xEW2ogh4cb0cvEhMMXO15FdMlVw4Wq77u99aoY5pqBX2GTKSnXkB-ZXvl3Z6eUmGpPmN3mTNt3Aq6uczsIGhbLWcvW7GEXhEEU/s1600/dp-george-7A.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">7A</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU0eFi1rj8QgSxrstdi_gnJbCbRd0ay-58GEqn_ilC-iImr1z2SOfiuTdPiSHa7mOS7aKHjpYkrAXU2-gv28nMlQZEBmIfM7RhUUNE0kbnGbaY0Ug1Wb3LXcZ1XiX1hAYdGP8Snn27r9U/s1600/dp-george-7B.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU0eFi1rj8QgSxrstdi_gnJbCbRd0ay-58GEqn_ilC-iImr1z2SOfiuTdPiSHa7mOS7aKHjpYkrAXU2-gv28nMlQZEBmIfM7RhUUNE0kbnGbaY0Ug1Wb3LXcZ1XiX1hAYdGP8Snn27r9U/s1600/dp-george-7B.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">7B</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6-hmSKjVuqxkSLUCqc22BsP0ctsstO3FaJsIXVKzZz10a35Zv9YiUSWAlcpSTmi-8FIHPatgiUEf8SlC6cVkE6fLNEFfwstIh7HJ0sRWJsYyMBfif-6dXSFXiCommEKa3HFvzUFQ1A_w/s1600/dp-george-7B-dissolve.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6-hmSKjVuqxkSLUCqc22BsP0ctsstO3FaJsIXVKzZz10a35Zv9YiUSWAlcpSTmi-8FIHPatgiUEf8SlC6cVkE6fLNEFfwstIh7HJ0sRWJsYyMBfif-6dXSFXiCommEKa3HFvzUFQ1A_w/s1600/dp-george-7B-dissolve.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">7B dissolve</td></tr>
</tbody></table>
</td>
</tr>
</tbody></table>
<br />
The sequence opens with a shot of George sleeping on his bed, then cuts to the newspaper on his chest which bears a headline about Vincent's escape. This omniscient point-of-view occurs regularly in the film, even in the first 37 minutes. We switch to Vincent's point-of-view perhaps at shot 4, which is a close-up of Vincent's thumb ringing the doorbell. This may or may not be Vincent's actual point-of-view. It seems unlikely, given the tight framing and the angle from which it is shot, but certainly Vincent's point-of-view beings by shot 5A, when George opens the door and looks directly at Vincent/the camera. If we consider shot 4 the start of Vincent's point-of-view, then the cut to shot 5 instantly changes Vincent's perspective without using camera movement as a transition.<br />
<br />
Shot 5 continues, with camera movement motivated by George — each time he moves to a different part of the room, Vincent's eyes follow and the camera reframes the shot. It's at the cut to shot 6 that we get the first serious violation of the fluid presentation of Vincent's point-of-view. In shot 5F, George opens a drawer at the head of his bed to get a key for Vincent while Vincent is seated at the foot of the bed. The cut to shot 6A reframes George and the drawer in a medium close-up, from a much different angle, but matches George's action with the keys in the previous shot. When Vincent's hand appears from behind camera right, we see that this shot is also Vincent's point-of-view, indicating an immediate change in Vincent's position on the bed. George's dialog gives some justification for this — right before Vincent reaches for the key, George says, "Lie down Vince, and make yourself at home," possibly suggesting Vincent's change of position is due to his lying down, though offering no explanation for the speed at which Vincent is able to do so. Another equally abrupt transition occurs in the cut to shot 7, where Vincent is instantly repositioned further down the bed, looking at George from a higher angle, apparently standing up once again.<br />
<b><br /></b>
<b>The end of point-of-view: the "coming-to" shot</b><br />
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<table border="0" cellpadding="0" cellspacing="0" style="width: 100%;">
<tbody>
<tr>
<td valign="top"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj54ZulF9-uGT3B7VAZQ9X25THbux3Mq3vpCgjtMGUv_issoDR-zrgEzwEQ7LBmdj4f4ePmZjrv2l-valrQAkfNQXSsUEm2bmRMOmO1srF1focAhQGrnAI6xl48BbiGxkq4bPa9nFmx8Gs/s1600/dark_passage-surgery-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj54ZulF9-uGT3B7VAZQ9X25THbux3Mq3vpCgjtMGUv_issoDR-zrgEzwEQ7LBmdj4f4ePmZjrv2l-valrQAkfNQXSsUEm2bmRMOmO1srF1focAhQGrnAI6xl48BbiGxkq4bPa9nFmx8Gs/s1600/dark_passage-surgery-1.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Vincent goes under</td></tr>
</tbody></table>
</td>
<td valign="top"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4dgdcclAk3lO0nagLooq6iPV8aNNJ2Bo4_jTVkwd9h9ZbeNKl4jRLwV2S7TmVZk6w7SE_jkUKOTXvJqbgHVlWOtWuqYyclFkrLG_Ur63kGv-mskV-OEuVaBdJNUsD9jLlfn4peBBturI/s1600/dark_passage-surgery-4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4dgdcclAk3lO0nagLooq6iPV8aNNJ2Bo4_jTVkwd9h9ZbeNKl4jRLwV2S7TmVZk6w7SE_jkUKOTXvJqbgHVlWOtWuqYyclFkrLG_Ur63kGv-mskV-OEuVaBdJNUsD9jLlfn4peBBturI/s1600/dark_passage-surgery-4.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Vincent's hallucination<br />
(excerpt)</td></tr>
</tbody></table>
</td>
<td valign="top"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Tf4foIFl998ggi6K9ohGEzohxywNj63kqi2QlcYaY-ISHSkbJh0w2zV0Fb0anDJNbdTPIzuCT3xsSTn7q_05pmk83KwRm25JWQDEY4sdVRXKXavVK1N_Ot9Ve4OHCdFgiVnxsP9rC0U/s1600/dark_passage-surgery-5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Tf4foIFl998ggi6K9ohGEzohxywNj63kqi2QlcYaY-ISHSkbJh0w2zV0Fb0anDJNbdTPIzuCT3xsSTn7q_05pmk83KwRm25JWQDEY4sdVRXKXavVK1N_Ot9Ve4OHCdFgiVnxsP9rC0U/s1600/dark_passage-surgery-5.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Vincent's hallucination<br />
(excerpt)</td></tr>
</tbody></table>
</td>
</tr>
</tbody></table>
<br />
The surgery scene is the last one to feature such extensive use of Vincent's point-of-view. We watch the moments before surgery through Vincent's eyes, up to when the surgeon covers Vincent's face with the wet cloth. We then see what could be called Vincent's "psychological" point-of-view in the form of the anesthesia-induced hallucination he experiences during the surgery. This hallucination fades to black, and is immediately followed by what I call a "coming-to" shot.<br />
<br />
<table border="0" cellpadding="0" cellspacing="0" style="width: 100%;">
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<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7EbYT_jGH7LabNEYScQlzEL72dClTLHwLO7AdXT3zX9vmvCEvQlKItlBKxlbMCNA0OM7hchT27VLlLsfc6Ydt-bBZcT6uaZUqJiGsax4KJsP1sURyA4aiJ16uS7vnDr3C9i1ht7jhudY/s1600/dark_passage-surgery-6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7EbYT_jGH7LabNEYScQlzEL72dClTLHwLO7AdXT3zX9vmvCEvQlKItlBKxlbMCNA0OM7hchT27VLlLsfc6Ydt-bBZcT6uaZUqJiGsax4KJsP1sURyA4aiJ16uS7vnDr3C9i1ht7jhudY/s1600/dark_passage-surgery-6.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The "coming-to" shot, part 1</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLbqAzSRRu0BZ39_i4Mq1AMoGHJaMdx-yMKIJFepUBs7uLnSqSTaocPigUZU-C27V1I7oSvMnBk_afcqrhUsmnoDHQF5VKraBHTjYuXLxI74WLvNOi3lduzKwlu0Gldf7PGtSsxeUwP4g/s1600/dark_passage-surgery-7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLbqAzSRRu0BZ39_i4Mq1AMoGHJaMdx-yMKIJFepUBs7uLnSqSTaocPigUZU-C27V1I7oSvMnBk_afcqrhUsmnoDHQF5VKraBHTjYuXLxI74WLvNOi3lduzKwlu0Gldf7PGtSsxeUwP4g/s1600/dark_passage-surgery-7.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The "coming-to" shot, part 2</td></tr>
</tbody></table>
</td>
<td><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjHZ_irc5Njk-makR5iULnDA828ckPmt14D7ooxCRUwc2ybNfVEnd79Cu1IK1V_3hw3PGsOk5kCqUEq6yp1hwcU_2s8n5VatcG7lJ5ubrtahjRoc1e0MwtJlQ7vKi_exlJ4Beqt8CJkPM/s1600/dark_passage-surgery-8.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjHZ_irc5Njk-makR5iULnDA828ckPmt14D7ooxCRUwc2ybNfVEnd79Cu1IK1V_3hw3PGsOk5kCqUEq6yp1hwcU_2s8n5VatcG7lJ5ubrtahjRoc1e0MwtJlQ7vKi_exlJ4Beqt8CJkPM/s1600/dark_passage-surgery-8.jpg" height="100" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The "coming-to's" reverse shot</td></tr>
</tbody></table>
</td>
</tr>
</tbody></table>
<br />
I have <a href="http://second-reel.blogspot.com/2010/10/impossible-pov.html">written about</a> the "coming-to" shot before; it is used to show a person regaining consciousness and typically shows one or more people shot from a low angle, looking down, entirely out-of-focus, suggesting that we are looking through the eyes of a person coming-to as others look on. As the shot comes slowly into focus, however, we see that the people in the shot are not looking into the camera lens, but off to the side, exposing the shot as not truly subjective. As Vincent comes to, the surgeon and Sam, the cabbie, looking down at him, come into focus, and we ultimately see that they are not looking at the camera, but off camera left. The next shot is from over their shoulders, of Vincent's bandaged face looking up at them. This traditional technique is perhaps fitting, as it marks the point where Vincent's point-of-view stops being used so extensively and the film reverts to more traditional methods.<br />
<b><br /></b>
<b><span style="font-size: x-small;">Notes</span></b><br />
<br />
<span style="font-size: x-small;"><sup>1</sup>I am not considering such concealed edits a violation of Vincent's POV, because in most cases they function to create the illusion of an uninterrupted point-of-view shot by extending a shot that would otherwise need to end (due to the finite amount of film in the camera or on-set restrictions on camera movement) or by creating a unified cinematic space from different shooting locations.</span><br />
<br />
<span style="font-size: x-small;"><sup>2</sup>In this case, I am certain that no time has lapsed, though uninterrupted conversation is not always an indication of temporal consistency — see Rachael's Voight-Kampff test in <i>Blade Runner</i>, e.g.</span><br />
<br />
<span style="font-size: x-small;"><sup>3</sup>Something else not indicated here, or in the majority of cinema's true point-of-view shots, is blinking.</span><br />
<br />
<span style="font-size: x-small;"><sup>4</sup>Indeed, any aimless camera movement would not fit in among the rest, which appear to always be motivated by something, whether immediately obvious (like Baker's question about the wet shoes in shot 2B) or not (like the pan from shot 5B to 5C which reveals the distinctive seat cover, which will tip Vincent to Baker's presence later).</span>Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com2tag:blogger.com,1999:blog-4804928946512327810.post-4114049859027228382014-06-01T13:16:00.001-04:002014-06-01T15:02:12.581-04:00Happy Birthday, Marilyn MonroeMarilyn Monroe was born this day in 1926. In commemoration, here's a partial look at the impressive roster of actors and directors she worked with in her <nobr>15-year</nobr> career.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN3xwFVoYg1AHEF4nfgiivoheNDaKrH4qphXSs3xoAG1WYDfdv09MpvRXysCpjuOvIjuFAJVDxuZAbFiFt9xpUTcDBHn2QydDJ5GLd6F0i_jSZQlJm0yn9xY2tDR6P5xeFCJ3x26ymi9k/s1600/asphalt_jungle.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN3xwFVoYg1AHEF4nfgiivoheNDaKrH4qphXSs3xoAG1WYDfdv09MpvRXysCpjuOvIjuFAJVDxuZAbFiFt9xpUTcDBHn2QydDJ5GLd6F0i_jSZQlJm0yn9xY2tDR6P5xeFCJ3x26ymi9k/s1600/asphalt_jungle.jpg" height="250" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Louis Calhern in <i>The Asphalt Jungle</i> (John Huston, 1950)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWTq4s6OGOfunS0dFWI0506miG9nM4o3AGf0KoNpRh9SAH1VWBVcK6yqB_yO9hMKPl0GP1bMejpp3xO7DAzOEq0vM2nce8uPRdnvaJrKiEuM6UMxfUfECXOWAFHM-LZIlbH-PcvnSsp_c/s1600/right_cross.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWTq4s6OGOfunS0dFWI0506miG9nM4o3AGf0KoNpRh9SAH1VWBVcK6yqB_yO9hMKPl0GP1bMejpp3xO7DAzOEq0vM2nce8uPRdnvaJrKiEuM6UMxfUfECXOWAFHM-LZIlbH-PcvnSsp_c/s1600/right_cross.jpg" height="293" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Dick Powell in <i>Right Cross</i> (John Sturges, 1950)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjekrO4SxRMoJU-c2PeFjTl_OR9e40JCRod5ggOdAQ-kvuVsRCYTFbB5M7TbOS3FFFUItq-9W-_lgY_v6Kbs6Kea6n29vFAbNYJvrbeZ1askOKfYCvBrmJ-ryFfCMLG8BAcdtaUvktv3s0/s1600/fireball.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjekrO4SxRMoJU-c2PeFjTl_OR9e40JCRod5ggOdAQ-kvuVsRCYTFbB5M7TbOS3FFFUItq-9W-_lgY_v6Kbs6Kea6n29vFAbNYJvrbeZ1askOKfYCvBrmJ-ryFfCMLG8BAcdtaUvktv3s0/s1600/fireball.jpg" height="278" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Mickey Rooney in <i>The Fireball</i> (Tay Garnett, 1950)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyjryffA_mKwU3ZYmHY4zB4pwE3ElkfiSh6vb-3VgiUuUNMqWBPJ9GI-OSCQeFMmCr5l3OaqadyZfocWNbizBriWoeCyw9l1bNa_RinH5SnYGMMoGoZQ5Cld1vrdVrrbWxjUSZzwm8pn0/s1600/all_about_eve.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyjryffA_mKwU3ZYmHY4zB4pwE3ElkfiSh6vb-3VgiUuUNMqWBPJ9GI-OSCQeFMmCr5l3OaqadyZfocWNbizBriWoeCyw9l1bNa_RinH5SnYGMMoGoZQ5Cld1vrdVrrbWxjUSZzwm8pn0/s1600/all_about_eve.jpg" height="250" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Gregory Ratoff, Anne Baxter, Gary Merrill, Celeste Holm, and<br />
George Sanders in <i>All About Eve</i> (Joseph L. Mankiewicz, 1950)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDmmlQMI96_eLfTMG7mqCS06tYuMLIPCkS_m39llIk7l_1_5yg23gJW4byOKB5ou6urKHU_RcDbX4mGDuqUoQF_waijqwD8Gd3umVPlB5ErlFC1pI-BnJ-tyEE9RWaFuV_q3Cqfi4Whmw/s1600/as_yound_as_you_feel.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDmmlQMI96_eLfTMG7mqCS06tYuMLIPCkS_m39llIk7l_1_5yg23gJW4byOKB5ou6urKHU_RcDbX4mGDuqUoQF_waijqwD8Gd3umVPlB5ErlFC1pI-BnJ-tyEE9RWaFuV_q3Cqfi4Whmw/s1600/as_yound_as_you_feel.jpg" height="250" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Albert Dekker in <i>As Young as You Feel</i> (Harmon Jones, 1951)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPx0R-L6Qr1DY8-r5HPmgEC0GKA51Ssyt6IDxy0Rv7mUP5qRVWCoF9nTO0s1Z5KinTc9rSGzcZyqtILtYJyKGT3ab5njRiSwJni-WukfnaufBvmFKwSazxjfXzUrPaudtyuS7w_Jcta-k/s1600/love_nest.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPx0R-L6Qr1DY8-r5HPmgEC0GKA51Ssyt6IDxy0Rv7mUP5qRVWCoF9nTO0s1Z5KinTc9rSGzcZyqtILtYJyKGT3ab5njRiSwJni-WukfnaufBvmFKwSazxjfXzUrPaudtyuS7w_Jcta-k/s1600/love_nest.jpg" height="250" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Jack Paar in <i>Love Nest</i> (Joseph M. Newman, 1951)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXczhamEFDYUViFnafG2bbsuA8nxoXgOAVKzvXaUoO2UE1BAiqDbqQbdSwowYqIHTVdp6sYKyAUzgTTb4ZmUgvkVVkIsahl2tOBGqUL7UnKWJvLcjCSWo0TYSjdKMdvCOEaVstZxGbscg/s1600/lets_make_it_legal.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXczhamEFDYUViFnafG2bbsuA8nxoXgOAVKzvXaUoO2UE1BAiqDbqQbdSwowYqIHTVdp6sYKyAUzgTTb4ZmUgvkVVkIsahl2tOBGqUL7UnKWJvLcjCSWo0TYSjdKMdvCOEaVstZxGbscg/s1600/lets_make_it_legal.jpg" height="250" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Macdonald Carey, Zachary Scott, and Claudette Colbert<br />
in <i>Let's Make It Legal</i> (Richard Sale, 1951)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7UbNMNS1_X9n9xnNvhKWMneDD9efN5xt9D2Oj94agb3SrJTuz6yHuHyj1Aura8Bnbu-sbIwYT4Wy1RdDQJiMbw2Ftk7j3RF5tuAcmfLEVpF5F92zTwAYLmJFbLVZX12KRfDmQmlMWj84/s1600/clash_by_night.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7UbNMNS1_X9n9xnNvhKWMneDD9efN5xt9D2Oj94agb3SrJTuz6yHuHyj1Aura8Bnbu-sbIwYT4Wy1RdDQJiMbw2Ftk7j3RF5tuAcmfLEVpF5F92zTwAYLmJFbLVZX12KRfDmQmlMWj84/s1600/clash_by_night.jpg" height="250" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Robert Ryan and Barbara Stanwyck in <i>Clash By Night</i><br />
(Fritz Lang, 1952)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtBWgpNZhRqTDdvX1GASiEjrWLzePmizOuzJf0AThrlH_Gb2iXs-eBptaLQII7Suki0MetqkaIWXSs0DH2mpngHpTV0Oqeb7eKEdxEv_DawYggVnzpHGfIucpgQ0A9g6sDYcNjSBoPrdM/s1600/were_not_married.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtBWgpNZhRqTDdvX1GASiEjrWLzePmizOuzJf0AThrlH_Gb2iXs-eBptaLQII7Suki0MetqkaIWXSs0DH2mpngHpTV0Oqeb7eKEdxEv_DawYggVnzpHGfIucpgQ0A9g6sDYcNjSBoPrdM/s1600/were_not_married.jpg" height="250" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In <i>We're Not Married!</i> (Edmund Goulding, 1952)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGYH8TnnDxN6Un9Bf3na7rbvvyrtW9gm87scHPoiUEvNuUS4XhISgtibOgOF7LYzodXYWq-0Y6R0nzl9E40Tbx4K1z4GPru6ZaQU-av06dM2u3zBinhYfMteA3YMHCcrliOoZaAxvNaIs/s1600/dont_bother_to_knock.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGYH8TnnDxN6Un9Bf3na7rbvvyrtW9gm87scHPoiUEvNuUS4XhISgtibOgOF7LYzodXYWq-0Y6R0nzl9E40Tbx4K1z4GPru6ZaQU-av06dM2u3zBinhYfMteA3YMHCcrliOoZaAxvNaIs/s1600/dont_bother_to_knock.jpg" height="250" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Anne Bancroft and Richard Widmark in<br />
<i>Don't Bother to Knock</i> (Roy Ward Baker, 1952)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj1mYTKwKqwybB_nZZspwrhw0W3_LIEaGS0x56ewUudbqLcX5HbvGA2clEDRk7x86DcHVU9piy31oC0llLP0vgCLngc2AsHAkbpthAZ9GIJiUEhVnod-TZ7OSjZfLADHvW9m2yMpTgzq4/s1600/full_house.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj1mYTKwKqwybB_nZZspwrhw0W3_LIEaGS0x56ewUudbqLcX5HbvGA2clEDRk7x86DcHVU9piy31oC0llLP0vgCLngc2AsHAkbpthAZ9GIJiUEhVnod-TZ7OSjZfLADHvW9m2yMpTgzq4/s1600/full_house.jpg" height="250" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Charles Laughton in <i>O. Henry's Full House</i><br />
(Henry Koster segment, 1952)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkThIvr4oqfHb_9MC83KJa8ttgLW7ChosLkItR8osSCCEJq_IqOML3MiF8Sm6zMkbey9B-8kQHx7PgCJKrYkdyLkXUs65oYNGzQzqQ-ZY1ImXMp1o9pg5FKeH2gmVGHmgTlP1R4kvAIf4/s1600/monkey_business.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkThIvr4oqfHb_9MC83KJa8ttgLW7ChosLkItR8osSCCEJq_IqOML3MiF8Sm6zMkbey9B-8kQHx7PgCJKrYkdyLkXUs65oYNGzQzqQ-ZY1ImXMp1o9pg5FKeH2gmVGHmgTlP1R4kvAIf4/s1600/monkey_business.jpg" height="250" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Charles Coburn and Cary Grant in <i>Monkey Business</i><br />
(Howard Hawks, 1952)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLedl35rmhCPk3hg5RTXS3EpbjLYjpJQsNmhSFa7WF-ORYkhIwYps_v18ZObD_ECl9dVH3xa6FmR7Meb06chOZNTf3X8EpBStxPHt2j5cdU7iEIebcJUe2o6KifzRXkZABcD-3kz3OCso/s1600/niagara.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLedl35rmhCPk3hg5RTXS3EpbjLYjpJQsNmhSFa7WF-ORYkhIwYps_v18ZObD_ECl9dVH3xa6FmR7Meb06chOZNTf3X8EpBStxPHt2j5cdU7iEIebcJUe2o6KifzRXkZABcD-3kz3OCso/s1600/niagara.jpg" height="252" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Joseph Cotten in <i>Niagara</i> (Henry Hathaway, 1953)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT_W3ndtZsB_Tlfp2Bvlgtk0D2PgWNx1_VAKy98k-t46LSZwRai8loj1tfxZKNmzSQrEN03iWL-1MZNY9kO0tc3kKMvmy-pEU3MB5c8SV5-uYHLG4Kx5G3Prb2Yc4RdAV8TBDNYVyFL6U/s1600/gentlemen_prefer_blondes.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT_W3ndtZsB_Tlfp2Bvlgtk0D2PgWNx1_VAKy98k-t46LSZwRai8loj1tfxZKNmzSQrEN03iWL-1MZNY9kO0tc3kKMvmy-pEU3MB5c8SV5-uYHLG4Kx5G3Prb2Yc4RdAV8TBDNYVyFL6U/s1600/gentlemen_prefer_blondes.jpg" height="250" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Jane Russell in <i>Gentlemen Prefer Blondes</i> (Howard Hawks, 1953)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFook1BGbUj_vA3KtzwY-e6R-xoAzgWII4CRYCYGLLCj1ttkLw1at6tVpN0YV2JmM4gsZd3pM6xF3vW3_lAr1Fjv80xKfEZQw5ZFo4ENZlguPdyKYuskxRaoS4ExNnu0KwRKOSrXapd7Q/s1600/how_to_marry_a_millionaire.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFook1BGbUj_vA3KtzwY-e6R-xoAzgWII4CRYCYGLLCj1ttkLw1at6tVpN0YV2JmM4gsZd3pM6xF3vW3_lAr1Fjv80xKfEZQw5ZFo4ENZlguPdyKYuskxRaoS4ExNnu0KwRKOSrXapd7Q/s1600/how_to_marry_a_millionaire.jpg" height="177" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Betty Grable and Lauren Bacall in <i>How to Marry a Millionaire</i><br />
(Jean Negulesco, 1953)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg05vhHr9gs4I20rD2THzoZj16SZ5OzrObi0dQgQVOoY7QS06u5wIJ7u1-OqmxDwVgWHbV-cTtDxpiH0988k3sY-7f9_xMeX3lbFYt9hZaUsevrpgD0im4d1Q6ZVQ5N_FQFVEZ4ajAHU2s/s1600/river_of_no_return.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg05vhHr9gs4I20rD2THzoZj16SZ5OzrObi0dQgQVOoY7QS06u5wIJ7u1-OqmxDwVgWHbV-cTtDxpiH0988k3sY-7f9_xMeX3lbFYt9hZaUsevrpgD0im4d1Q6ZVQ5N_FQFVEZ4ajAHU2s/s1600/river_of_no_return.jpg" height="173" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Robert Mitchum in <i>River of No Return</i> (Otto Preminger, 1954)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyxfuMc4NXn0P9vdNcCo3gwUWP66674VaYMUfoAqn62__JSJm_0v1V0KsKQe1pcdVkBMDInwX5OHH__rIRUd0bst49WJjci0f0cMKi-YER8ri3JwCaind-3dS905fYfOpCn6P-xDFGiZY/s1600/there_no_business_like_show.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyxfuMc4NXn0P9vdNcCo3gwUWP66674VaYMUfoAqn62__JSJm_0v1V0KsKQe1pcdVkBMDInwX5OHH__rIRUd0bst49WJjci0f0cMKi-YER8ri3JwCaind-3dS905fYfOpCn6P-xDFGiZY/s1600/there_no_business_like_show.jpg" height="175" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Johnnie Ray, Mitzi Gaynor, Dan Dailey, Ethel Merman, and<br />
Donald O'Connor in <i>There's No Business Like Show Business</i><br />
(Walter Lang, 1954)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy2O5VcU8d6NjR-2gbWEE4qj__UfTJAa8a6AkjYsdPc8swzmq2y5qUAY2uJGXncCUUXhw0XrZ2wnPcylCmwZhn219PSYUDONf_T9jkTFe2Iu2C_cLi8MmrRPpP6Ph_Uj4mYR5DVSkBpCo/s1600/seven_year_itch.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy2O5VcU8d6NjR-2gbWEE4qj__UfTJAa8a6AkjYsdPc8swzmq2y5qUAY2uJGXncCUUXhw0XrZ2wnPcylCmwZhn219PSYUDONf_T9jkTFe2Iu2C_cLi8MmrRPpP6Ph_Uj4mYR5DVSkBpCo/s1600/seven_year_itch.jpg" height="175" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Tom Ewell in <i>The Seven Year Itch</i> (Billy Wilder, 1955)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz-Y1lghmjMaCh-TbWHaVRYO4GuETzkjK5Ig3OnMnAB9D7nQ5LI6PGP2XJ9FbURhsN703-KE9ntMBUHsVR-0R17vKqrDGzxq5hgWWZiey8W-GfbnNGrPLuLHvtAAyeA-5onBj9MqWBUOQ/s1600/bus_stop.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz-Y1lghmjMaCh-TbWHaVRYO4GuETzkjK5Ig3OnMnAB9D7nQ5LI6PGP2XJ9FbURhsN703-KE9ntMBUHsVR-0R17vKqrDGzxq5hgWWZiey8W-GfbnNGrPLuLHvtAAyeA-5onBj9MqWBUOQ/s1600/bus_stop.jpg" height="175" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Don Murray in <i>Bus Stop</i> (Joshua Logan, 1956)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk8XX9GuDiRYjHwww5RKy69gfwKj2ApQquzX_a7TS0hisU8JeEssCQevzeyofgGBJIOYp0u0MI9fYkDU5lGbEo95MzBmN8-S1P-1Bu0KNiQxubL2szd684mXl6D6DNUtSVLKzSccAdDuM/s1600/prince_and_showgirl.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk8XX9GuDiRYjHwww5RKy69gfwKj2ApQquzX_a7TS0hisU8JeEssCQevzeyofgGBJIOYp0u0MI9fYkDU5lGbEo95MzBmN8-S1P-1Bu0KNiQxubL2szd684mXl6D6DNUtSVLKzSccAdDuM/s1600/prince_and_showgirl.jpg" height="250" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Laurence Olivier in <i>The Prince and the Showgirl</i><br />
(Laurence Olivier, 1957)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpx0aeexl6LujWjpHazbcC2MqqkOMTsNBrkQ_rBoGguEyli9t2PD2zdfIvkqqmDRhH9xuy9TYZytPhZf2exahKq1qvW2aL8GX5BNX3-tFlwRhiMwntUwPBbXCm1cK65L1FWSd_g05FLGA/s1600/some_like_it_hot.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpx0aeexl6LujWjpHazbcC2MqqkOMTsNBrkQ_rBoGguEyli9t2PD2zdfIvkqqmDRhH9xuy9TYZytPhZf2exahKq1qvW2aL8GX5BNX3-tFlwRhiMwntUwPBbXCm1cK65L1FWSd_g05FLGA/s1600/some_like_it_hot.jpg" height="202" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Tony Curtis and Jack Lemmon in <i>Some Like It Hot</i> (Billy Wilder, 1959)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQgVKcc-E-I6pii_gtCWf6OGzuApv-VXKglKFVPxrmq3gNc9UKtjVGI-p9kYSwycAzE_sYmgtenF2d2zBM8kdZ985zdHu-yPCk0Nqrb_u8ONvoaM6LKvsKndMQ149TIe1Sgw-pA9D7oL4/s1600/lets_make_love.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQgVKcc-E-I6pii_gtCWf6OGzuApv-VXKglKFVPxrmq3gNc9UKtjVGI-p9kYSwycAzE_sYmgtenF2d2zBM8kdZ985zdHu-yPCk0Nqrb_u8ONvoaM6LKvsKndMQ149TIe1Sgw-pA9D7oL4/s1600/lets_make_love.jpg" height="192" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Yves Montand and Wilfrid Hyde-White in <i>Let's Make Love</i><br />
(George Cukor, 1960)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjateYm-GPxhrUp2HoD02GlWLBpH1jup4iNcV0_u2L49RiSPvgqHA6DceyvXP2j4uF__sXERibAY_2WSTEd6KwuHfu26Ca0dAQBm8kkngh4xJuoCRp-SLwZFR_OzrxZirBdD1mt3PeD_Qg/s1600/misfits.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjateYm-GPxhrUp2HoD02GlWLBpH1jup4iNcV0_u2L49RiSPvgqHA6DceyvXP2j4uF__sXERibAY_2WSTEd6KwuHfu26Ca0dAQBm8kkngh4xJuoCRp-SLwZFR_OzrxZirBdD1mt3PeD_Qg/s1600/misfits.jpg" height="202" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With Eli Wallach, Montgomery Clift, and Clark Gable in <i>The Misfits</i><br />
(John Huston, 1961)</td></tr>
</tbody></table>
<br />Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-31221424212427585952014-05-31T12:04:00.009-04:002022-08-13T22:42:12.361-04:00Bill Paxton vs. Bill Pullman: Can you tell them apart?<div class="separator" style="clear: both; text-align: right;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhhckz-1GNRtWqot7sgp34adI5Jye0p7w_nDtjAH6w_82r-e9FKZxSLiitE-AHH_RsZOZbzhWhW6zYXL1K7u53GmYf_C0FCXdq8qcrPb7stO8jHXj3lPlBFp1OEsWFkkWoFqS0qZWIRWPA9G68FYChmibjAVkWKEpsUh3u-CkOYEqU6tr-2Qhr7trE/s225/paxton-pullman.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="119" data-original-width="225" height="119" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhhckz-1GNRtWqot7sgp34adI5Jye0p7w_nDtjAH6w_82r-e9FKZxSLiitE-AHH_RsZOZbzhWhW6zYXL1K7u53GmYf_C0FCXdq8qcrPb7stO8jHXj3lPlBFp1OEsWFkkWoFqS0qZWIRWPA9G68FYChmibjAVkWKEpsUh3u-CkOYEqU6tr-2Qhr7trE/s1600/paxton-pullman.jpg" width="225" /></a></div>
<table border="1" cellpadding="2" cellspacing="2">
<tbody><tr>
<td width="50%">Played Ed Masterson in <i>Wyatt Earp</i> (1994)</td>
<td width="25%"><div id="paxtonpullman-q1" style="display: none;">Bill Pullman</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('paxtonpullman-q1').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Played Wyatt Earp's brother Morgan in <i>Tombstone</i> (1993)</td>
<td width="25%"><div id="paxtonpullman-q2" style="display: none;">Bill Paxton</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('paxtonpullman-q2').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Battled aliens in <i>Aliens</i> (1986)</td>
<td width="25%"><div id="paxtonpullman-q3" style="display: none;">Bill Paxton</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('paxtonpullman-q3').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Battled aliens in <i>Independence Day</i> (1996)</td>
<td width="25%"><div id="paxtonpullman-q4" style="display: none;">Bill Pullman</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('paxtonpullman-q4').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Played a space captain in <i>Spaceballs</i> (1987)</td>
<td width="25%"><div id="paxtonpullman-q5" style="display: none;">Bill Pullman</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('paxtonpullman-q5').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Played an astronaut in <i>Apollo 13</i> (1995)</td>
<td width="25%"><div id="paxtonpullman-q6" style="display: none;">Bill Paxton</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('paxtonpullman-q6').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Became a ghost in <i>Casper</i> (1995)</td>
<td width="25%"><div id="paxtonpullman-q7" style="display: none;">Bill Pullman</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('paxtonpullman-q7').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Was a vampire in <i>Near Dark</i> (1987)</td>
<td width="25%"><div id="paxtonpullman-q8" style="display: none;">Bill Paxton</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('paxtonpullman-q8').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Played a bullying older brother in <i>Weird Science</i> (1985)</td>
<td width="25%"><div id="paxtonpullman-q9" style="display: none;">Bill Paxton</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('paxtonpullman-q9').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Played an aspiring furniture maker in <i>While You Were Sleeping</i> (1995)</td>
<td width="25%"><div id="paxtonpullman-q10" style="display: none;">Bill Pullman</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('paxtonpullman-q10').style.display='block';">Answer</a></td>
</tr>
</tbody></table>Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-81790303600147675992014-04-16T08:00:00.000-04:002014-04-16T08:00:00.208-04:00Poster posture: Women with six-guns<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWiR709vOhOioXDIpER8h7LhI5xf43TzPzwd_qH8UM2Sq7BsG1mKqUKC1NdeuSGNtDRBgrQvfPzDxN-mzEAT4A-7dwqPLqa0o87ZXUO12howjVFqtlJtdAxrP2J8txYlosw7Slv-fEP14/s1600/bushwackers.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWiR709vOhOioXDIpER8h7LhI5xf43TzPzwd_qH8UM2Sq7BsG1mKqUKC1NdeuSGNtDRBgrQvfPzDxN-mzEAT4A-7dwqPLqa0o87ZXUO12howjVFqtlJtdAxrP2J8txYlosw7Slv-fEP14/s1600/bushwackers.jpg" height="320" width="194" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Bushwhackers</i> (1951)</td></tr>
</tbody></table>
One style of poster repeatedly used for westerns featuring women shows the women illustrated, not photographed, standing head to toe, looking and pointing two 6-guns straight at us. A typical example is the artwork currently associated with a 1951 film called <i>The Bushwhackers</i> (at right), though it is unclear to me if this is original poster art or something affiliated only with the Synergy Entertainment DVD release of the film. In any case, several authentic examples follow, ordered by how well I think they meet the ideal form of the style, with the strongest examples first, followed by slight variations: photographic art, women with a single gun, and women not entirely shown. I couldn't help but conclude with a French poster for the film noir <i>Gun Crazy</i> (aka <i>Deadly Is the Female</i>), whose leading woman is first introduced wearing a western outfit, twin six-shooters in hand.<br />
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Some of these posters make a promise that isn't kept by the film — I don't recall Patricia Medina, for example, doing much shooting in <i>The Buckskin Lady</i>, nor Babrbara Stanwyck having as much gunplay as Ronald Reagan in <i>Cattle Queen of Montana</i>. Conversely, the poster for <i>Johnny Guitar</i>, while featuring Joan Crawford as the dominant element, does not depict her showdown with Mercedes McCambridge in a rare example of a western whose climactic gunfight is between two women.<br />
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Finally, note the taglines on some of these posters, which sexualize the women through innuendo despite their apparent mastery of a traditionally male (and Freudianly phallic) weapon. My favorites are from <i>The Buckskin Lady</i> ("She hid her past behind a pair of silver .45's!") and <i>Cattle Queen of Montana</i> ("She strips off her petticoats . . . and straps on her guns!"). The posters further fetishize these women through costume, with prominent gun belts offset by tight or low-cut clothing.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvhZ2cTNmzmY4IGZbJcasyazpWYyDMikRnf9xx0cP1noL2JvI7sQRW8aNN29dD82wAYeGM9AeoK0nlHrcTYuMNsiH6C4KZMjYHSudZoLl701IC0tGIdCRHXXmQG74bbr1F1IP5nHj3Yqo/s1600/buckskin_lady.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvhZ2cTNmzmY4IGZbJcasyazpWYyDMikRnf9xx0cP1noL2JvI7sQRW8aNN29dD82wAYeGM9AeoK0nlHrcTYuMNsiH6C4KZMjYHSudZoLl701IC0tGIdCRHXXmQG74bbr1F1IP5nHj3Yqo/s1600/buckskin_lady.jpg" height="640" width="414" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>The Buckskin Lady</i> (1957)</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGa9uLGTryuki8eTgBtSxiLILWPLLI3hH9Mt9hJNsQc70GD-O5qGTjLdx1zrRtwc0nguR7PsBCOtOKMoifhESp3n1-sdz1hn832vLNdeqg6CeZPXWarh7BnSEttDdqBKeiQE36jEcypHw/s1600/montana_belle.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGa9uLGTryuki8eTgBtSxiLILWPLLI3hH9Mt9hJNsQc70GD-O5qGTjLdx1zrRtwc0nguR7PsBCOtOKMoifhESp3n1-sdz1hn832vLNdeqg6CeZPXWarh7BnSEttDdqBKeiQE36jEcypHw/s1600/montana_belle.jpg" height="640" width="474" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>Montana Belle</i> (1952)</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrpQ1M_fofTi82T0ZDYuQuj5DVoheLhINosiKECm7s-ZvgXhR3JFgkz7Ya_Bq34g-f4OHvfaDf2cZ4v2svrL6m8Rx7klUdpKHJMDVK3jaAz6_SzIe1XcRNIYfQafVgiLSEcig1JCVDQ-0/s1600/woman_they_almost_lynched.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrpQ1M_fofTi82T0ZDYuQuj5DVoheLhINosiKECm7s-ZvgXhR3JFgkz7Ya_Bq34g-f4OHvfaDf2cZ4v2svrL6m8Rx7klUdpKHJMDVK3jaAz6_SzIe1XcRNIYfQafVgiLSEcig1JCVDQ-0/s1600/woman_they_almost_lynched.jpg" height="640" width="414" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>Woman They Almost Lynched</i> (1953)</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJzYVd1PC23SSVOgAgeAe-tQGrnBD4Q8__TsdE7zLdZa7Kl57B-bi9MUttF0CT8artleK-20j12iROGCMDitdnCnbxfARhZpTTtr4k5TJv-aXicEBC8xfMe1HaYMjXwBs4C-lSJeUP_94/s1600/johnny_guitar.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJzYVd1PC23SSVOgAgeAe-tQGrnBD4Q8__TsdE7zLdZa7Kl57B-bi9MUttF0CT8artleK-20j12iROGCMDitdnCnbxfARhZpTTtr4k5TJv-aXicEBC8xfMe1HaYMjXwBs4C-lSJeUP_94/s1600/johnny_guitar.jpg" height="640" width="482" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>Johnny Guitar</i> (1954)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-QMYDwsxkQJSU3UPuZnyR6VFEXrjS6Ulw6DbGXvwFmAcl0NKA-DhWWZdS2JaWdi1JO4F9nw8GwfEPTX1nhWhtxHoDBDb8S8prEQS7Hx9aPrpt2L64XFN9R-aE1D9ro5OdhTK-JhKni78/s1600/rose_of_cimarron.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-QMYDwsxkQJSU3UPuZnyR6VFEXrjS6Ulw6DbGXvwFmAcl0NKA-DhWWZdS2JaWdi1JO4F9nw8GwfEPTX1nhWhtxHoDBDb8S8prEQS7Hx9aPrpt2L64XFN9R-aE1D9ro5OdhTK-JhKni78/s1600/rose_of_cimarron.jpg" height="640" width="448" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>Rose of Cimarron</i> (1952)</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnGun8ECSMq3ORuBhHmi0ozSqV4kCo2EAg95McYfuS0f_1Zqq0UjdcM2RSWJIqRHICeYdG34CVqjY-oKc0RjrsnwL_0uf6EVyos0IBNlUMTEcp5jafORwR3throjUunoaSKpYRxHErU14/s1600/cattle_queen_of_montana.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnGun8ECSMq3ORuBhHmi0ozSqV4kCo2EAg95McYfuS0f_1Zqq0UjdcM2RSWJIqRHICeYdG34CVqjY-oKc0RjrsnwL_0uf6EVyos0IBNlUMTEcp5jafORwR3throjUunoaSKpYRxHErU14/s1600/cattle_queen_of_montana.jpg" height="640" width="414" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>Cattle Queen of Montana</i> (1954)</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNBxDVqwcKt3wNJTHuODsBoSaEBR25LB-LrpzH8E-8RYkcXNXlN2MzPNHuB9fsx12_zOidXA2uz_p5aXKJt9bRikE2fTGK5SQ9GU7LrqmlXFB8t4U9wIGqK5KEBF9KAOT7PiXfzg6tu6Y/s1600/dakota_lil.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNBxDVqwcKt3wNJTHuODsBoSaEBR25LB-LrpzH8E-8RYkcXNXlN2MzPNHuB9fsx12_zOidXA2uz_p5aXKJt9bRikE2fTGK5SQ9GU7LrqmlXFB8t4U9wIGqK5KEBF9KAOT7PiXfzg6tu6Y/s1600/dakota_lil.jpg" height="640" width="238" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>Dakota Lil</i> (1950)</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYS7a55A4X8iytn74B2M7WkgbrrJbvyA2nzFT7HIyl9cpIvk4mRSXd1QDUdD3ntXL6VEXEdGJSC8744lC_JT180Wux63qoZ7KWT1heAOEr_ZifgsGjH1yZm7guV4N1xCJzQVX_21K4zuo/s1600/paleface.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYS7a55A4X8iytn74B2M7WkgbrrJbvyA2nzFT7HIyl9cpIvk4mRSXd1QDUdD3ntXL6VEXEdGJSC8744lC_JT180Wux63qoZ7KWT1heAOEr_ZifgsGjH1yZm7guV4N1xCJzQVX_21K4zuo/s1600/paleface.jpg" height="640" width="406" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>The Paleface</i> (1948)</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSaYUHU8A48XdYiAr3FyG1Wozjh8bNkm-IQcvf_qkRUkR7v16hj8yFyc10BC9Q3QG6oMov1z2rNIJ55B3R2IidomtnYYH3DQwBDlfC_FVsmRAhtHG9k30Th0S7Q386mGyRC71hS4_SL-4/s1600/belle_star.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSaYUHU8A48XdYiAr3FyG1Wozjh8bNkm-IQcvf_qkRUkR7v16hj8yFyc10BC9Q3QG6oMov1z2rNIJ55B3R2IidomtnYYH3DQwBDlfC_FVsmRAhtHG9k30Th0S7Q386mGyRC71hS4_SL-4/s1600/belle_star.jpg" height="640" width="436" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>Belle Starr</i> (1941)</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyuqSt3pGFFDsO2V2eWaAiQoRi8sZXLcMqje5vK0vMRB25pQX3vWzTuMifGg0Uj_8_2u0anlmucnJfxoHBVR1w-uigdN8IJsIKPCM0RJvhDY1yeqi0eYgxhKZDgqBsy_XsHuI5L92Kf4Y/s1600/gunslinger.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyuqSt3pGFFDsO2V2eWaAiQoRi8sZXLcMqje5vK0vMRB25pQX3vWzTuMifGg0Uj_8_2u0anlmucnJfxoHBVR1w-uigdN8IJsIKPCM0RJvhDY1yeqi0eYgxhKZDgqBsy_XsHuI5L92Kf4Y/s1600/gunslinger.jpg" height="640" width="412" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>Gunslinger</i> (1956)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOS-IMY4ae2U9mVZGgzSwAxBXPVnDz3Sr83fty6rkfLC4f69y2ts6nmXbn6qPc3ftbJVo7mvhYTgQKGkcZ-sYK3VzFzGuC3ZJ8aLkDd7_mTi7m-Cr6VkVyXGNVDm8AgElMMnhcukb-FYc/s1600/gun_crazy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOS-IMY4ae2U9mVZGgzSwAxBXPVnDz3Sr83fty6rkfLC4f69y2ts6nmXbn6qPc3ftbJVo7mvhYTgQKGkcZ-sYK3VzFzGuC3ZJ8aLkDd7_mTi7m-Cr6VkVyXGNVDm8AgElMMnhcukb-FYc/s1600/gun_crazy.jpg" height="640" width="462" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>Gun Crazy</i> (aka <i>Deadly is the Female,</i> 1950)</span></td></tr>
</tbody></table>Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-6804481404873017392014-04-09T18:30:00.000-04:002014-04-11T10:26:56.021-04:00Poster posture: The fantasy moundThere's a recurring motif in posters from fantasy movies of the late 1970's and continuing through the 80's: the (almost always) male hero posing on top of a mound, surrounded by images of the characters and landscapes of his adventure, weapon raised, with a woman placed next to him — sometimes seemingly submissive and dependent upon him for protection, at all times sexualized and occupying a lower space in the composition.<br />
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Below are examples of this motif from several movie posters. Some of the films were probably lower-budget attempts to cash in on the sword-and-sandal craze ostensibly set off by <i>Conan the Barbarian</i> (1982). Others were almost certainly sex-and-violence exploitation films (I admit there are a few on this list I have not seen). But this poster style was used by more successful mainstream films as well, as early as 1977's <i>Star Wars</i>. The style was used outside of the fantasy genre (though perhaps just barely) in the Clint Eastwood cop adventure <i>The Gauntlet</i>, parodied by two of National Lampoon's <i>Vacation</i> comedies, given a female hero variation for <i>Barbarian Queen</i> (1985) and <i>Warrior Queen</i> (1987), and echoed decades later in the poster for <i>Tron Legacy</i> (2010), the sequel to <i>Tron</i> (1982), which also used the style.<br />
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This motif reflects the concerns of a genre often aimed — accurately or not — at a young male audience: weapons (frequently phallic), life's challenges made physical and solvable by battle, and the role of women as the hero's reward.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvbpoM6icaWlQzGnIaI-dcg9T9uGgZi4NY2ftD8XkLnTtzV4T-Y_Wc2RWmGask1P-AyVdi1IdZT2ekqmjJ1RVtDw4_ZfZd1SnGAfMDdCEhTKUvwK1eX9bBmfVqTSh9VzPF5HmBIV2j-QQ/s1600/star_wars.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvbpoM6icaWlQzGnIaI-dcg9T9uGgZi4NY2ftD8XkLnTtzV4T-Y_Wc2RWmGask1P-AyVdi1IdZT2ekqmjJ1RVtDw4_ZfZd1SnGAfMDdCEhTKUvwK1eX9bBmfVqTSh9VzPF5HmBIV2j-QQ/s1600/star_wars.jpg" height="640" width="440" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>Star Wars</i> (1977)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoj33LBUOVQBpKXXtEVhE_OcNotD-YN7IHmAe5lXZsS4pjNz0bY3SX_s2txGr9WzciBvjkQcOmYv0U36QRMKBpnFfkt2Lt_gWZdtPYUaBhCMyi3QRwdYl5uxI-8imJ4E3Qoe9ZDJFHXHw/s1600/gauntlet.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoj33LBUOVQBpKXXtEVhE_OcNotD-YN7IHmAe5lXZsS4pjNz0bY3SX_s2txGr9WzciBvjkQcOmYv0U36QRMKBpnFfkt2Lt_gWZdtPYUaBhCMyi3QRwdYl5uxI-8imJ4E3Qoe9ZDJFHXHw/s1600/gauntlet.jpg" height="640" width="417" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>The Gauntlet</i> (1977)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipDbHnCQNsekl-YsbNathnEOo8W-n1gSNqm60cwx49XFZdE4MqOGJbtcMBo5zO40M8NfRS6MxFsRyAlO69kLKCkSupdn9zk1XH_SVEQx7_uCm1fo-UZsdahzICC1SVdQiYW625SZej1a8/s1600/norseman.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipDbHnCQNsekl-YsbNathnEOo8W-n1gSNqm60cwx49XFZdE4MqOGJbtcMBo5zO40M8NfRS6MxFsRyAlO69kLKCkSupdn9zk1XH_SVEQx7_uCm1fo-UZsdahzICC1SVdQiYW625SZej1a8/s1600/norseman.jpg" height="640" width="425" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>The Norseman</i> (1978)</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi31CnJjfP85Ia0w_gdYutEemnyqN5LIdZyaeSStGYZdEEHvvSOUEhcQ_1mUHZzL5BPFXsaRXMOdhxY6PFp3sDJRCJ87hs1AOWIDdb2JGX3TxE1kqAW8yKVyN-faVVx9uLSNX0IYg0itUo/s1600/conan_the_barbarian.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi31CnJjfP85Ia0w_gdYutEemnyqN5LIdZyaeSStGYZdEEHvvSOUEhcQ_1mUHZzL5BPFXsaRXMOdhxY6PFp3sDJRCJ87hs1AOWIDdb2JGX3TxE1kqAW8yKVyN-faVVx9uLSNX0IYg0itUo/s1600/conan_the_barbarian.jpg" height="640" width="409" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>Conan the Barbarian</i> (1982)</span></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgva4A7f8pFFoAyhe7cMwMQsLm3G4exMZlLPBBvCQbrUzxVxdBmKNAAN7-lc4tfI3ug67Aaa3pyO5yG9F6VnfDjgNA6P1jixYe7MnMIqXtqO0RZMRMaz5VYe1syDsygcbsPXjiY_0_YELk/s1600/tron.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgva4A7f8pFFoAyhe7cMwMQsLm3G4exMZlLPBBvCQbrUzxVxdBmKNAAN7-lc4tfI3ug67Aaa3pyO5yG9F6VnfDjgNA6P1jixYe7MnMIqXtqO0RZMRMaz5VYe1syDsygcbsPXjiY_0_YELk/s1600/tron.jpg" height="640" width="417" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>Tron</i> (1982)</span></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-1GqIAnq4TUVnXpLyPiLVo57CJLl2Hxk12lpXUqU5EeJN20xpJV8bQndg2QKa7paP9SglVoHJzy-QOdBK1sv3zh4HdTdClGMB5OPdEpVzzXk1nezUC51lU0JQXHzKqCGSK6ob02RsN5Y/s1600/beastmaster.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-1GqIAnq4TUVnXpLyPiLVo57CJLl2Hxk12lpXUqU5EeJN20xpJV8bQndg2QKa7paP9SglVoHJzy-QOdBK1sv3zh4HdTdClGMB5OPdEpVzzXk1nezUC51lU0JQXHzKqCGSK6ob02RsN5Y/s1600/beastmaster.jpg" height="640" width="417" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>The Beastmaster</i> (1982)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCvmiBpC_NO6jZzu_RcQANVrf3cSkMH41AfqbBjRm8ZWuBJ3tRy8FZ5M3PCf7UXkJ7WgPZoM0EecI0bGRN-l1yCvQ5O06ntof-FF8ArFzsT1rYbkxOSoVMlvPfUy6_StngOo6OpS_Ye9Q/s1600/vacation.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCvmiBpC_NO6jZzu_RcQANVrf3cSkMH41AfqbBjRm8ZWuBJ3tRy8FZ5M3PCf7UXkJ7WgPZoM0EecI0bGRN-l1yCvQ5O06ntof-FF8ArFzsT1rYbkxOSoVMlvPfUy6_StngOo6OpS_Ye9Q/s1600/vacation.jpg" height="640" width="419" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>National Lampoon's Vacation</i> (1983)</span></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim6C80jzzHHYd_6jNIS-N84ctTtcLzCAmUGZ0dC4z6pkTEtLJRPkZpAqjqprjVpmWt-E9s3L-cCgGPWElIfziG3FBi0GVzi2IToxLaCYLEnEtUzwZBV7bnnI2d7brrimYhUMDMKV3zzg8/s1600/fire_and_ice.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim6C80jzzHHYd_6jNIS-N84ctTtcLzCAmUGZ0dC4z6pkTEtLJRPkZpAqjqprjVpmWt-E9s3L-cCgGPWElIfziG3FBi0GVzi2IToxLaCYLEnEtUzwZBV7bnnI2d7brrimYhUMDMKV3zzg8/s1600/fire_and_ice.jpg" height="640" width="392" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>Fire and Ice</i> (1983)</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWklTA20xKhA2n8Yb-OtuFE_JIuu19K46FC_7ybMlNDCDdiLWY80Y7CHcXpS1k9TQz1pXvDTmAxHwevS5CnRIYte17IA1E63D8bya6HCKRwk9hOzgorkXPxGBk8qk9phogviaW_LkHwd0/s1600/sword_of_the_barbarians.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWklTA20xKhA2n8Yb-OtuFE_JIuu19K46FC_7ybMlNDCDdiLWY80Y7CHcXpS1k9TQz1pXvDTmAxHwevS5CnRIYte17IA1E63D8bya6HCKRwk9hOzgorkXPxGBk8qk9phogviaW_LkHwd0/s1600/sword_of_the_barbarians.jpg" height="640" width="411" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>Sword of the Barbarians</i> (<i>Sangraal, the Sword of Fire</i>, 1983)</span></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg74BMNO1v3tC0w6wUQ-HSOrdyhSRmyuqM6h-dWNwBaQOgckhuVXS0n_7uuvcgZcA4H2IY4rDptg0IScpTNsbLAjPzSehgkNmwt8Z5ngQk7rLbqlTPBQzn4yOfjMXmJXa4jlHICfPQGSiU/s1600/warriors_of_the_wasteland.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg74BMNO1v3tC0w6wUQ-HSOrdyhSRmyuqM6h-dWNwBaQOgckhuVXS0n_7uuvcgZcA4H2IY4rDptg0IScpTNsbLAjPzSehgkNmwt8Z5ngQk7rLbqlTPBQzn4yOfjMXmJXa4jlHICfPQGSiU/s1600/warriors_of_the_wasteland.jpg" height="640" width="427" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>Warriors of the Wasteland</i> (<i>The New Barbarians</i>, 1983)</span></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoQIA8fs65NILY3QWXNCxEHFYR_mGvb_bBSFqTGTpuiB9HPkDvSGkijRSUkO4JG2wsPU8HYt7jU-gwCwap4OL3VofwAP1afw56bfjLv9ZMCz98oIUplZ-ZOz1X-DB6muRgBaG1MCyfWSg/s1600/blade_master.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoQIA8fs65NILY3QWXNCxEHFYR_mGvb_bBSFqTGTpuiB9HPkDvSGkijRSUkO4JG2wsPU8HYt7jU-gwCwap4OL3VofwAP1afw56bfjLv9ZMCz98oIUplZ-ZOz1X-DB6muRgBaG1MCyfWSg/s1600/blade_master.jpg" height="640" width="424" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>The Blade Master</i> (<i>Ator 2 - L'invincibile Orion</i>, 1984)</span></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi59rbxP5RvkbZIl-06RNoatAJftVNptcw-ovpuqiCHJ0BkvydfvLBC8NmzTQJeWC0vKPrOs7BxFD-8XO3oXnu8pFonC1gnTouY0Ixgt3NLK37WaNLmYymZpIaR5jr83ZqzOGB_v9PBpR8/s1600/warrior_and_sorceress.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi59rbxP5RvkbZIl-06RNoatAJftVNptcw-ovpuqiCHJ0BkvydfvLBC8NmzTQJeWC0vKPrOs7BxFD-8XO3oXnu8pFonC1gnTouY0Ixgt3NLK37WaNLmYymZpIaR5jr83ZqzOGB_v9PBpR8/s1600/warrior_and_sorceress.jpg" height="640" width="417" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>The Warrior and the Sorceress</i> (1984)</span></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5fezzAYEnQsccY0Wn3Cj9vdj3UAejAQ3noOLpMX6c_qk8jJs2f5ch8-Y-ffJw7WIL3xH2Bm9o-ZQ8AG2tVwDRDJniv5MvLlujAW9MHOjaj1QYq1efamjcjjX6ayAJ_OBtC9NiAQA3XJU/s1600/european_vacation.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5fezzAYEnQsccY0Wn3Cj9vdj3UAejAQ3noOLpMX6c_qk8jJs2f5ch8-Y-ffJw7WIL3xH2Bm9o-ZQ8AG2tVwDRDJniv5MvLlujAW9MHOjaj1QYq1efamjcjjX6ayAJ_OBtC9NiAQA3XJU/s1600/european_vacation.jpg" height="640" width="427" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>National Lampoon's European Vacation</i> (1985)</span></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhac_kxihT0Wnor6fS1CfQTbDE8Jlj7QlJYDy7oI1cRHKdWMl-QTQX9f93G77U_p46KlPCY6Le-1iC5PnaKb-hoe-0OAWoU32U4EaRyp8GNzFRZn_sWT48j4BXbxY3BxIwjWp9uUx9YN-w/s1600/barbarian_queen.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhac_kxihT0Wnor6fS1CfQTbDE8Jlj7QlJYDy7oI1cRHKdWMl-QTQX9f93G77U_p46KlPCY6Le-1iC5PnaKb-hoe-0OAWoU32U4EaRyp8GNzFRZn_sWT48j4BXbxY3BxIwjWp9uUx9YN-w/s1600/barbarian_queen.jpg" height="640" width="420" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>Barbarian Queen</i> (1985)</span></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi33-wLlUC7sMyethj9va8tRoT63tTQB1kZ4wyhW7BfV7QCxfFXHO9omEnwxhIicK8VAOdHdWxvJGAUCJZoMCgPlIMudm6MTH06vXOtVaB2YpHzGGJeSrXA-wZYpUX7cVuoV61hPhlr7xU/s1600/warrior_queen.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi33-wLlUC7sMyethj9va8tRoT63tTQB1kZ4wyhW7BfV7QCxfFXHO9omEnwxhIicK8VAOdHdWxvJGAUCJZoMCgPlIMudm6MTH06vXOtVaB2YpHzGGJeSrXA-wZYpUX7cVuoV61hPhlr7xU/s1600/warrior_queen.jpg" height="640" width="428" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>Warrior Queen</i> (1987)</span></td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCi-Sbt2DDkL3yjuaf7TX7_0CHJ8VnnCcCmOntlMeEz6ArwqYVhc9eCjAmDUYCCbg_Oi1s2vg2mFeRgUbU81mhjGd9ZzhRgOdcMOVhzxu2w-A0ckZb30ylnPwZL861cwkJyV4kY35wuCA/s1600/tron_legacy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCi-Sbt2DDkL3yjuaf7TX7_0CHJ8VnnCcCmOntlMeEz6ArwqYVhc9eCjAmDUYCCbg_Oi1s2vg2mFeRgUbU81mhjGd9ZzhRgOdcMOVhzxu2w-A0ckZb30ylnPwZL861cwkJyV4kY35wuCA/s1600/tron_legacy.jpg" height="640" width="432" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;"><i>Tron Legacy</i> (2010)</span></td></tr>
</tbody></table>Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-77475120692193826032014-03-17T22:50:00.004-04:002022-08-13T23:22:21.458-04:00Lance Henriksen vs. Stephen McHattie: Can you tell them apart?<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHV2JVFUVe3FWgcnpZ8VFJmUAa_xuD--LK9W2EuaY_vzSK4-hQ6GjlXK9lLaYwpPfMl97xotTbQG0Pku1LWDhr2KeGKCE5Sivd_fvzUwdrSIyiK_8nvt612TGLNMD3etmA7nBGtkTmqWIJdNxXu5an2s67W6fqD6xK37taLWiRBfXAJCkZPNXs8sYB/s1600/henriksen-mchattie.jpg" style="display: block; padding: 1em 0px; text-align: right;"><img alt="" border="0" data-original-height="119" data-original-width="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHV2JVFUVe3FWgcnpZ8VFJmUAa_xuD--LK9W2EuaY_vzSK4-hQ6GjlXK9lLaYwpPfMl97xotTbQG0Pku1LWDhr2KeGKCE5Sivd_fvzUwdrSIyiK_8nvt612TGLNMD3etmA7nBGtkTmqWIJdNxXu5an2s67W6fqD6xK37taLWiRBfXAJCkZPNXs8sYB/s1600/henriksen-mchattie.jpg" /></a></div><table border="1" cellpadding="2" cellspacing="2">
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<td width="50%">Played the cop who drives bankrobbers Sonny and Sal to the airport in <i>Dog Day Afternoon</i> (1975)</td>
<td width="25%"><div id="henriksenmchattie-q1" style="display: none;">Lance Henriksen</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('henriksenmchattie-q1').style.display='block';">Answer</a></td>
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<td width="50%">Played Hollis Mason — the former superhero known as Nite Owl — in Zack Snyder's <i>Watchmen</i> (2009)</td>
<td width="25%"><div id="henriksenmchattie-q2" style="display: none;">Stephen McHattie</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('henriksenmchattie-q2').style.display='block';">Answer</a></td>
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<td width="50%">Played the leader of a gang of vampires in <i>Near Dark</i> (1987)</td>
<td width="25%"><div id="henriksenmchattie-q3" style="display: none;">Lance Henriksen</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('henriksenmchattie-q3').style.display='block';">Answer</a></td>
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<td width="50%">Appeared in the Jim Jarmusch western <i>Dead Man</i> (1995)</td>
<td width="25%"><div id="henriksenmchattie-q4" style="display: none;">Lance Henriksen</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('henriksenmchattie-q4').style.display='block';">Answer</a></td>
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<td width="50%">Met his end in Viggo Mortensen's diner in <i>A History of Violence</i> (2005)</td>
<td width="25%"><div id="henriksenmchattie-q5" style="display: none;">Stephen McHattie</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('henriksenmchattie-q5').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Witnessed the unloading of an alien spaceship in <i>Close Encounters of the Third Kind</i> (1977)</td>
<td width="25%"><div id="henriksenmchattie-q6" style="display: none;">Lance Henriksen</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('henriksenmchattie-q6').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Appeared in the 2009 disaster film <i>2012</i></td>
<td width="25%"><div id="henriksenmchattie-q7" style="display: none;">Stephen McHattie</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('henriksenmchattie-q7').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Appeared in 1975's <i>The Ultimate Warrior,</i> starring Yul Brynner, which took place in 2012</td>
<td width="25%"><div id="henriksenmchattie-q8" style="display: none;">Stephen McHattie</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('henriksenmchattie-q8').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Played a Spartan politician in the 2006 film <i>300,</i> which took place in 480 BC</td>
<td width="25%"><div id="henriksenmchattie-q9" style="display: none;">Stephen McHattie</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('henriksenmchattie-q9').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Played the android Bishop in <i>Aliens</i> (1986)</td>
<td width="25%"><div id="henriksenmchattie-q10" style="display: none;">Lance Henriksen</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('henriksenmchattie-q10').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Appeared in the Charlton Heston submarine film <i>Gray Lady Down</i> (1978)</td>
<td width="25%"><div id="henriksenmchattie-q11" style="display: none;">Stephen McHattie</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('henriksenmchattie-q11').style.display='block';">Answer</a></td>
</tr>
</tbody></table>Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-20030205137136998162014-02-10T23:03:00.000-05:002014-02-14T10:31:39.610-05:00Winter games, Bond-styleThe Winter Olympics always make me want to watch James Bond, probably because Bond himself has always had an affinity for winter sports. While the athletes at Sochi face the true dangers inherent to such competition, Bond's winter games entail more outlandish challenges. Here's a look at some of 007's best events.<br />
<b><br /></b>
<b>Skiing</b><br />
<br />
For Bond, skiing includes threats even more sinister than a biased Olympic judge. The danger could be in the form of gunmen on skis . . .<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1iuFWVBkNLO6nVOksOuQSt7m18rMZkeg8LdmiJBW3G8MDf934bUkBjfDYaySmxXSyrcungh4U3Rh2lenmOSxf6DBbWjZqoaD_iY0oAgxkVcgHNXA8_MoboCjDjV_jb9p233VZjndPh2U/s1600/mss-ski1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1iuFWVBkNLO6nVOksOuQSt7m18rMZkeg8LdmiJBW3G8MDf934bUkBjfDYaySmxXSyrcungh4U3Rh2lenmOSxf6DBbWjZqoaD_iY0oAgxkVcgHNXA8_MoboCjDjV_jb9p233VZjndPh2U/s1600/mss-ski1.jpg" height="190" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>On Her Majesty's Secret Service</i> (1969)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgguzc05QzIJOXXxr_1wDRIPhjsbcUuVDrjUOzRH9sa7RylMpzbKr2m2-kc13c5qBrVCXNH7tjBIgzfnpfLYRWkmPWl9SCx0PSLpE3N6SIz2hdSmws90pcb6kPVs6DxfhPghtd6yZBwAKs/s1600/swlm-ski1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgguzc05QzIJOXXxr_1wDRIPhjsbcUuVDrjUOzRH9sa7RylMpzbKr2m2-kc13c5qBrVCXNH7tjBIgzfnpfLYRWkmPWl9SCx0PSLpE3N6SIz2hdSmws90pcb6kPVs6DxfhPghtd6yZBwAKs/s1600/swlm-ski1.jpg" height="190" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Spy Who Loved Me</i> (1977)</td></tr>
</tbody></table>
<br />
. . . gunmen shooting from the villain's lair . . .<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2y4mUpCVyZJo-ealzAR1YMQixyj1Zn_G4pj_vvkFDFkZbhg8l3jXZUy7LqqaEbRD-LNkYl7Nvc8wQ3mA73siI-_ATFFI1PZJuDfkeB4lAosjeLa61HbCBBMKVJbWxvlA_RcZugJ-GXOc/s1600/mss-ski2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2y4mUpCVyZJo-ealzAR1YMQixyj1Zn_G4pj_vvkFDFkZbhg8l3jXZUy7LqqaEbRD-LNkYl7Nvc8wQ3mA73siI-_ATFFI1PZJuDfkeB4lAosjeLa61HbCBBMKVJbWxvlA_RcZugJ-GXOc/s1600/mss-ski2.jpg" height="190" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>On Her Majesty's Secret Service</i> (1969)</td></tr>
</tbody></table>
<br />
. . . gunmen on motorcycles . . .<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKx09bRxyMdy1OKIaGyfi4-Uf8LckZ3rFWqmYD1SLD__d69-zaYf9SV4gMTLx1M4xOEiG-jEMjjCk5fbf6BvgTcHVWX7xgDgkFp0CJSCktoemaP8BT3cL01C1VwlL-KDfaZto0zFYWh2U/s1600/fyeo-motorcycles.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKx09bRxyMdy1OKIaGyfi4-Uf8LckZ3rFWqmYD1SLD__d69-zaYf9SV4gMTLx1M4xOEiG-jEMjjCk5fbf6BvgTcHVWX7xgDgkFp0CJSCktoemaP8BT3cL01C1VwlL-KDfaZto0zFYWh2U/s1600/fyeo-motorcycles.jpg" height="190" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>For Your Eyes Only</i> (1981)</td></tr>
</tbody></table>
<br />
. . . gunmen in snowmobile propeller parachute things . . .<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHzMlHcHXKrQfMZKlZvCtEAe3B4-5WAuJbyQlgD994oBURg13T03dQinyeMmoVGBhJ0hr7P7bJajffTRkjaulcQnVY9-ZVAy7vbf0n49Gtmg9ZUwUBGsAxy3PX_BvOcLs1EgCO69dRtzY/s1600/wne-shooting.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHzMlHcHXKrQfMZKlZvCtEAe3B4-5WAuJbyQlgD994oBURg13T03dQinyeMmoVGBhJ0hr7P7bJajffTRkjaulcQnVY9-ZVAy7vbf0n49Gtmg9ZUwUBGsAxy3PX_BvOcLs1EgCO69dRtzY/s1600/wne-shooting.jpg" height="191" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The World Is Not Enough</i> (1999)</td></tr>
</tbody></table>
<br />
. . . or an avalanche.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9cR71M6ooIEAh5hNgeIoKhpVvFGCsWNFjHMcEOGKS3-1ktBMrQExUEHF9N5j0e0Eh2GjfhpR1Fvqw4pSj69J6CE16oaMx9POgKxCgvQFcIQsklpIbFcAUu3vkf56VTEoCntF3V2VBxSs/s1600/mss-avalanche.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9cR71M6ooIEAh5hNgeIoKhpVvFGCsWNFjHMcEOGKS3-1ktBMrQExUEHF9N5j0e0Eh2GjfhpR1Fvqw4pSj69J6CE16oaMx9POgKxCgvQFcIQsklpIbFcAUu3vkf56VTEoCntF3V2VBxSs/s1600/mss-avalanche.jpg" height="190" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>On Her Majesty's Secret Service</i> (1969)</td></tr>
</tbody></table>
<br />
Bond doesn't always ski with traditional equipment; spiked tires and outrigger skids make even his Aston Martin suitable for the slopes.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsounkw9-ZaHUaC9nSiQsqPXlPdadGVePre8bEoHKJjK7FMrcpgbs2FFFevp-wJ-6J6DLa1LLd2UzZl0Ghyphenhyphen58W8ZmktVd44Kq_ekq0aofxZ-Uvo9YRqnjh1Md4Ci6iQEa4vt9MReLLmtk/s1600/ld-car.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsounkw9-ZaHUaC9nSiQsqPXlPdadGVePre8bEoHKJjK7FMrcpgbs2FFFevp-wJ-6J6DLa1LLd2UzZl0Ghyphenhyphen58W8ZmktVd44Kq_ekq0aofxZ-Uvo9YRqnjh1Md4Ci6iQEa4vt9MReLLmtk/s1600/ld-car.jpg" height="190" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Living Daylights</i> (1987)</td></tr>
</tbody></table>
<br />
<b>Ski Jumping</b><br />
<br />
Bond's ski runs sometimes include a jump motivated more by the need for escape than by the thrill of victory.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPx5MFxaQ1ESm6Y8bNmFgWaFqJ2p6bvsanKyOs1CWWYji2AOOCz1juaWBuo4acShida8zN2rBlEeA2tozFDd83CUfKyUp2smWYrzAtORemeLBO-mDkSmtG6FBOtK9cZKfkPXUCAqMAO7s/s1600/fyeo-jump.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPx5MFxaQ1ESm6Y8bNmFgWaFqJ2p6bvsanKyOs1CWWYji2AOOCz1juaWBuo4acShida8zN2rBlEeA2tozFDd83CUfKyUp2smWYrzAtORemeLBO-mDkSmtG6FBOtK9cZKfkPXUCAqMAO7s/s1600/fyeo-jump.jpg" height="190" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>For Your Eyes Only</i> (1981)</td></tr>
</tbody></table>
<br />
Though a traditional hill is often passed over in favor of a cliff . . .<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPQ4W3OAsi0l5Armno1nPMXGkxv2o5afaXYcIezm4yNktdHUWMQCgi1yx42OXtG1nCZjKlhGcnsxQcDvEgOlwwK_aOSJne9VC5HpMMZVjGQBY7dLIG5hjl5yBPIEhV820fIwKipdEdGsI/s1600/wne-jump.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPQ4W3OAsi0l5Armno1nPMXGkxv2o5afaXYcIezm4yNktdHUWMQCgi1yx42OXtG1nCZjKlhGcnsxQcDvEgOlwwK_aOSJne9VC5HpMMZVjGQBY7dLIG5hjl5yBPIEhV820fIwKipdEdGsI/s1600/wne-jump.jpg" height="191" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The World Is Not Enough</i> (1999)</td></tr>
</tbody></table>
<br />
. . . a helicopter . . .<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQyfVeH1AO6Sq5crCRBDdTsc-omBtmHhxMUynF-XMDOZTtZhtGpIjvimA_-Kf8AqxxSDxCg4Ej3pdh0JPm7mNw5GfS-iIWw45-BDtcGxr42_Xe7MBntfURG6uwrA_TpT0vvKFlLfnvXdg/s1600/wne-helicopter.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQyfVeH1AO6Sq5crCRBDdTsc-omBtmHhxMUynF-XMDOZTtZhtGpIjvimA_-Kf8AqxxSDxCg4Ej3pdh0JPm7mNw5GfS-iIWw45-BDtcGxr42_Xe7MBntfURG6uwrA_TpT0vvKFlLfnvXdg/s1600/wne-helicopter.jpg" height="191" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The World Is Not Enough</i> (1999)</td></tr>
</tbody></table>
<br />
. . . a roof . . .<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhhxADHISUuAN63VUXPiYZcdXITV6LAPmBViIISLeygnEykRWsqejIXjeYY29FG4-SsyfeWLmV8EHNknXzeBafGeZOWB_1PnLCl8dV5f4E5YKxCn-rB-el8AOnCfyKaSqIXQm6M9XNDd8/s1600/fyeo-roof.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhhxADHISUuAN63VUXPiYZcdXITV6LAPmBViIISLeygnEykRWsqejIXjeYY29FG4-SsyfeWLmV8EHNknXzeBafGeZOWB_1PnLCl8dV5f4E5YKxCn-rB-el8AOnCfyKaSqIXQm6M9XNDd8/s1600/fyeo-roof.jpg" height="188" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>For Your Eyes Only</i> (1981)</td></tr>
</tbody></table>
<br />
. . . or a picnic table . . .<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLKJBDlXPEH1BkBrZ63VfnyLeYcSpBLSyW5qL1vtKy_s4YWs7gGaGOSkvBgLY8e52tXlFC7YNZAXpUzAGgPaaYVY-eMLoi3NSYTBwSGAA3HQfouzHhqUNhe9CeB6sAh7NIOluwzvpDH58/s1600/fyeo-table.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLKJBDlXPEH1BkBrZ63VfnyLeYcSpBLSyW5qL1vtKy_s4YWs7gGaGOSkvBgLY8e52tXlFC7YNZAXpUzAGgPaaYVY-eMLoi3NSYTBwSGAA3HQfouzHhqUNhe9CeB6sAh7NIOluwzvpDH58/s1600/fyeo-table.jpg" height="188" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>For Your Eyes Only</i> (1981)</td></tr>
</tbody></table>
<br />
Some jumps require special equipment . . .<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9-NMT05hK_FCil51MkzckiQ_42Z4TK21hk33VxL-YvMA2mPAUfwyTAw5TXzuU3DcKwLWAKnt1LJT3hSJbKq1mwYhEVJgYJRUPyIiOFn9fLjK-9TBBPviD0MWmBU6HE9T4EBB5qntqA-U/s1600/swlm-jump2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9-NMT05hK_FCil51MkzckiQ_42Z4TK21hk33VxL-YvMA2mPAUfwyTAw5TXzuU3DcKwLWAKnt1LJT3hSJbKq1mwYhEVJgYJRUPyIiOFn9fLjK-9TBBPviD0MWmBU6HE9T4EBB5qntqA-U/s1600/swlm-jump2.jpg" height="190" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Spy Who Loved Me</i> (1977)</td></tr>
</tbody></table>
<br />
. . . and all look better with explosions.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1cj7n0DauGX2sWZ0zeUTPnfXYqh0PNel9TnDmFfN3auUymrQHJZH8Y8is8jyiEYz1OYLuyVFG9JlnI23fiYl0bpg0ADObgVmceLj6Fgwaopssl1NvJCqRmI6wTmxsKtnOcoX_DsiyQiU/s1600/wne-explosion.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1cj7n0DauGX2sWZ0zeUTPnfXYqh0PNel9TnDmFfN3auUymrQHJZH8Y8is8jyiEYz1OYLuyVFG9JlnI23fiYl0bpg0ADObgVmceLj6Fgwaopssl1NvJCqRmI6wTmxsKtnOcoX_DsiyQiU/s1600/wne-explosion.jpg" height="191" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The World Is Not Enough</i> (1999)</td></tr>
</tbody></table>
<br />
<b>Snowboarding</b><br />
<br />
You know, while being shot at by gunmen on skis.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho3zKTB1G9mFKKzmmhf2W8GMhRZfBcPwEDifJ8sGAZyTTb8T3uPN6GiLeVGSmYjvRa11BgwlkxDyT6f8GEq8MxQ2Jdx-puWmJUoSlyI6Hx1k3Y49zHRN-Ej4ktpkFufexPHVcJ-LLYsLI/s1600/vtk-snowboard.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho3zKTB1G9mFKKzmmhf2W8GMhRZfBcPwEDifJ8sGAZyTTb8T3uPN6GiLeVGSmYjvRa11BgwlkxDyT6f8GEq8MxQ2Jdx-puWmJUoSlyI6Hx1k3Y49zHRN-Ej4ktpkFufexPHVcJ-LLYsLI/s1600/vtk-snowboard.jpg" height="190" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>A View to a Kill</i> (1985)</td></tr>
</tbody></table>
<b><br /></b><b>Ice Skating</b><br />
<br />
Skating makes Bond nervous, especially when he needs to fend off an awkward infatuation.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwGvt4muWcJc3hBmAYlGzYdbrCtym0lWuOL2ObFO9Xfm5hULInFzWQyFwnKoaWNV0UiD85khcpvy4JtbWNycItVVr426KCCmfm1vFH7zZfyav_m9AjEwUN8MoJ06dmFaZWS1BJ2uK7OOA/s1600/fyeo-skate.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwGvt4muWcJc3hBmAYlGzYdbrCtym0lWuOL2ObFO9Xfm5hULInFzWQyFwnKoaWNV0UiD85khcpvy4JtbWNycItVVr426KCCmfm1vFH7zZfyav_m9AjEwUN8MoJ06dmFaZWS1BJ2uK7OOA/s1600/fyeo-skate.jpg" height="190" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>For Your Eyes Only</i> (1981)</td></tr>
</tbody></table>
<br />
<b>Hockey</b><br />
<br />
Bond's hockey is a contact sport with badly unbalanced teams.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJjy_e4hKaCEhBlY67CscGgCN-asxnX6TgIgaYppOpdtRvyGfIWfUrPugexIQlawVkgUOd9I09OBmqvyVSgD3TGMZfqgL98Ugj0JOvl_Pzt3nGXw8j2cyPxkmAPz9lb42fPzvu2Nx4GJE/s1600/fyeo-hockey.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJjy_e4hKaCEhBlY67CscGgCN-asxnX6TgIgaYppOpdtRvyGfIWfUrPugexIQlawVkgUOd9I09OBmqvyVSgD3TGMZfqgL98Ugj0JOvl_Pzt3nGXw8j2cyPxkmAPz9lb42fPzvu2Nx4GJE/s1600/fyeo-hockey.jpg" height="190" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>For Your Eyes Only</i> (1981)</td></tr>
</tbody></table>
<br />
<b>Bobsledding</b><br />
<br />
A sled is not always required. Chasing a sled while on skis still gets points, provided Bond is himself being chased by a henchman on a motorbike.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoKC-geVsAxsCimy8FpJcydhQVxdHOl8wgYAHutqzlKpMdMuhhDpf1yo4jPLCeSqt9M55gsGu_hQD7jkOwnZjCJIU4mNoR_fa45UX29BP1Kf3xjLfYtp59wLzMjL1MxZrFPjS0TDzxwaY/s1600/fyeo-bobsled.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoKC-geVsAxsCimy8FpJcydhQVxdHOl8wgYAHutqzlKpMdMuhhDpf1yo4jPLCeSqt9M55gsGu_hQD7jkOwnZjCJIU4mNoR_fa45UX29BP1Kf3xjLfYtp59wLzMjL1MxZrFPjS0TDzxwaY/s1600/fyeo-bobsled.jpg" height="190" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>For Your Eyes Only</i> (1981)</td></tr>
</tbody></table>
<br />
Sleds can also be improvised, as from a cello case.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDfwRsYbZFB8krov3XFTCGEmGkrqpd7VnLtlYlJf4d9QUPF43nHYijXPr6zwE9yP5z0Ha93XEI3N_EDHznrtVj0J453bLMHXIJE1P9vi3QjQ9-N6g3tIU6RqvprNoaOiKttK6fg_-R4wo/s1600/ld-cello.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDfwRsYbZFB8krov3XFTCGEmGkrqpd7VnLtlYlJf4d9QUPF43nHYijXPr6zwE9yP5z0Ha93XEI3N_EDHznrtVj0J453bLMHXIJE1P9vi3QjQ9-N6g3tIU6RqvprNoaOiKttK6fg_-R4wo/s1600/ld-cello.jpg" height="190" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Living Daylights</i> (1987)</td></tr>
</tbody></table>
<br />
An actual bobsled is preferable, however, because it offers more room for grappling with archenemy Blofeld.<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJNwbgxxCrAU3D5xu9EHkTkMZ7nwtAAzarKx_GI9fTSeeV78pLMkHHK8dklC54lEeGlRXNguRck_G6RZ4Nn5Fo1BFY_RRCsB7_h2XK9mJeU8ZSeTy74pKvwzsjGPmcZ_hvjreFXnWuz2U/s1600/mss-bobsled.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJNwbgxxCrAU3D5xu9EHkTkMZ7nwtAAzarKx_GI9fTSeeV78pLMkHHK8dklC54lEeGlRXNguRck_G6RZ4Nn5Fo1BFY_RRCsB7_h2XK9mJeU8ZSeTy74pKvwzsjGPmcZ_hvjreFXnWuz2U/s1600/mss-bobsled.jpg" height="190" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>On Her Majesty's Secret Service</i> (1969)</td></tr>
</tbody></table>
<br />
<i>See also: <a href="http://second-reel.blogspot.com/2012/08/bonding-ritual.html">Bonding Ritual</a></i>Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-8656004383438011082013-09-17T21:56:00.000-04:002019-08-23T18:17:32.481-04:00This is not an apple<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSzWtnwJgh1vUzSOR9V7a7NQvnwkR9lJ3me2Dmy-X_vEwPLlbCC-I5P8TKVvPK6kqK0juT8JpcextGdxOUG2fmuIsluMR1SX4JNRbF9X3Miqma8bIX9aHcun_lPlxwnMCOkxem9VL6u-4/s1600/kane-cockatoo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSzWtnwJgh1vUzSOR9V7a7NQvnwkR9lJ3me2Dmy-X_vEwPLlbCC-I5P8TKVvPK6kqK0juT8JpcextGdxOUG2fmuIsluMR1SX4JNRbF9X3Miqma8bIX9aHcun_lPlxwnMCOkxem9VL6u-4/s400/kane-cockatoo.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Citizen Kane</i> (1941)</td></tr>
</tbody></table>
<br />
Someone once complained to me that Orson Welles wasn't as great as his reputation, citing the shot of the eyeless cockatoo from <i>Citizen Kane</i> — whose transparent eye was apparently an unintended effect of the imposition process — as evidence that Welles received praise for such accidents as if they were intentional and meaningful moments of his own design. <!--Someone once complained to me about the praise given to <i>Citizen Kane</i> and its director, Orson Welles, citing the shot of the eyeless cockatoo — whose transparent eye was apparently an unintended effect of the imposition process — as evidence that Welles wasn't the genius some claim he was.--> The cockatoo shot is ripe for such debate between people who may wonder what the bird's transparent eye signifies and those who would dismiss any such search for "meaning" due to the effect's unintentional origin. Filmmaker and Welles confidant Peter Bogdanovich, on a commentary track on the <i>Citizen Kane</i> DVD, explains that Welles told him the shot was only inserted to reclaim the audience's potentially waning attention at a late point in the film. Accepting anything Welles said about his own work at face value is risky, but refusing to allow that the shot could have any effect beyond Welles' own imagining is more so.<br />
<br />
In a <a href="http://www.davidbordwell.net/blog/2013/04/07/all-play-and-no-work-room-237/" target="_blank">2013 blog post</a> about <i>Room 237,</i> a documentary in which fans of <i>The Shining</i> explain their theories about the Kubrick film, David Bordwell, addressing one theory that <i>The Shining</i> is Kubrick's apology for helping fake the Apollo 11 landing, wrote:<br />
<br />
<blockquote class="tr_bq">
The Apollo 11 argument illustrates the risk of appeals to intention: they tend to substitute causal explanations for functional ones. That is, they tend to look for how something got into the film rather than what it's doing in the film. But that's a risk that professional critics run as well when they appeal to intention. The problem is just more apparent when the causal story that's put forward seems tenuous.</blockquote>
<br />
<br />
While the technical explanation of the transparent bird eye is perhaps easier to accept than the claim about Kubrick and Apollo 11, the problem of "appeals to attention" is applicable to debate over the <i>Kane</i> shot as well. Regardless of how the transparent eye came to be, it nonetheless ended up in the final film, and can therefore influence the viewer's response. All meaning in a film — or in any work of art — rests with the viewer. Filmmakers can do their best to shape an intended meaning or effect, and they can explain their intentions forever after; still, for better or worse, meaning is in the mind of the beholder.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2OkI7w2ADz8dLif_wA-UmywljAgrhjmmPykJKDOhlBB-U61YcV4hMVdRl71NxV18Hh0Vvx0amkYOmEYJezaV5VBXHgUXCXUBsSpy_ukZgz7Sw7Xvrgcy5aaNUdy3o0pYDLStT7U8V5Ds/s1600/this-is-not-an-apple-1964(1).jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2OkI7w2ADz8dLif_wA-UmywljAgrhjmmPykJKDOhlBB-U61YcV4hMVdRl71NxV18Hh0Vvx0amkYOmEYJezaV5VBXHgUXCXUBsSpy_ukZgz7Sw7Xvrgcy5aaNUdy3o0pYDLStT7U8V5Ds/s1600/this-is-not-an-apple-1964(1).jpg" width="228" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Ceci n'est pas une pomme</i><br />
Rene Magritte, 1964</td></tr>
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The Magritte painting <i>Ceci n'est pas une pomme</i> ("This is not an apple") demonstrates the disparity possible between an artist's intentions and the end effect on a viewer. At first, the discrepancy between what the painting depicts (an apple) seems to be at odds with the inscription above it ("This is not an apple"). By one interpretation, this can be resolved by realizing that the apple is merely a <i>depiction</i> of an apple; thus, "this is not an apple." But there is something more at work. Magritte has included above a very recognizable image of an apple an equally unambiguous statement, "This is not an apple." In doing so, he has given us conflicting information about what we see and what we are told. Specifically, between what <i>he is showing us</i> and what <i>he is telling us.</i> To resolve this intellectual conflict, we must decide for ourselves what we are looking at. Thus, the painting is also a demonstration of the audience's relationship to the artist -- more precisely, of the relationship between the artist's intentions and the audience's perception.<br />
<br />
What if Magritte had inscribed something else, like "This apple is hanging from a tree" or "This apple has been poisoned"? Our decision would then be to decide if we accept this extra information about the apple, to determine if what the artist tells us about his own thoughts and intentions are relevant to our perception or "interpretation" of the apple. There would be nothing requiring us to accept such statements, and there is nothing requiring us to accept, or accept in a specific and predetermined way, the statement "This is not an apple." It is not incorrect for us to reject that statement in favor of what we believe we see, nor is it incorrect to reject a filmmaker's stated intentions in favor of what we interpret from the final film.*<br />
<br />
I'll close with a few movie moments that came to mind when writing this.<br />
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<b>Opening title card from <i>Fargo</i></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6uAHFOj4Px9xGO9PmiqM52TKsREWBKZuzBeucHHBwlXMMHwn7Vd4sIpn66ucN7KvsLnFmlKJIulkJG7wnRmcUHDGCkTUdjTId5DLUzrHxcSDyDgKeRopEuH0GCX-w6_BVX8ySaECz8bE/s1600/fargo-opening_title.gif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6uAHFOj4Px9xGO9PmiqM52TKsREWBKZuzBeucHHBwlXMMHwn7Vd4sIpn66ucN7KvsLnFmlKJIulkJG7wnRmcUHDGCkTUdjTId5DLUzrHxcSDyDgKeRopEuH0GCX-w6_BVX8ySaECz8bE/s400/fargo-opening_title.gif" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Fargo</i> (1996)</td></tr>
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<br />
I wouldn't necessarily fault anyone who accepted this statement without question, though claims such as this beg examination. When I first saw <i>Fargo,</i> I assumed this statement was false (it is a movie, after all) and wondered why it was included; what I accepted without question was that the Coen brothers thought it contributed somehow to the film. (For insight on this, see an interview snippet with Joel Coen in Karl Heitmueller's <i><a href="http://www.mtv.com/news/articles/1499898/rewind-separating-fact-from-cinematic-fiction.jhtml" target="_blank">Rewind: What Part Of 'Based On' Don't You Understand?</a></i>)<br />
<br />
<b>Jesus confronts Paul in <i>The Last Temptation of Christ</i></b><br />
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<iframe allowfullscreen="" frameborder="0" height="360" src="//www.youtube-nocookie.com/embed/kaUuSJx-VDA?rel=0" width="480"></iframe><br />
<br />
When Jesus, saved from the cross and living a regular life, tells Paul that Paul's stories of Jesus' death are not true, Paul tells Jesus that the reality of Jesus' life does not matter to him when compared to what the people need to believe. If he, as storyteller, needs to interpret the details of Jesus' life in order to make his point, he will. (Hopefully, he's prepared for his audience to do the same and interpret his stories as they see fit.)<br />
<b><br /></b>
<b>Marshall McLuhan stifles a know-it-all in <i>Annie Hall</i></b><br />
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<iframe allowfullscreen="" frameborder="0" height="360" src="//www.youtube-nocookie.com/embed/OpIYz8tfGjY?rel=0" width="480"></iframe><br />
<br />
McLuhan appears in order to back up Alvy's assertion that a man in line knows nothing about McLuhan's work. Alvy wishes, "Boy, if life were only like this." Maybe to Allen the filmmaker, who could then assert more control over how his films were perceived, this is an appealing fantasy. Still, it would be impossible. Even if he inserted himself into all of his films in order to explain his intentions, or magically appeared in person at every screening of his movies, it wouldn't prevent viewers from thinking what they want. In fact, it would probably prompt more questions about what his explanations <em>really</em> mean.**<br />
<br />
<br />
<span style="font-size: x-small;">*I am using the Magritte painting in my own way for example. While I feel that this particular "reading" could be as valid as any, I admit that it depends upon splitting two equally important elements (the written phrase and the depiction of the apple) of a unified work (the painting "Ceci n'est pas une pomme") in order to demonstrate the relationship between two separate things. A director's intentions, and the discussion thereof, are external to a film, while Magritte's phrase and apple are both integral parts of a single work, one which appears to have been designed to prompt that very discussion.<br /><br />**Certainly there is a difference between interpreting something and misunderstanding it, and in this scene it appears that the man in line is doing the latter. Academic work like McLuhan's is less open to interpretation than artistic work, and there are elements of filmmaking that are more closed to interpretation than others (we know what shot/reverse-shot signifies, for example, or what is implied by a <a href="http://second-reel.blogspot.com/2010/10/impossible-pov.html">blurry "coming-to" shot</a>). So while it would be difficult to argue that the temporal discontinuity of Citizen Kane indicates something other than flashbacks, e.g., less codified elements like the cockatoo shot are more open to interpretation.</span>Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-16133769566297307882013-06-27T18:00:00.000-04:002013-06-27T19:28:08.760-04:00A Hitchcock tour of U.S. landmarks<b><i>Saboteur</i> (1942)</b><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLp-nuBjXG8CB5ZAltx5fytFONmrSiUGhvUDtBVd_669Z4cd2jny5RV4KHSERpUpN7Hxhyphenhyphen35M7pTNMoOJeH6l359yR9jbc2ZrH0sq7At9pv09FWrweNyGJlzYEW_isbkJy-M3H0wTUMQ8/s1600/saboteur-dam.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLp-nuBjXG8CB5ZAltx5fytFONmrSiUGhvUDtBVd_669Z4cd2jny5RV4KHSERpUpN7Hxhyphenhyphen35M7pTNMoOJeH6l359yR9jbc2ZrH0sq7At9pv09FWrweNyGJlzYEW_isbkJy-M3H0wTUMQ8/s400/saboteur-dam.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hoover Dam (Boulder Dam), Nevada</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMThSXlVu4Gpp7C15ztYOBNa337Bxi2ngXopbrYA4wtOgRVUHOrQR8VVpgPsQzCQkEJ5Gl4auRCZe42vFTlL4d0sDBq5EDQV1s2YsORegkJGn9_Uctcvf76FisU2AVcKNcEgPcKZBHypA/s1600/saboteur-skyline.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMThSXlVu4Gpp7C15ztYOBNa337Bxi2ngXopbrYA4wtOgRVUHOrQR8VVpgPsQzCQkEJ5Gl4auRCZe42vFTlL4d0sDBq5EDQV1s2YsORegkJGn9_Uctcvf76FisU2AVcKNcEgPcKZBHypA/s400/saboteur-skyline.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Empire State Building and New York City skyline</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2NhLo1Bz1NrlcDb7rzYYl6c7HtDvmJy_B7Ny9-89Dyit5FZYgtsbeA-IE6v1JAuFe8iIk0O_uqZnl7nNa6C80xPprsTjzIyKlDBK4baxOXrs4Am8uDkcK8x7l9aUumhoIDx7dNmvIdJk/s1600/saboteur-statue_of_liberty.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2NhLo1Bz1NrlcDb7rzYYl6c7HtDvmJy_B7Ny9-89Dyit5FZYgtsbeA-IE6v1JAuFe8iIk0O_uqZnl7nNa6C80xPprsTjzIyKlDBK4baxOXrs4Am8uDkcK8x7l9aUumhoIDx7dNmvIdJk/s400/saboteur-statue_of_liberty.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Statue of Liberty, New York</td></tr>
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<br />
<b><i>Strangers on a Train</i> (1951)</b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTbXibis5M4eIn6-TnP8__erGnod_uoiSk-8yNE8uIWEWIr1t4rP2aNt7OIo4iA-Tn7iwrysW5mGpZ4mQus02Gj4Lp8J5Ag7tMzF4h8xY5IbaCbWQLGpwQceHoX7uOwh18eIIBocVHJbo/s1600/strangers_on_a_train-capito.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTbXibis5M4eIn6-TnP8__erGnod_uoiSk-8yNE8uIWEWIr1t4rP2aNt7OIo4iA-Tn7iwrysW5mGpZ4mQus02Gj4Lp8J5Ag7tMzF4h8xY5IbaCbWQLGpwQceHoX7uOwh18eIIBocVHJbo/s400/strangers_on_a_train-capito.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">U.S. Capitol, Washington, D.C.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOc6s8MnyZDe3Dio5f7Bn01Dbsh33fsiLV4H8e4oqhXtPLvFCAH9-dFeuWnwGlFDM7FV49_7WtL2UclhQOXL1IRQS2BlcSIAG4cVJ5c7t1QoiulgVuYkMrWo-2neNJqhMZP-BlnxSB7iw/s1600/strangers_on_a_train-jeffer.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOc6s8MnyZDe3Dio5f7Bn01Dbsh33fsiLV4H8e4oqhXtPLvFCAH9-dFeuWnwGlFDM7FV49_7WtL2UclhQOXL1IRQS2BlcSIAG4cVJ5c7t1QoiulgVuYkMrWo-2neNJqhMZP-BlnxSB7iw/s400/strangers_on_a_train-jeffer.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jefferson Memorial and Washington Monument, Washington, D.C.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6IkYehOrclDg215bxxT6rHbw20XLlVo6LO6qd6PQ7TflCxA0exdnD_dCMcxc3pznNQlj_Lk5VhxRGdIPDfLgqhgn3T7uo8sxHLx5O-OjgdzTnP5IrSJoWxkFsRhImei04R40zC96vhQY/s1600/strangers_on_a_train-nation.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6IkYehOrclDg215bxxT6rHbw20XLlVo6LO6qd6PQ7TflCxA0exdnD_dCMcxc3pznNQlj_Lk5VhxRGdIPDfLgqhgn3T7uo8sxHLx5O-OjgdzTnP5IrSJoWxkFsRhImei04R40zC96vhQY/s400/strangers_on_a_train-nation.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">National Gallery, Washington, D.C.</td></tr>
</tbody></table>
<br />
<b><i>Vertigo</i> (1958)</b><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjYb9bMhQ9AyiZPjnr5pekrJ5rPE4ImUyAfTiyT1bd611DFbiclMZG2bDQJoYOrmw35GSmhJb59DM22-5pHsLvh83EBwRqpfdJm9qxZNGWkL4dJL3_yFZlw3htkooWxwDA4s3MkEfx04k/s1600/vertigo-golden_gate.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjYb9bMhQ9AyiZPjnr5pekrJ5rPE4ImUyAfTiyT1bd611DFbiclMZG2bDQJoYOrmw35GSmhJb59DM22-5pHsLvh83EBwRqpfdJm9qxZNGWkL4dJL3_yFZlw3htkooWxwDA4s3MkEfx04k/s400/vertigo-golden_gate.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Golden Gate Bridge, San Francisco</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVU5i5sskkraIfofXlB7ENUuXT5f7zO3q1ZzwT-4g01-HCkyeyK_FX4sRMGpJ9BXz2ApT96EnlNjCqKNK2N0LJZ0z8GTrguoA_PJVzXUn1s3SpLzCqFnPQq4dSds6oQSRET77ofLWYQH4/s1600/vertigo-redwoods.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVU5i5sskkraIfofXlB7ENUuXT5f7zO3q1ZzwT-4g01-HCkyeyK_FX4sRMGpJ9BXz2ApT96EnlNjCqKNK2N0LJZ0z8GTrguoA_PJVzXUn1s3SpLzCqFnPQq4dSds6oQSRET77ofLWYQH4/s400/vertigo-redwoods.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Redwood forest, California</td></tr>
</tbody></table>
<br />
<b><i>North by Northwest</i> (1959)</b><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ51nwOQE1IIKUgOLQn_lPI6Gb6vfuyczf8ud0kf-DMFzn68UysUqGccoehCktz71CcV29xXf5eQ2ZsW4Dd0P3GEQIhNX9zG9fTcHSQT_xieEquoxCBv6TMr7CSpVLS5py2ooHHg45Ms4/s1600/north_by_northwest-un.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ51nwOQE1IIKUgOLQn_lPI6Gb6vfuyczf8ud0kf-DMFzn68UysUqGccoehCktz71CcV29xXf5eQ2ZsW4Dd0P3GEQIhNX9zG9fTcHSQT_xieEquoxCBv6TMr7CSpVLS5py2ooHHg45Ms4/s400/north_by_northwest-un.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">United Nations Headquarters, New York</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0qK2SBw0wFDE2u_ERZjkCY2h-cHPiiKOQJmx4bSJ23AyeAxU4e7ejmPnmIEeZsyR2oKIT3CLZm8MZdqcy63LU5EZUF0nyWLmjfIIgPvBl6FWY_J8XxzDgm908m6gKYrZpItQraSEjLKA/s1600/north_by_northwest-capitol.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0qK2SBw0wFDE2u_ERZjkCY2h-cHPiiKOQJmx4bSJ23AyeAxU4e7ejmPnmIEeZsyR2oKIT3CLZm8MZdqcy63LU5EZUF0nyWLmjfIIgPvBl6FWY_J8XxzDgm908m6gKYrZpItQraSEjLKA/s400/north_by_northwest-capitol.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">U.S. Capitol, Washington, D.C.</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv0JtKrGHXFcejG1Y2X54giOF9fcIwuuaUXQXRo44hJ1-6f9Xetc_mRCfVecTfEo9yVNNvo5uKc_ANkuDC_WK9ly5CV5SUziygLa6yKFnvmZjajjrQre65GLoIOXRkSjH932tiMjiIFTA/s1600/north_by_northwest-rushmore.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv0JtKrGHXFcejG1Y2X54giOF9fcIwuuaUXQXRo44hJ1-6f9Xetc_mRCfVecTfEo9yVNNvo5uKc_ANkuDC_WK9ly5CV5SUziygLa6yKFnvmZjajjrQre65GLoIOXRkSjH932tiMjiIFTA/s400/north_by_northwest-rushmore.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mount Rushmore, South Dakota</td></tr>
</tbody></table>
<br />Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-519999390975945492013-05-07T21:31:00.001-04:002013-06-11T09:13:26.076-04:00Ray Harryhausen (1920-2013)<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG4Jzlj97gvggCiW8zXSsWfQrsDiLPcNCc66lhpm6P7UhJO0lOJiMZ0I20DQZWUnpaK-m5_zjxDGFxBcLm8MLzJSZgKtzTMeWJjGTNXzhamelDbG8CUYAH6wqJxN5qYZapr3nMumSxf3M/s1600/ffs.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG4Jzlj97gvggCiW8zXSsWfQrsDiLPcNCc66lhpm6P7UhJO0lOJiMZ0I20DQZWUnpaK-m5_zjxDGFxBcLm8MLzJSZgKtzTMeWJjGTNXzhamelDbG8CUYAH6wqJxN5qYZapr3nMumSxf3M/s320/ffs.jpg" width="238" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Film Fantasy Scrapbook,</i><br />
still on my shelf after 39 years</td></tr>
</tbody></table>
My oldest Ray Harryhausen memory is from second grade, when I took my father's copy of Harryhausen's <i>Film Fantasy Scrapbook</i> to school. My father was the TV critic for the local paper at the time; knowing this, and noticing the book on my desk, my teacher presumed my father to be an expert on special effects and asked him to give a presentation on the subject.<br />
<br />
I was beyond excited to have my father in school on the day of the presentation, and I did not hesitate to leave my seat and wander to the front of the auditorium (the audience had increased somewhat from the time my father was asked to speak to the time of the actual presentation) to interrupt him for the sake of getting laughs and impressing my friends. ("Who are we, the Smothers Brothers?" I remember asking him in the middle of his explanation of stop motion photography. He replied that we were, but that I was to be Tommy, whose role it was to sit quietly while he, Dick, spoke. I'm not sure the Smothers Brothers followed that rule, but I know I didn't. My father was not amused.)<br />
<br />
Years later, in seventh grade, I gave my own presentation during a "floor talk" in English class. I opened with a mention of Fay Wray and <i>King Kong</i>, tried demonstrating the stop motion technique using a model dinosaur I had almost completed, and concluded with a look at the same copy of <i>Film Fantasy Scrapbook</i> from third grade.<br />
<br />
In the pre-VHS, pre-DVD days of my childhood I didn't see many of Harryhausen's movies, save for the few that were occasionally shown on UHF channels. I remained captivated, though, by <i>Film Fantasy Scrapbook</i>, by the monsters it depicted, and especially by the technique with which they were animated. I kept a lookout for stop motion effects in other movies — <i>The Empire Strikes Back</i> is a great memory of that — and was happy when Harryhausen returned to the screen with <i>Clash of the Titans</i>.<br />
<br />
Eventually, as special effects evolved, I began to feel as if stop motion had reached its peak and levelled off. In discussions with friends, I would say that it had been perfected early on, meaning in Harryhausen's prime, and that it was as good as it would ever be, but that it was easily being eclipsed by modern techniques. I was skeptical of those who claimed otherwise, though I still remained fond of Harryhausen's work, which I began to collect avidly on DVD.<br />
<br />
Then, recently, I watched the remake of <i>Clash of the Titans</i> (2010), and I quickly realized how much more effective Harryhausen's work on the original is compared to the computer effects of the remake. The digital monsters of the new film are nicely rendered, to be sure, but the action scenes into which they are inserted lack a grounding element — there is simply too much digital stuff filling the screen, tumbling beyond orientation, leaving the viewer lost in a flurry of pixelated scales, fur, claws, etc. Watching the original once more, I noticed how Harryhausen's creatures, while noticeably "artificial," nonetheless become part of the world inhabited by the human actors. The threat or benefit which they represent can be felt, because their relationship to the human characters feels more physical, more real.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_4bHAi_eowB_b_0vzPGtUyjZrq4L292F-YD2Vjtnx0AZjuuUUbr9FSzSKLJWRSHjV66JtuHfLKoR96_WZNScHu-kH__CvGTi6RsRNBA-3IuFWurT_QmqoPizVae1UpGsGA5licfwjaeo/s1600/eye_of_the_tiger-trog1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="92" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_4bHAi_eowB_b_0vzPGtUyjZrq4L292F-YD2Vjtnx0AZjuuUUbr9FSzSKLJWRSHjV66JtuHfLKoR96_WZNScHu-kH__CvGTi6RsRNBA-3IuFWurT_QmqoPizVae1UpGsGA5licfwjaeo/s200/eye_of_the_tiger-trog1.jpg" width="150" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNLIh6O4ogEHmudv0CMWTfV2VCSBWOTnhwN7PGAOZIE4R3ZChTvp7gGbyNKb-fQvTpN53oDMlBMdO6reH_a_oHS-KCIM_vur5E3EDBWcwJk03lwsNeHqFU0KuUiQQ8PzrTk1tQ4uLp43Y/s1600/eye_of_the_tiger-trog2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="92" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNLIh6O4ogEHmudv0CMWTfV2VCSBWOTnhwN7PGAOZIE4R3ZChTvp7gGbyNKb-fQvTpN53oDMlBMdO6reH_a_oHS-KCIM_vur5E3EDBWcwJk03lwsNeHqFU0KuUiQQ8PzrTk1tQ4uLp43Y/s200/eye_of_the_tiger-trog2.jpg" width="150" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhkNB7YaVwS0d4yMcLMMnp3IyfsDWOK-_we52KzjbgGBsv22nUSwUVAaLPS3kNEuOisOoyTJJxfCXJTqgN2pV4siu__VfuMUnMSRC022lwSsPeIenaqsti4o0eXSfwll0XgsiuQo5pUuE/s1600/eye_of_the_tiger-trog3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="92" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhkNB7YaVwS0d4yMcLMMnp3IyfsDWOK-_we52KzjbgGBsv22nUSwUVAaLPS3kNEuOisOoyTJJxfCXJTqgN2pV4siu__VfuMUnMSRC022lwSsPeIenaqsti4o0eXSfwll0XgsiuQo5pUuE/s200/eye_of_the_tiger-trog3.jpg" width="150" /></a></div>
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So much has been said about the expressiveness of Harryhausen's characters and about his ability to "act" through them. Taking some screencaps for this post, I realized how valid this praise is. Watch the introduction of the troglodyte in <i>Sinbad and the Eye of the Tiger</i> (above), for example, and you will see as natural a progression from aggressiveness to fear to curiosity to acceptance as could be given by any talented actor — and it was done by a man working with miniature models one frame at a time. The fluidity of this scene belies the days, weeks, or months that went into making it, the time between each frame that was spent repositioning the puppet, the skill required to virtually stop time and reassemble it a fraction of a second at a time, somehow remaining aware of how one pose would lead to the next to create a seamless motion and a polished performance.<br />
<br />
Below are frames from all of Harryhausen's feature films, I think, except for <i>The Animal World</i>. Also included are frames from two of his several short subjects, both based upon fairy tales. They are presented here in memory of the man, who died today at age 92.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLk1-OsnhUPS5QEcgjN3wrkJL3vyo7H8W8xU2jY1vrxqG5JMU8ZAff44HyGSI0hrq5_-27PWjYdeZQtIhlQ1bbuAaIayF4zWU9uYlNJDVDjv65jbrxViO8iB5EUIzfKvrcXoxvN8nRxuE/s1600/riding_hood.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLk1-OsnhUPS5QEcgjN3wrkJL3vyo7H8W8xU2jY1vrxqG5JMU8ZAff44HyGSI0hrq5_-27PWjYdeZQtIhlQ1bbuAaIayF4zWU9uYlNJDVDjv65jbrxViO8iB5EUIzfKvrcXoxvN8nRxuE/s400/riding_hood.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Little Red Riding Hood</i> (1949)</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoOz09NuwjXpWmlfowQqfCiDJadHU8QX-8WM13k9Jh_70uTzqqDSkIS5eZOvvTnF57MKh5CCVh3kKfHO2HzP0M5uc6Q9c2BBYl2lvZrvu0UCi_4k2iJO3TYJV3q65Ej_Ma-cdHPs-au1k/s1600/mighty_joe_young-6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoOz09NuwjXpWmlfowQqfCiDJadHU8QX-8WM13k9Jh_70uTzqqDSkIS5eZOvvTnF57MKh5CCVh3kKfHO2HzP0M5uc6Q9c2BBYl2lvZrvu0UCi_4k2iJO3TYJV3q65Ej_Ma-cdHPs-au1k/s400/mighty_joe_young-6.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Mighty Joe Young</i> (1949)</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFRnFIdRbWoY0MA4ZmMBKo2YM7RiCCwG72BYqgHPW1CQ42OaJ9bqZyf4kMj83JBqFueKZmH1Z1fcKzA82ZiY3amgCRe6zfKjPDpjgWqb7-Qo9KB7eai8_5GpE-mpA6vZQURDTS3LIb1yo/s1600/hansel_and_gretel.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFRnFIdRbWoY0MA4ZmMBKo2YM7RiCCwG72BYqgHPW1CQ42OaJ9bqZyf4kMj83JBqFueKZmH1Z1fcKzA82ZiY3amgCRe6zfKjPDpjgWqb7-Qo9KB7eai8_5GpE-mpA6vZQURDTS3LIb1yo/s400/hansel_and_gretel.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Hansel and Gretel</i> (1951)</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAIbdKvPAHWOvedxHw4cO4QS11YSszB59IrLIyt5LhRUjICVScz_A4B8FI9OPPHO0X3rQIL-8UyQrra8LQcxOG8t1IZhvXCRRE7ebbfSqUDx1dok9VeBOaOBBnpz4xSIe4fFJXz5Hc9b8/s1600/beast_from_20000_fathoms.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAIbdKvPAHWOvedxHw4cO4QS11YSszB59IrLIyt5LhRUjICVScz_A4B8FI9OPPHO0X3rQIL-8UyQrra8LQcxOG8t1IZhvXCRRE7ebbfSqUDx1dok9VeBOaOBBnpz4xSIe4fFJXz5Hc9b8/s400/beast_from_20000_fathoms.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Beast from 20,000 Fathoms</i> (1953)</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvgnwyRMzklUPknb-RrKprH-4w0dVzgE04IvQWZAzVWBSuHTtAf5COB-cngzkq4_A45r5mHUQpkfLaXO1iEOb-yvvdW0a4BpL2enAEqEOyk2ZXZsLKjn98yoVXjQWA7OWKBm2xGzYpBog/s1600/it_came_from_beneath_the_se.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvgnwyRMzklUPknb-RrKprH-4w0dVzgE04IvQWZAzVWBSuHTtAf5COB-cngzkq4_A45r5mHUQpkfLaXO1iEOb-yvvdW0a4BpL2enAEqEOyk2ZXZsLKjn98yoVXjQWA7OWKBm2xGzYpBog/s400/it_came_from_beneath_the_se.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>It Came from Beneath the Sea</i> (1955)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCAYCllB2HSOSta1-3SDNqcLKaQRHDTK29JYAIhT2UR-wG99yMYT5nEehbhZBzgK5REPpBKwyiMggCIyONTvxw8R0DkK112o9F_6YQ_vwJkE-N9rNQ-vStBowUhzc3RhBdyXJQ8UEtxds/s1600/earth_vs_flying_saucers.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCAYCllB2HSOSta1-3SDNqcLKaQRHDTK29JYAIhT2UR-wG99yMYT5nEehbhZBzgK5REPpBKwyiMggCIyONTvxw8R0DkK112o9F_6YQ_vwJkE-N9rNQ-vStBowUhzc3RhBdyXJQ8UEtxds/s400/earth_vs_flying_saucers.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Earth vs. the Flying Saucers</i> (1956)</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSYr1voKZzW-LCkqsqwhCiU99bLRf-u_4Z9kqsiyor3Hp5-Mv-dJJDeYdiOVh7QlJRa9oMex4XBnKvm3ENHMR5MXZBuS7Oo0zSxpEDAB6iH0Bh4Ba7IOLRKWXs6FKq0ubIdPXrQyY2Vmw/s1600/20_million_miles_to_earth.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSYr1voKZzW-LCkqsqwhCiU99bLRf-u_4Z9kqsiyor3Hp5-Mv-dJJDeYdiOVh7QlJRa9oMex4XBnKvm3ENHMR5MXZBuS7Oo0zSxpEDAB6iH0Bh4Ba7IOLRKWXs6FKq0ubIdPXrQyY2Vmw/s400/20_million_miles_to_earth.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>20 Million Miles to Earth</i> (1957)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWERnrnrwUl6NFAqEfrBfpzRC7aY_OsHGXqNsNn4vIHute308VFg-qPRZ1FCiM3k8ByRqPeCE8zRkaIuOeNTpfZ4A7suiAbx77YSw9hFq5fOci_Of4u6gBP9WZEBn9ovNLU4WTDATtJsg/s1600/7th_voyage_of_sinbad.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWERnrnrwUl6NFAqEfrBfpzRC7aY_OsHGXqNsNn4vIHute308VFg-qPRZ1FCiM3k8ByRqPeCE8zRkaIuOeNTpfZ4A7suiAbx77YSw9hFq5fOci_Of4u6gBP9WZEBn9ovNLU4WTDATtJsg/s400/7th_voyage_of_sinbad.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The 7th Voyage of Sinbad</i> (1958)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcUGcUhDN5YczxwVjakZ4kcYk_gzQ7Ypkx_fYQ7nTvxR5O-A0A6vTdIs2le8WTki9VuL6S2gCK8RYXzVL71oDc4FfVAAWXwC-Y_jFA1P8WhRWjOP6cEJcKow84hhOzOy_rZGVuA5Wy4VQ/s1600/gulliver.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcUGcUhDN5YczxwVjakZ4kcYk_gzQ7Ypkx_fYQ7nTvxR5O-A0A6vTdIs2le8WTki9VuL6S2gCK8RYXzVL71oDc4FfVAAWXwC-Y_jFA1P8WhRWjOP6cEJcKow84hhOzOy_rZGVuA5Wy4VQ/s400/gulliver.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The 3 Worlds of Gulliver</i> (1960)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg940sbyyFqf0Bz94GE1pHRAqybJp9UOOSVa8bhmwKbJvr3U9nqv4vF-r4hdGdrO7spGr1yJSTTtAsV4XSUkBU0kCJAkMcLp3EjhxD0hJJd3MaxJ6zoJj0J8vKXVBZsQHzQi6XBaWw1fA4/s1600/mysterious_island.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg940sbyyFqf0Bz94GE1pHRAqybJp9UOOSVa8bhmwKbJvr3U9nqv4vF-r4hdGdrO7spGr1yJSTTtAsV4XSUkBU0kCJAkMcLp3EjhxD0hJJd3MaxJ6zoJj0J8vKXVBZsQHzQi6XBaWw1fA4/s400/mysterious_island.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Mysterious Island</i> (1961)</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPymMwewSUMDYkju_kPkYnHTdrdJyJe7LK0JQvmLpZIxS6NTyptSZRDcYkocFPDPnKJY3oxeIUnn8FWpKz_yiUPcL_nK9uGZr1aPLQMoGJmtR__JgnWbY6YsP15qNM6_m6II0HMns59mw/s1600/jason_and_the_argonauts.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPymMwewSUMDYkju_kPkYnHTdrdJyJe7LK0JQvmLpZIxS6NTyptSZRDcYkocFPDPnKJY3oxeIUnn8FWpKz_yiUPcL_nK9uGZr1aPLQMoGJmtR__JgnWbY6YsP15qNM6_m6II0HMns59mw/s400/jason_and_the_argonauts.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Jason and the Argonauts</i> (1963)</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj77hk6HANxGP7CKIOx9NDpZAv2kujwzc0y99DJZTJAfOqZHHvTIF0JW8Fa9p9Ozi8m_8xetBt4jG2yTCIj5IuqyrKM7ITTlicyO4rqbffILVVouL8INzl1q08mif5nmzMsgCWo4s7QH9U/s1600/first_men_on_moon.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj77hk6HANxGP7CKIOx9NDpZAv2kujwzc0y99DJZTJAfOqZHHvTIF0JW8Fa9p9Ozi8m_8xetBt4jG2yTCIj5IuqyrKM7ITTlicyO4rqbffILVVouL8INzl1q08mif5nmzMsgCWo4s7QH9U/s400/first_men_on_moon.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>First Men in the Moon</i> (1964)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE9qFQ-rD0-bPlT0rUZcVy40iScSbRsHHexQI0Kn-g14PFzCfiVzAloXzPKPGG4ZNzS3fur4G3ZJ6I0rboRLgSIIa8kLj6ToW_SPKE1zUdIAa7btBH4sI4yBEB-bm_gXMhIfV_dqUJ4Vg/s1600/one_million_years_bc.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE9qFQ-rD0-bPlT0rUZcVy40iScSbRsHHexQI0Kn-g14PFzCfiVzAloXzPKPGG4ZNzS3fur4G3ZJ6I0rboRLgSIIa8kLj6ToW_SPKE1zUdIAa7btBH4sI4yBEB-bm_gXMhIfV_dqUJ4Vg/s400/one_million_years_bc.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>One Million Years B.C.</i> (1966)</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwtRrnWEEN0F6RmKF4IIt64nnD7ZSAPDnvSQPsh7tic3FAvAo48QHnJQqeUyL9Of2lt2ICZhjP02QORBJB9uuHe9eg2YnHrAvpBcJ-vlnfHShfjljp7CDkGdJaIwoip8ep7Q8km1VdlFw/s1600/valley_of_gwangi.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwtRrnWEEN0F6RmKF4IIt64nnD7ZSAPDnvSQPsh7tic3FAvAo48QHnJQqeUyL9Of2lt2ICZhjP02QORBJB9uuHe9eg2YnHrAvpBcJ-vlnfHShfjljp7CDkGdJaIwoip8ep7Q8km1VdlFw/s400/valley_of_gwangi.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Valley of Gwangi</i> (1969)</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9501CPUuD6i4SO-rgh5SbUJMWjShL-yhYXcu428s1EThYkXjJJq5c8ZB75BUH9bAkJOrhkyKWQZCdkeco-grnwJIFNw3ic4LsYwYj5eOnjiYSzSYddvV1Kepi-UyGfu6e1uTJUgnG5Js/s1600/golden_voyage.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9501CPUuD6i4SO-rgh5SbUJMWjShL-yhYXcu428s1EThYkXjJJq5c8ZB75BUH9bAkJOrhkyKWQZCdkeco-grnwJIFNw3ic4LsYwYj5eOnjiYSzSYddvV1Kepi-UyGfu6e1uTJUgnG5Js/s400/golden_voyage.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Golden Voyage of Sinbad</i> (1973)</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhZQakzcVh0ydsgURMrLVMehCMMosLZRSZ-jvAt5qj5Fb89FKA5t-va4sRnpXjn1QC5wlEzbuOAheX9aOIdVqcKG7ZrV4_hyPET6wv-k5y0jSqb6WFsIfFgq0YEoskcWhc0MTnfcfzAdA/s1600/eye_of_the_tiger.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhZQakzcVh0ydsgURMrLVMehCMMosLZRSZ-jvAt5qj5Fb89FKA5t-va4sRnpXjn1QC5wlEzbuOAheX9aOIdVqcKG7ZrV4_hyPET6wv-k5y0jSqb6WFsIfFgq0YEoskcWhc0MTnfcfzAdA/s400/eye_of_the_tiger.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Sinbad and the Eye of the Tiger</i> (1977)</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3m7DTlYZmCeSekgAdcSpJAEvWE9WKbZRG-6bO6PKA5opSvnuBRVFx4bzXYDD8R7fa2QjmRts8hYevPlpMoxbWOzGg9_EFcTTxlS3a0XxAiWzjVYvo29pFFfCX5FDw2FlXl1Q0Z4kA3lU/s1600/titans.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3m7DTlYZmCeSekgAdcSpJAEvWE9WKbZRG-6bO6PKA5opSvnuBRVFx4bzXYDD8R7fa2QjmRts8hYevPlpMoxbWOzGg9_EFcTTxlS3a0XxAiWzjVYvo29pFFfCX5FDw2FlXl1Q0Z4kA3lU/s400/titans.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Clash of the Titans</i> (1981)</td></tr>
</tbody></table>Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-52077375396268263732013-03-18T23:30:00.007-04:002022-08-10T01:17:52.899-04:00Richard Carlson vs. Hugh Marlowe: Can you tell them apart?<div class="separator" style="clear: both; text-align: right;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtCiBvGzYLBPbd4H9MZnCy43qFJlLUhgGkJK6x8r4kb33PyIp8Nj5nSBcpjuFaXaYmkTCFiZlsiKOSrtmM4K3H_TESgvItZZd4w2lAgucsNxngoNDgikR3RG-1IymkcETl4sVA-ivwTj7_bAY4RKHHosPSFifG4hUugkvpjMIZFZNdgovkXtO2-OBp/s225/carlson-marlowe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="119" data-original-width="225" height="119" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtCiBvGzYLBPbd4H9MZnCy43qFJlLUhgGkJK6x8r4kb33PyIp8Nj5nSBcpjuFaXaYmkTCFiZlsiKOSrtmM4K3H_TESgvItZZd4w2lAgucsNxngoNDgikR3RG-1IymkcETl4sVA-ivwTj7_bAY4RKHHosPSFifG4hUugkvpjMIZFZNdgovkXtO2-OBp/s1600/carlson-marlowe.jpg" width="225" /></a></div>
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<tbody><tr>
<td width="50%">Looked to the skies and saw alien spacecraft in <i>It Came from Outer Space</i> (1953)</td>
<td width="25%"><div id="carlsonmarlowe-q1" style="display: none;">Richard Carlson</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('carlsonmarlowe-q1').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Looked to the skies and saw alien spacecraft (animated by Ray Harryhausen) in <i>Earth vs. the Flying Saucers</i> (1956)</td>
<td width="25%"><div id="carlsonmarlowe-q2" style="display: none;">Hugh Marlowe</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('carlsonmarlowe-q2').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Helped lasso a dinosaur (animated by Ray Harryhausen) in <i>The Valley of Gwangi</i> (1969)</td>
<td width="25%"><div id="carlsonmarlowe-q3" style="display: none;">Richard Carlson</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('carlsonmarlowe-q3').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Was a time-travelling astronaut battling mutants in <i>World Without End</i> (1956)</td>
<td width="25%"><div id="carlsonmarlowe-q4" style="display: none;">Hugh Marlowe</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('carlsonmarlowe-q4').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Starred in and directed the space-travel sci-fi film <i>Riders to the Stars</i> (1954)</td>
<td width="25%"><div id="carlsonmarlowe-q5" style="display: none;">Richard Carlson</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('carlsonmarlowe-q5').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Played Patricia Neal's meddling boyfriend in <i>The Day the Earth Stood Still</i> (1951)</td>
<td width="25%"><div id="carlsonmarlowe-q6" style="display: none;">Hugh Marlowe</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('carlsonmarlowe-q6').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Played Susan Hayward's husband in <i>Garden of Evil</i> (1954)</td>
<td width="25%"><div id="carlsonmarlowe-q7" style="display: none;">Hugh Marlowe</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('carlsonmarlowe-q7').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Held Susan Hayward captive in <i>Rawhide</i> (1951)</td>
<td width="25%"><div id="carlsonmarlowe-q8" style="display: none;">Hugh Marlowe</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('carlsonmarlowe-q8').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Hunted a prehistoric gill-man in <i>Creature from the Black Lagoon</i> (1954)</td>
<td width="25%"><div id="carlsonmarlowe-q9" style="display: none;">Richard Carlson</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('carlsonmarlowe-q9').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Was directed by Curt Siodmak in <i>The Magnetic Monster</i> (1953)</td>
<td width="25%"><div id="carlsonmarlowe-q10" style="display: none;">Richard Carlson</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('carlsonmarlowe-q10').style.display='block';">Answer</a></td>
</tr>
<tr>
<td width="50%">Could have been played by Phil Hartman</td>
<td width="25%"><div id="carlsonmarlowe-q11" style="display: none;">Phil could have played them both!</div></td>
<td width="25%"><a href="javascript:;" onclick="document.getElementById('carlsonmarlowe-q11').style.display='block';">Answer</a></td>
</tr>
</tbody></table>Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com2tag:blogger.com,1999:blog-4804928946512327810.post-44746982520453480362013-03-15T00:00:00.000-04:002013-03-15T00:00:02.270-04:00Kai su, teknon?<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhspR7gGLhZueUdTs3oBwu1Azcff_lE0LT8hLl3XSPoOld0rWIFFD31m1fys6fTAfNAlgDvN5fz4RWztLsKy-vQnbkB2pLgkYCdO5zDBmyg4P97EObUt1_xHfLdPBInLnUH5FEArHmgSKY/s1600/cleopatra_1934.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhspR7gGLhZueUdTs3oBwu1Azcff_lE0LT8hLl3XSPoOld0rWIFFD31m1fys6fTAfNAlgDvN5fz4RWztLsKy-vQnbkB2pLgkYCdO5zDBmyg4P97EObUt1_xHfLdPBInLnUH5FEArHmgSKY/s400/cleopatra_1934.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>"You, too, Brutus?"</b><br />
<i>Cleopatra</i> (1934)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQi0hAzZl8JzhLUSSECy5ITEWosaxKFUBm6s5sUVXI4Ohj9qSUHMefaecsLNO9T5I13-gRTfYy8rIHTWegQC3RSnFfkz-F4oomFRoJ9gEzLKyrNHvpzEXXtVPOUHeIoBLA7_ZSlvrMDas/s1600/julius_caesar_1953.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQi0hAzZl8JzhLUSSECy5ITEWosaxKFUBm6s5sUVXI4Ohj9qSUHMefaecsLNO9T5I13-gRTfYy8rIHTWegQC3RSnFfkz-F4oomFRoJ9gEzLKyrNHvpzEXXtVPOUHeIoBLA7_ZSlvrMDas/s400/julius_caesar_1953.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>"Et tu, Brute?"</b><br />
<i>Julius Caesar</i> (1953)</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYqSfdRfG9SbeiIdciNIydjVTVE6V2Z6hSa6rzqsZAm5t1d3DVik1d4PJPAq-ct2TxARsz89courUxi92leyBzdCzJZLLEihADocmPe7XTe9Pn1fRS-xc5Fwuc7f4P1GG6TrF8QnRBzNk/s1600/cleopatra_1963.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYqSfdRfG9SbeiIdciNIydjVTVE6V2Z6hSa6rzqsZAm5t1d3DVik1d4PJPAq-ct2TxARsz89courUxi92leyBzdCzJZLLEihADocmPe7XTe9Pn1fRS-xc5Fwuc7f4P1GG6TrF8QnRBzNk/s400/cleopatra_1963.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>"My son!"</b><br />
<i>Cleopatra</i> (1963)</td></tr>
</tbody></table>
<br />Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-10912614238101739742013-02-26T19:02:00.000-05:002013-05-30T13:17:49.379-04:00Homage, reference, and free association: Round 2<style type="text/css">
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font-weight: bold;
text-align: center;
vertical-align: middle;
background-color: #CCC;
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.SRphotodesc {
padding-bottom: 30px;
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Here's another bunch of scenes, shots, and movie moments that may have been inspired by others.<br /><br />
<table border="0" cellpadding="3" cellspacing="0">
<tbody>
<tr class="SRmoviename">
<td><i>Star Wars Episode 4: A New Hope</i> (1977)</td>
<td><i>2001: A Space Odyssey</i> (1968)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ1T65u4vUzvAPWAPfOLEVitBBy_uZwHaziMFUsVBh2Qa83afmeY3wGSAeh0qkCDuuKkfOzm3qOyvzJj0uivQFI58mIqs6iVdltxWP6tyqPCieacjvSnljFJuaMoc6p_t_FRGSP2sb5cQ/s1600/star_wars-star_destroyer.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="71" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ1T65u4vUzvAPWAPfOLEVitBBy_uZwHaziMFUsVBh2Qa83afmeY3wGSAeh0qkCDuuKkfOzm3qOyvzJj0uivQFI58mIqs6iVdltxWP6tyqPCieacjvSnljFJuaMoc6p_t_FRGSP2sb5cQ/s200/star_wars-star_destroyer.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEFr_CBMTTg0eKNiuRwgIITnDqwPS5cRqp_c0YXyJeo7UhudYp4PTpZZnMTT24EIZGSad5sj82xG_U0e9THbCOuDDuMTik2qhlFex2ktD6Bmly52FrA2iFSpYfVYdgGfd2Cl7YSVY1uYM/s1600/2001-discovery.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="101" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEFr_CBMTTg0eKNiuRwgIITnDqwPS5cRqp_c0YXyJeo7UhudYp4PTpZZnMTT24EIZGSad5sj82xG_U0e9THbCOuDDuMTik2qhlFex2ktD6Bmly52FrA2iFSpYfVYdgGfd2Cl7YSVY1uYM/s200/2001-discovery.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaOOoWjvoKfEJEH1al7_xy4cxHiRnG4ev3WabeEW98xHIPsS2Qf9vmQ8o7rq1IzZ_SUF4MNmj1u_yrvrL3am8JI2qhDCYzmv6R6HcCpZuu7vi1NoziGrX0vSd4_AIyBOusxmClkh-ag2c/s1600/star_wars-hangar.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="71" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaOOoWjvoKfEJEH1al7_xy4cxHiRnG4ev3WabeEW98xHIPsS2Qf9vmQ8o7rq1IzZ_SUF4MNmj1u_yrvrL3am8JI2qhDCYzmv6R6HcCpZuu7vi1NoziGrX0vSd4_AIyBOusxmClkh-ag2c/s200/star_wars-hangar.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4U8f1inGCS0R-ECiA_z_yp0tf8KOTqer_YYfW0OZgxFpwylTA08RYvwunlPFWmG87zZmFxG66W5w0sbH0nh4qEJs5JHrSQEHGX-ZcGcKP3qeqKn8m3R0cULwIlnuLKPVWkQ1UssfI0gg/s1600/2001-hangar.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="101" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4U8f1inGCS0R-ECiA_z_yp0tf8KOTqer_YYfW0OZgxFpwylTA08RYvwunlPFWmG87zZmFxG66W5w0sbH0nh4qEJs5JHrSQEHGX-ZcGcKP3qeqKn8m3R0cULwIlnuLKPVWkQ1UssfI0gg/s200/2001-hangar.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">The introduction of Darth Vader's massive spaceship — entering the frame from above the camera and almost filling the screen for several moments until it has finally passed — is similar to the entrance of the Discovery in <i>2001.</i> The Death Star's docking bay, meanwhile, bears a strong resemblance to the one on <i>2001</i>'s space station.</td>
</tr>
<tr class="SRmoviename">
<td><i>Cars</i> (2006)</td>
<td><i>Cool Hand Luke</i> (1967)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYNlr3u78CK-7AJGrQfLQjHMaKCCXxfNcrSuYz9q0tJkXMMmeXUwgtg99W3_892RUAu1oNYGEMjuAfcGfFmSabc31QK13izD8_1DgSQbgoay2l2y_Osks5DQpSZJ_GSO5iV9c9o2Kxt0c/s1600/cars-road.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="93" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYNlr3u78CK-7AJGrQfLQjHMaKCCXxfNcrSuYz9q0tJkXMMmeXUwgtg99W3_892RUAu1oNYGEMjuAfcGfFmSabc31QK13izD8_1DgSQbgoay2l2y_Osks5DQpSZJ_GSO5iV9c9o2Kxt0c/s200/cars-road.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq1DyzZzOAc_XMXVpYDYnsZYsaANhsXbD5sODs5YDpyG6zbwdYBUpMKR3L2M6YxiPMUxhQKTumzQGB_vVWkMsxNjTS15w-3R7MwiQvy9OdVm_TKAGMUr4IpCTwLdYQXf032x2vyT2RiVg/s1600/cool_hand_luke-road.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="94" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq1DyzZzOAc_XMXVpYDYnsZYsaANhsXbD5sODs5YDpyG6zbwdYBUpMKR3L2M6YxiPMUxhQKTumzQGB_vVWkMsxNjTS15w-3R7MwiQvy9OdVm_TKAGMUr4IpCTwLdYQXf032x2vyT2RiVg/s200/cool_hand_luke-road.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">In an apparent nod to <i>Cool Hand Luke</i> star Paul Newman, who voices Doc Hudson in <i>Cars</i>, Lightning McQueen is sentenced to repair a road by towing a large paving machine. He pulls the machine as quickly as possible to finish his task in a hurry. As the title character in <i>Cool Hand Luke,</i> Newman inspires his fellow chain gang prisoners — also tasked with repaving a road — to work as quickly as possible in order to confound their overseers.</td>
</tr>
<tr class="SRmoviename">
<td><i>Dirty Harry</i> (1971)</td>
<td><i>The Law and Jake Wade</i> (1958)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7JKZuglVURA78kVejZw60EB935PZN7p1Q_nf2widA35yk5Siz3aF-ASxsH9qae7qHa9vlAwLvFSHSvwe5FgLFPkgZItQya0CAQr5zPyTNzPKZvJT7gb73d-7M7q_TWV3znLqnk046hvI/s1600/dirty_harry.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="94" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7JKZuglVURA78kVejZw60EB935PZN7p1Q_nf2widA35yk5Siz3aF-ASxsH9qae7qHa9vlAwLvFSHSvwe5FgLFPkgZItQya0CAQr5zPyTNzPKZvJT7gb73d-7M7q_TWV3znLqnk046hvI/s200/dirty_harry.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwadSmHyaQ79L4nhCZOmegdf88LsxIBvAwEitbg_pqst0qCAt837MZ_Lo4A7grgJHpl8ObPzWGgAxSAuaoN1qjS6hSc28bYIkzQBCanEugwLY-dU5S36L78z5MUyTroZHe_bFLaKPunAo/s1600/law_and_jake_wade.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="93" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwadSmHyaQ79L4nhCZOmegdf88LsxIBvAwEitbg_pqst0qCAt837MZ_Lo4A7grgJHpl8ObPzWGgAxSAuaoN1qjS6hSc28bYIkzQBCanEugwLY-dU5S36L78z5MUyTroZHe_bFLaKPunAo/s200/law_and_jake_wade.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">After a shoot-out with bank robbers, Harry confronts one of the injured perps who is thinking of reaching for a nearby gun. "I know what you're thinking," Callahan tells him, pointing his own gun at the man, "'Did he fire six shots or only five?'" The man surrenders, then begs Harry to tell him if Harry did in fact have bullets left in his gun. Harry takes aim at the man and fires, then chuckles when the gun clicks harmlessly. After being held at bay by a pistol that has been buried for several years — and which may or may not have been able to shoot — outlaw Clint Hollister asks Marshal Jake Wade not to keep him in suspense and to let him know if the gun would have fired. Jake points the weapon at Clint and pulls the trigger, only for the gun to fail.</td>
</tr>
<tr class="SRmoviename">
<td><i>Toy Story 3</i> (2010)</td>
<td><i>Mission: Impossible</i> (1996)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvE9Lj9puzYL_luRadycb9CoF2yWJxOwJ11LdGeVZy7rVgTcXdXCAkhmsisCbfDya7cQr1aZ4cpN40HQUDe4MNy8YNUjnNuTtvr8KadzqIfcCtmtlW1u3FAvfhQq94JxLBegOWFkJnTdc/s1600/toy_story_3-wire.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvE9Lj9puzYL_luRadycb9CoF2yWJxOwJ11LdGeVZy7rVgTcXdXCAkhmsisCbfDya7cQr1aZ4cpN40HQUDe4MNy8YNUjnNuTtvr8KadzqIfcCtmtlW1u3FAvfhQq94JxLBegOWFkJnTdc/s200/toy_story_3-wire.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRoDJ6Q-1Ld2foUoundjtkNossNLSzwCkVc7hyVpLCZuuXRkV9_3h1naqF1vekdWfZ07jda4TcZX7RrSP9z6w4la3v9-F9tJEhnibXtZ2AMcoBN-CIXZEc4U6Q2Iii-YfzKmFVdsC0hKA/s1600/mission_impossible.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="83" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRoDJ6Q-1Ld2foUoundjtkNossNLSzwCkVc7hyVpLCZuuXRkV9_3h1naqF1vekdWfZ07jda4TcZX7RrSP9z6w4la3v9-F9tJEhnibXtZ2AMcoBN-CIXZEc4U6Q2Iii-YfzKmFVdsC0hKA/s200/mission_impossible.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">Woody's pull string gets snagged as he falls from a tree, putting him in a similar position as Ethan Hunt during the infiltration of CIA headquarters.</td>
</tr>
<tr class="SRmoviename">
<td><i>Toy Story 3</i> (2010)</td>
<td><i>Star Wars Episode VI: Return of the Jedi</i> (1983)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtuC2ic8JjX62bxDzdDlxta0o6UpRSt47sS5RAz2HEA_-qF9N5Yn6O5VJ3ZuUUayiZwK8N2-Q5lvu6Tewf4ylcdduyP9YdyYF-urqPXYHBshro-x5-Pbt5WfoSCmAlCW-L6L3GTUjx-qs/s1600/toy_story_3-big_baby.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtuC2ic8JjX62bxDzdDlxta0o6UpRSt47sS5RAz2HEA_-qF9N5Yn6O5VJ3ZuUUayiZwK8N2-Q5lvu6Tewf4ylcdduyP9YdyYF-urqPXYHBshro-x5-Pbt5WfoSCmAlCW-L6L3GTUjx-qs/s200/toy_story_3-big_baby.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkK11EjI4R_NLLaJnxeBONkidSeuhhBJbVpEawDN4TWc0i_mcRvq-E0iTt37ll41h36eyeaqePrDTiULBfGywJHgsUL8aENBEqx1FU9W3rJzRI8KN0v486tfQePX98lBrjDKN7i03Jea4/s1600/return_of_the_jedi-vader.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="71" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkK11EjI4R_NLLaJnxeBONkidSeuhhBJbVpEawDN4TWc0i_mcRvq-E0iTt37ll41h36eyeaqePrDTiULBfGywJHgsUL8aENBEqx1FU9W3rJzRI8KN0v486tfQePX98lBrjDKN7i03Jea4/s200/return_of_the_jedi-vader.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">Lotso's enforcer, Big Baby, finally decides he has suffered enough at the hands of the bullying bear and tosses his boss into a trash dumpster in the same way Darth Vader redeems himself by throwing his oppressive master, the Emperor, down a shaft of the Death Star.</td>
</tr>
<tr class="SRmoviename">
<td><i>The Lord of the Rings: The Fellowship of the Ring</i> (2001)</td>
<td><i>Pee-Wee's Big Adventure</i> (1985)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifwvsjjTbQebb86xaDEjUFMXeKn40yj56NlXOxMKSFAYxrZ0mJbK9E2LnJfQW4w-Dz7MOOKdq9UBrzuEBcICo4efnKZspDTZjI2txrqCvXYGJSyBfTPTjjc0E2aqXsfGM47iHwfrO8Qpc/s1600/fellowship-bilbo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="93" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifwvsjjTbQebb86xaDEjUFMXeKn40yj56NlXOxMKSFAYxrZ0mJbK9E2LnJfQW4w-Dz7MOOKdq9UBrzuEBcICo4efnKZspDTZjI2txrqCvXYGJSyBfTPTjjc0E2aqXsfGM47iHwfrO8Qpc/s200/fellowship-bilbo.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8zz3gLCzCPH9KleNamYgLo_f0idpdTEA7lfXzJs0OTmRcQRz1XZL-BrYBKbmdjAm5ewE1Cm0_Bwwrk-nvGW7o9IlrUYBYrl-JMKKAU3rl02Zn-MxLcEDKUWaJ8N7WB1aT870yEtki-RE/s1600/jp3-spino.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_arlsE6_DfJAApk61FnpExCcI6VVlRARasc62aQrO2RTtw7FnnXTZu9i_DmS8M4cFFGgK0s37n5tHbjNootAD4sRgcFwIhbQDtoIswwLKsYMP1MDsCQB_6RmqyM1lpquaGHGGBJsv8bU/s1600/large_marge.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_arlsE6_DfJAApk61FnpExCcI6VVlRARasc62aQrO2RTtw7FnnXTZu9i_DmS8M4cFFGgK0s37n5tHbjNootAD4sRgcFwIhbQDtoIswwLKsYMP1MDsCQB_6RmqyM1lpquaGHGGBJsv8bU/s200/large_marge.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHsygJaoh8YSBCqS4HAhBl374xKcNPMkUuM8eJJwwxyNQkJ7-sURwrKYKbGDEo8snUhFoqhl2JW8QrKZGLPEuDio-7UQPgX1-Zt5FVFm56a8L_hrHYVq4y8SYCPfgCz9AtcHp4uzCw1vU/s1600/peter_pan-croc.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">Bilbo's momentary but unexpected transformation as he lunges for the ring around Frodo's neck is reminiscent of the equally jarring split-second metamorphosis of Large Marge.</td>
</tr>
<tr class="SRmoviename">
<td><i>Jaws</i> (1975)</td>
<td><i>The Creature from the Black Lagoon</i> (1954)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn3quPPdUFF1tSj6VQHKln0M4sbztGj5NbVa29r7cQB7bS4ZGUu67VA-OeFrfuDYheSWSOBEaDLXINYjboPP-PDpFZQ045l-q9_VBziMjcqsMT2ZTkJ8dZMaXwX8gaAMr3RhnfiVVf3b4/s1600/jaws-swim.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn3quPPdUFF1tSj6VQHKln0M4sbztGj5NbVa29r7cQB7bS4ZGUu67VA-OeFrfuDYheSWSOBEaDLXINYjboPP-PDpFZQ045l-q9_VBziMjcqsMT2ZTkJ8dZMaXwX8gaAMr3RhnfiVVf3b4/s200/jaws-swim.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaXxYUPLudiTqnCyhv2mmTgxwlDMVvyjYGr-5FHLrVdIw1anrpR1raRJZx5ga8i0-0G9jlzdGKeniUjAqFN4-OygeF5X5prQ4PUd0HG0iuBcjWMGURrU6Pov8NGMSFZADDogTs10YAXyw/s1600/creature_from_black_lagoon-swim.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaXxYUPLudiTqnCyhv2mmTgxwlDMVvyjYGr-5FHLrVdIw1anrpR1raRJZx5ga8i0-0G9jlzdGKeniUjAqFN4-OygeF5X5prQ4PUd0HG0iuBcjWMGURrU6Pov8NGMSFZADDogTs10YAXyw/s200/creature_from_black_lagoon-swim.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlppOq6m9VZt34ewwOaaa_EqsmztUvCrkgoy2gxTWFEeIHJ3VhgP6iSNAnRGOL-TVf5txeQD_syETMUQOCHQ02o0Rh8Yg1l8cXe-ud3kS3OupPFV8naRJUTy8mcLwhf467rm8jVUhmlcc/s1600/jaws-legs.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlppOq6m9VZt34ewwOaaa_EqsmztUvCrkgoy2gxTWFEeIHJ3VhgP6iSNAnRGOL-TVf5txeQD_syETMUQOCHQ02o0Rh8Yg1l8cXe-ud3kS3OupPFV8naRJUTy8mcLwhf467rm8jVUhmlcc/s200/jaws-legs.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigkaiOZ0NyvS9AxehVxjGUKXYNMxEA3jGsx1dUDrH5_j14WlzLFRWS5msvfRPaZxA4wPnrGuxYH90i5PLJwt5Oge9b3bpoYtezlqTT8LteYdg7FSj5-8qKWESKEzgRaIHsgPoBNNxKX-o/s1600/creature_from_black_lagoon-legs.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigkaiOZ0NyvS9AxehVxjGUKXYNMxEA3jGsx1dUDrH5_j14WlzLFRWS5msvfRPaZxA4wPnrGuxYH90i5PLJwt5Oge9b3bpoYtezlqTT8LteYdg7FSj5-8qKWESKEzgRaIHsgPoBNNxKX-o/s200/creature_from_black_lagoon-legs.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTsdGAOnoRVqiBjh7d2T_dIfstutlDg_nTSP76h0f-oEweUtTpJ9z_hO3otNPd-M9H5g1rrjKR-qnm2IkWfrcZKAjinXUv9TeI3DEQzI0Q78Q-YeWD9SNnTG0QIvccekBajlf9Ls7bTpw/s1600/jaws-bite.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTsdGAOnoRVqiBjh7d2T_dIfstutlDg_nTSP76h0f-oEweUtTpJ9z_hO3otNPd-M9H5g1rrjKR-qnm2IkWfrcZKAjinXUv9TeI3DEQzI0Q78Q-YeWD9SNnTG0QIvccekBajlf9Ls7bTpw/s200/jaws-bite.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKbThB7UkLfqsOiBWJnGXthLMGXRMO8QwcUSbBvXpaVNddaEqJ0tl61wyeXnS5saxeDkAxp1B0B3O-fwudnqmIH45ZyBQWYdTMOeD_JqiyKMgP18dxy96sPXtpnD45X7quJfHU8gl28Uo/s1600/creature_from_black_lagoon-touch.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKbThB7UkLfqsOiBWJnGXthLMGXRMO8QwcUSbBvXpaVNddaEqJ0tl61wyeXnS5saxeDkAxp1B0B3O-fwudnqmIH45ZyBQWYdTMOeD_JqiyKMgP18dxy96sPXtpnD45X7quJfHU8gl28Uo/s200/creature_from_black_lagoon-touch.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdMU2hNi2CRLX6en8Dhyphenhyphen3-P5-C_thwMCHn_Y4KiNAJeVlyJlFPzRMX0EdsiLHGS3DmRq3ROboM4fOLg5l2ei-qdUEvI6mcDhCw0bem39dAdoZQxJpuCOTlA80P1S1zZ0ipcWjTf7zY8yQ/s1600/jaws-cable.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdMU2hNi2CRLX6en8Dhyphenhyphen3-P5-C_thwMCHn_Y4KiNAJeVlyJlFPzRMX0EdsiLHGS3DmRq3ROboM4fOLg5l2ei-qdUEvI6mcDhCw0bem39dAdoZQxJpuCOTlA80P1S1zZ0ipcWjTf7zY8yQ/s200/jaws-cable.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyXbVO87ZAlHIslL2FGbSg-8wCR4EgWDuJV7rCVxx8d8uanFmm64kbmM3MH5bB2Q978T7uo71rO3tfpGdOQEAxRq8YoenhtNHW03XyOhny_QjvWgoVAf6N02aBYL2lgwC3kRkf_LZnJ0k/s1600/creature_from_black_lagoon-cable.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyXbVO87ZAlHIslL2FGbSg-8wCR4EgWDuJV7rCVxx8d8uanFmm64kbmM3MH5bB2Q978T7uo71rO3tfpGdOQEAxRq8YoenhtNHW03XyOhny_QjvWgoVAf6N02aBYL2lgwC3kRkf_LZnJ0k/s200/creature_from_black_lagoon-cable.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrBkRHeaz60zQPcn-PblOp6JTKZcWpi_z26bhHuzneR5GyrTGdrtIWRjHCWCSl0zKOlk6vPpTvlbrqqM0Xg4asYgBEWVl-tNpX-YwkmQsrG35fICparGFFnRfsn2G9DHvDyPpUlfEGYwk/s1600/jaws-cage.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrBkRHeaz60zQPcn-PblOp6JTKZcWpi_z26bhHuzneR5GyrTGdrtIWRjHCWCSl0zKOlk6vPpTvlbrqqM0Xg4asYgBEWVl-tNpX-YwkmQsrG35fICparGFFnRfsn2G9DHvDyPpUlfEGYwk/s200/jaws-cage.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBYaxJjF6Q98LpNkhpMsQAHOuDpatF-Dp0o3hEte8ytJXYIfJSttmBQTO2I3GwllQxDxPd9RLXurTfrswRyfe9dEE0riMIxWG_EaSIxdY6lfDu42qixl3jlk869fJALTCk6d5Gq8zYhps/s1600/creature_from_black_lagoon-net.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBYaxJjF6Q98LpNkhpMsQAHOuDpatF-Dp0o3hEte8ytJXYIfJSttmBQTO2I3GwllQxDxPd9RLXurTfrswRyfe9dEE0riMIxWG_EaSIxdY6lfDu42qixl3jlk869fJALTCk6d5Gq8zYhps/s200/creature_from_black_lagoon-net.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">Steven Spielberg seems to have taken inspiration from the Gill-man's first film. The shark's first victim is "stalked" in underwater shots of her swimming and treading water, just as Kay is watched by the Creature. Above the surface, the woman reacts to the first bite, as Kay responds to the Creature touching her leg. The <i>Orca</i>'s boom winch strains as the shark pulls on Hooper's diving cage in the same way the <i>Rita</i>'s winch strains when trying to recover the Creature in a fishing net. When cage and net are finally brought to the surface, they are both badly damaged.</td>
</tr>
<tr class="SRmoviename">
<td><i>The Lost World: Jurassic Park</i> (1997)</td>
<td><i>The Creature from the Black Lagoon</i> (1954)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8UMd_L5R1NNe0Qj_PDpE-ZNLhHG09X7wrZuJ70REjEh-URY54WvRhzIPff8wDR7Ls03EucY____-ZfA6pJRxEVTLsU54AqHpGBcauyYI_DU4HOIdrGC8PUz5X35bc3-WgC_SMQarPhaY/s1600/lost_world-captain1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="119" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8UMd_L5R1NNe0Qj_PDpE-ZNLhHG09X7wrZuJ70REjEh-URY54WvRhzIPff8wDR7Ls03EucY____-ZfA6pJRxEVTLsU54AqHpGBcauyYI_DU4HOIdrGC8PUz5X35bc3-WgC_SMQarPhaY/s200/lost_world-captain1.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtNstfh754YpAGNEtsPXB8dz4YwQoJk4-xtuqFGiuC2LMHp4tHmqe1YhD21sgun4QpEY8HcvmPo5Sivigs_K4Yx7hOHUs85FLqNef1DL9X_gWa5pwC9scelcq-N7f9jwSGXWZQgTxtDLU/s1600/creature_from_black_lagoon-captain1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtNstfh754YpAGNEtsPXB8dz4YwQoJk4-xtuqFGiuC2LMHp4tHmqe1YhD21sgun4QpEY8HcvmPo5Sivigs_K4Yx7hOHUs85FLqNef1DL9X_gWa5pwC9scelcq-N7f9jwSGXWZQgTxtDLU/s200/creature_from_black_lagoon-captain1.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2"><i>The Creature from the Black Lagoon</i> is also echoed in another Spielberg film, this time as the captain of the boat taking Malcolm to Isla Sorna refuses to get too close to the island, claiming that it is known as the "Island of the Five Deaths." Similarly, Captain Lucas tells his passengers that their destination is referred to ominously as the "Black Lagoon," and that no one has ever returned from it alive.</td>
</tr>
<tr class="SRmoviename">
<td><i>Jurassic Park</i> (1993)</td>
<td><i>The Valley of Gwangi</i> (1969)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisdCQxCtTzue3wQINUeiuUNKj-K9-6B4PS31fwlg2V0_CQFz-eHP9vPogcueysorpKCBDGMzKruEFMfFGJN-JCHTVYzdzUcoUGbL4170O3Rq5MT_i-43oH3XBaAyDA-IErnNjzKhK76hA/s1600/jurassic_park-gallimimus.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisdCQxCtTzue3wQINUeiuUNKj-K9-6B4PS31fwlg2V0_CQFz-eHP9vPogcueysorpKCBDGMzKruEFMfFGJN-JCHTVYzdzUcoUGbL4170O3Rq5MT_i-43oH3XBaAyDA-IErnNjzKhK76hA/s200/jurassic_park-gallimimus.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrIXoiAncJt1nXoe0kxcBcBz4JasV6pw8UCONCCpd7Jtc7dSq6-k9eJk0bk1B-1n3zer87WgKdDuNvXObbfbEmCdZN0YJFarupmc0CWvnO5KBUuedjKpctem1uA-Uj2tSUv2IqGuUkHrU/s1600/gwangi-gallimimus.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrIXoiAncJt1nXoe0kxcBcBz4JasV6pw8UCONCCpd7Jtc7dSq6-k9eJk0bk1B-1n3zer87WgKdDuNvXObbfbEmCdZN0YJFarupmc0CWvnO5KBUuedjKpctem1uA-Uj2tSUv2IqGuUkHrU/s200/gwangi-gallimimus.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2f4_owINiw-h3a6lYkk4xAIfZ8ekxkY46fAm3wjo9ngPEb4FDy-W7dKpDxUtvNkOIOXboQu5HEow1x1fCwG8q3fTlRZcgRacOarlX8nFJgjOfsXia4jsnJaw9vwPFVzPdbGeLimiXMmw/s1600/jurassic_park-banner.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2f4_owINiw-h3a6lYkk4xAIfZ8ekxkY46fAm3wjo9ngPEb4FDy-W7dKpDxUtvNkOIOXboQu5HEow1x1fCwG8q3fTlRZcgRacOarlX8nFJgjOfsXia4jsnJaw9vwPFVzPdbGeLimiXMmw/s200/jurassic_park-banner.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ0qCXU5kZRzcoKv9K8g_OdAayqEC6AJxggmYLhuUqBWCSzkTB3MWQ4q5M3EzabgL3TneFbPTXjTiEj12P3A2U-bj9QGyKJPqoZPH-d3hlg9Dk3eybFlYNM6XwwNQpBE6z3297ldc6Pjc/s1600/gwangi-banner.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ0qCXU5kZRzcoKv9K8g_OdAayqEC6AJxggmYLhuUqBWCSzkTB3MWQ4q5M3EzabgL3TneFbPTXjTiEj12P3A2U-bj9QGyKJPqoZPH-d3hlg9Dk3eybFlYNM6XwwNQpBE6z3297ldc6Pjc/s200/gwangi-banner.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">Spielberg may also have taken inspiration from master stop-motion animator Ray Harryhausen's 1969 film about an isolated valley still teeming with prehistoric life. In one scene from <i>Jurassic Park,</i> a <i>Gallimimus</i> is snapped up by a <i>T. rex,</i> which appears seemingly out of nowhere, in the same way a similar dinosaur is taken by Gwangi, himself a <i>T. rex</i> look-alike. In another, a banner in the Jurassic Park visitor center falls to the floor as the escaped <i>T. rex</i> wreaks havoc in the lobby, echoing the "Gwangi the Great" banner seen when Gwangi breaks free from his cage and terrorizes the town.</td>
</tr>
<tr class="SRmoviename">
<td><i>The Valley of Gwangi</i> (1969)</td>
<td><i>Mighty Joe Young</i> (1949)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1hOgXp_BzW1wrAeUEjJdpD5KijEObWkzLjv4P0U7TKmW6gQEZaMjLrD2kgutuosa_bZJviMauQYU9WEtEz02llin5wPmYP8FF-9go1-zuED-SSt77nyQkjcGlBUC1eyeTXdVi7lbUea8/s1600/gwangi-rope.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1hOgXp_BzW1wrAeUEjJdpD5KijEObWkzLjv4P0U7TKmW6gQEZaMjLrD2kgutuosa_bZJviMauQYU9WEtEz02llin5wPmYP8FF-9go1-zuED-SSt77nyQkjcGlBUC1eyeTXdVi7lbUea8/s200/gwangi-rope.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi08sjoVYyBCGt0rJ3krBgB7mGUY6qhO3qkyWNWunFBlfuZ0rAtYid4RHt_zTFqP9TEaHGQHbws19QFNICBYE9dRXCOf9HE4d-Xctpxo1C3czaveU-5n9fANnH4aV_vi1hFnumRo1sg35I/s1600/mighty_joe_young-rope.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi08sjoVYyBCGt0rJ3krBgB7mGUY6qhO3qkyWNWunFBlfuZ0rAtYid4RHt_zTFqP9TEaHGQHbws19QFNICBYE9dRXCOf9HE4d-Xctpxo1C3czaveU-5n9fANnH4aV_vi1hFnumRo1sg35I/s200/mighty_joe_young-rope.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">Harryhausen, in turn, used in <i>Gwangi</i> a trick from <i>Mighty Joe Young</i> (a film he worked on with mentor Willis O'Brien), in which Gwangi, like Joe before him, is lassoed by cowboys.</td>
</tr>
<tr class="SRmoviename">
<td><i>Jurassic Park</i> (1993)</td>
<td><i>Destination Moon</i> (1950)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg04m_lDdnhqskFAvSKb5JSNxmCypmTcVm-9AcQh0tPS5qPR-Hq2FUMTwAvMm_10tKAj7ZsFh4JE_A5yoH3k1GpUk4jxODgkhgJHzpMg1gRs-bdVaxOyn3Ldqk9m_Hf-wFi8XK4RvhIoC4/s1600/jarassic_park-dna.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg04m_lDdnhqskFAvSKb5JSNxmCypmTcVm-9AcQh0tPS5qPR-Hq2FUMTwAvMm_10tKAj7ZsFh4JE_A5yoH3k1GpUk4jxODgkhgJHzpMg1gRs-bdVaxOyn3Ldqk9m_Hf-wFi8XK4RvhIoC4/s200/jarassic_park-dna.jpg" width="200" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBc_Vfh6DRR1-3Zx_G3zwTzrk09DSNT2TkA6koVW7a0wRPqgfY-_cv_FBKlwKa7sz9yquUiYWGBi1GIoOV86ktV6STJww5ccef-nIge1hSD-01r_-bRDh-mDPRS5ZEf4vyW1IAWhdZCNc/s1600/jp3-moon.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCV48IvjmLooHZnycbVXuG-ICGHDjuVME_kWQFlOrxaWUckJ3rJn7rHGvtHIej-mX0lEOCeGgroekK_u9NlCcOf6dLMFKmsYKZjvXCCCmV-zEHvFHSI83Z5ecyBicbZQTc9W1x_qY74W4/s1600/strangers_on_a_train-rocket.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcB4LUwR1GDntwJ7QNiuSeyt_iIaSZiPMVLQXWyGfzou2ju8P5c2GQ8scJT9zBxOniC74wixnI4KM4IDljrXstIp4bLLFJJS0m2Nl036wB9XJo3fhUHkgdu9RzMlpQYcmGcO4EnKbePVQ/s1600/destination_moon-woody.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcB4LUwR1GDntwJ7QNiuSeyt_iIaSZiPMVLQXWyGfzou2ju8P5c2GQ8scJT9zBxOniC74wixnI4KM4IDljrXstIp4bLLFJJS0m2Nl036wB9XJo3fhUHkgdu9RzMlpQYcmGcO4EnKbePVQ/s200/destination_moon-woody.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">Spielberg also used a technique similar to one found in a classic 1950's sci-fi film. To explain the science behind cloning dinosaurs, theme park owner John Hammond shows his guests a cartoon featuring an animated character named Mr. DNA. In <i>Destination Moon,</i> investors are shown a Woody Woodpecker cartoon to be taught the technicalities of rocket science.</td>
</tr>
<tr class="SRmoviename">
<td><i>Jurassic Park 3</i> (2001)</td>
<td><i>Strangers on a Train</i> (1951)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBc_Vfh6DRR1-3Zx_G3zwTzrk09DSNT2TkA6koVW7a0wRPqgfY-_cv_FBKlwKa7sz9yquUiYWGBi1GIoOV86ktV6STJww5ccef-nIge1hSD-01r_-bRDh-mDPRS5ZEf4vyW1IAWhdZCNc/s1600/jp3-moon.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="120" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBc_Vfh6DRR1-3Zx_G3zwTzrk09DSNT2TkA6koVW7a0wRPqgfY-_cv_FBKlwKa7sz9yquUiYWGBi1GIoOV86ktV6STJww5ccef-nIge1hSD-01r_-bRDh-mDPRS5ZEf4vyW1IAWhdZCNc/s200/jp3-moon.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCV48IvjmLooHZnycbVXuG-ICGHDjuVME_kWQFlOrxaWUckJ3rJn7rHGvtHIej-mX0lEOCeGgroekK_u9NlCcOf6dLMFKmsYKZjvXCCCmV-zEHvFHSI83Z5ecyBicbZQTc9W1x_qY74W4/s1600/strangers_on_a_train-rocket.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCV48IvjmLooHZnycbVXuG-ICGHDjuVME_kWQFlOrxaWUckJ3rJn7rHGvtHIej-mX0lEOCeGgroekK_u9NlCcOf6dLMFKmsYKZjvXCCCmV-zEHvFHSI83Z5ecyBicbZQTc9W1x_qY74W4/s200/strangers_on_a_train-rocket.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">The third <i>Jurassic Park</i> film includes a reference to the Hitchcock thriller, where Mrs. Kirby, trying to impress with exaggerated tales of her adventuresome spirit, tells once-renowned archaeologist Alan Grant that she and her husband have reservations for the "first commercial flight to the moon." The impulsive Bruno Antony, trying to impress tennis star Guy Haines, boasts of similar plans.</td>
</tr>
<tr class="SRmoviename">
<td><i>Jurassic Park 3</i> (2001)</td>
<td><i>Peter Pan</i> (1953)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8zz3gLCzCPH9KleNamYgLo_f0idpdTEA7lfXzJs0OTmRcQRz1XZL-BrYBKbmdjAm5ewE1Cm0_Bwwrk-nvGW7o9IlrUYBYrl-JMKKAU3rl02Zn-MxLcEDKUWaJ8N7WB1aT870yEtki-RE/s1600/jp3-spino.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="120" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8zz3gLCzCPH9KleNamYgLo_f0idpdTEA7lfXzJs0OTmRcQRz1XZL-BrYBKbmdjAm5ewE1Cm0_Bwwrk-nvGW7o9IlrUYBYrl-JMKKAU3rl02Zn-MxLcEDKUWaJ8N7WB1aT870yEtki-RE/s200/jp3-spino.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHsygJaoh8YSBCqS4HAhBl374xKcNPMkUuM8eJJwwxyNQkJ7-sURwrKYKbGDEo8snUhFoqhl2JW8QrKZGLPEuDio-7UQPgX1-Zt5FVFm56a8L_hrHYVq4y8SYCPfgCz9AtcHp4uzCw1vU/s1600/peter_pan-croc.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHsygJaoh8YSBCqS4HAhBl374xKcNPMkUuM8eJJwwxyNQkJ7-sURwrKYKbGDEo8snUhFoqhl2JW8QrKZGLPEuDio-7UQPgX1-Zt5FVFm56a8L_hrHYVq4y8SYCPfgCz9AtcHp4uzCw1vU/s200/peter_pan-croc.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2"><i>Jurassic Park 3</i> also includes a reference to Disney's animated <i>Peter Pan.</i> The presence of the <i>Spinosaurus</i> is preceded by the musical ringing of a cell phone the dinosaur has swallowed. The crocodile in <i>Peter Pan</i> is ominously announced by the ticking of a clock that the reptile has eaten.</td>
</tr>
<tr>
<td class="SRpicturecell" colspan="2"><table border="0" style="width: 100%px;">
<tbody>
<tr class="SRmoviename">
<td align="center" valign="top"><i>Deliverance</i> (1972)</td>
<td align="center" valign="top"><i>Zardoz</i> (1974)</td>
<td align="center" valign="top"><i>Excalibur</i> (1981)</td>
</tr>
<tr>
<td align="center" valign="top"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfwMIBEy0Dl2Ar5heNs7dTwPHXrn30Z6hrDnWWjZZfvcyfOY6l0FpXwJ47DlpH8CfAyDsRfyUZmPXfOD26rUED07juKlnKHdnGngDjKXccukoULYJpPWd649o3XOz-qQDuapz2eFW9Jwg/s1600/deliverance-hand.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="68" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfwMIBEy0Dl2Ar5heNs7dTwPHXrn30Z6hrDnWWjZZfvcyfOY6l0FpXwJ47DlpH8CfAyDsRfyUZmPXfOD26rUED07juKlnKHdnGngDjKXccukoULYJpPWd649o3XOz-qQDuapz2eFW9Jwg/s200/deliverance-hand.jpg" width="150" /></a></td>
<td align="center" valign="top"><span style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsW_ay_R5uZvViB-ILof4dq2HJLLjfKRg8q1RBM8wLf-onLTNr499MTe_PBAWJpNmatIpFOs7UAC1hWgHVJhjruTRJV7pMy617nOfQyvV0sjYYBfscmMmpu3dd1FQExXBXz0VcX0zqJmQ/s1600/zardoz-hand.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="71" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsW_ay_R5uZvViB-ILof4dq2HJLLjfKRg8q1RBM8wLf-onLTNr499MTe_PBAWJpNmatIpFOs7UAC1hWgHVJhjruTRJV7pMy617nOfQyvV0sjYYBfscmMmpu3dd1FQExXBXz0VcX0zqJmQ/s200/zardoz-hand.jpg" width="150" /></a></span></td>
<td align="center" valign="top"><span style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbH1LRzNt57RA68GErMGfJ8Fz6ipJ9FtAGB_eZTjw9xIr3zNXLv-h4tS7lCfTqQxVPZQ8gp6zfZVMZR5oXrD7qvxhfX13P-1IrWkKfwnjeE1cB7kKgw2_AlplNp1qMevMtI_abd_N-rCk/s1600/excalibur-hand.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="93" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbH1LRzNt57RA68GErMGfJ8Fz6ipJ9FtAGB_eZTjw9xIr3zNXLv-h4tS7lCfTqQxVPZQ8gp6zfZVMZR5oXrD7qvxhfX13P-1IrWkKfwnjeE1cB7kKgw2_AlplNp1qMevMtI_abd_N-rCk/s200/excalibur-hand.jpg" width="150" /></a></span></td>
</tr>
</tbody>
</table>
</td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">Director John Boorman seems to have inspired himself: he has used shots of hands emerging from below the surface of water in two of his films. A third, <i>Zardoz, </i>offers a slight variation, with the hand rising from a pile of grain.</td>
</tr>
<tr class="SRmoviename">
<td><i>Christmas Vacation</i> (1989)</td>
<td><i>Fast Times at Ridgemont High</i> (1982)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWQmdTijMNqMjAiiMlRzLBfTYoOfhVi8DKMdiuTNjX-phNVjSKzNw3E7-PxjSYLBEfNbyF5qaGWUVxk6dAfZiT2m-sc6HwbnF_w9a9cJqdgKLNWoYHi0cCVwfYl2NuWBv3ziiKFmYY9yc/s1600/christmas_vacation-0.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="123" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWQmdTijMNqMjAiiMlRzLBfTYoOfhVi8DKMdiuTNjX-phNVjSKzNw3E7-PxjSYLBEfNbyF5qaGWUVxk6dAfZiT2m-sc6HwbnF_w9a9cJqdgKLNWoYHi0cCVwfYl2NuWBv3ziiKFmYY9yc/s200/christmas_vacation-0.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ13GpXKzH2JaMVNQtAlumtJjANefRAxjqFQXgPulI4iZVqcEPIDRO_0D4Fq0zXdmAAN_VMhJadwhabKUfUC1Cy4OmN2ceBIWx5DaIG6J52Bg_h3wMXipk5HqNgXwoBAXUXY8ylPZmqhA/s1600/fast-_times-0.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ13GpXKzH2JaMVNQtAlumtJjANefRAxjqFQXgPulI4iZVqcEPIDRO_0D4Fq0zXdmAAN_VMhJadwhabKUfUC1Cy4OmN2ceBIWx5DaIG6J52Bg_h3wMXipk5HqNgXwoBAXUXY8ylPZmqhA/s200/fast-_times-0.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxWqm6oZF7H9WzB5PgiAKG_X9zkC6gKQgb-mDQPSHMzGNhR14KsByHaxiBm5SZb2yIjMD5ArWqPmGda-vp7834CdD878LGSEkN7MCATDHvYyA2AVkFkVTjAWgkwLplcnbA2D4lNoegSjM/s1600/christmas_vacation-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxWqm6oZF7H9WzB5PgiAKG_X9zkC6gKQgb-mDQPSHMzGNhR14KsByHaxiBm5SZb2yIjMD5ArWqPmGda-vp7834CdD878LGSEkN7MCATDHvYyA2AVkFkVTjAWgkwLplcnbA2D4lNoegSjM/s200/christmas_vacation-2.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirX0ssqPt3Iykusi2ieRPfUENDuZseu7XRvqMox8x5Ho5me___XOXRLMXKEr0MfRFC_a6EBupmamMaYN0e_FdYRY5OKpF2QJw-Hh7ZoiMzpnAcRli3_95xk1PX_uGlv7V-tvb-plslezw/s1600/fast-_times-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirX0ssqPt3Iykusi2ieRPfUENDuZseu7XRvqMox8x5Ho5me___XOXRLMXKEr0MfRFC_a6EBupmamMaYN0e_FdYRY5OKpF2QJw-Hh7ZoiMzpnAcRli3_95xk1PX_uGlv7V-tvb-plslezw/s200/fast-_times-2.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXgWXUpGu1uO35-c_ICB-Z_oIytumEUUCm7mIuxJShwQgzHjydGpXuoXheLR5JwKEn3b5aph70WVLVwzS-on3scdOW-A7-VtSNcsxJerWCb5t6-joGdQXvrqdOmn11mgrOnTbhdqJef4Q/s1600/christmas_vacation-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXgWXUpGu1uO35-c_ICB-Z_oIytumEUUCm7mIuxJShwQgzHjydGpXuoXheLR5JwKEn3b5aph70WVLVwzS-on3scdOW-A7-VtSNcsxJerWCb5t6-joGdQXvrqdOmn11mgrOnTbhdqJef4Q/s200/christmas_vacation-1.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXKs4WjQEFbjh3Y-zb37DxV4je9Nj5jwEQ-RB4sBzcTxSHmozpCl_JtwVOpUTJ-IlWeUjjrPho-jC3YxOhIFEZfL5F7IIknqhhp77u6c9YMrWr-XXNQznZN0sb_UPNCJm4jZg297d0AJU/s1600/fast-_times-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXKs4WjQEFbjh3Y-zb37DxV4je9Nj5jwEQ-RB4sBzcTxSHmozpCl_JtwVOpUTJ-IlWeUjjrPho-jC3YxOhIFEZfL5F7IIknqhhp77u6c9YMrWr-XXNQznZN0sb_UPNCJm4jZg297d0AJU/s200/fast-_times-1.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">Clark's swimming pool fantasy from <i>Christmas Vacation</i> is remarkably similar to Brad's fantasy from <i>Fast Times.</i></td>
</tr>
<tr class="SRmoviename">
<td><i>Lord of the Rings: The Two Towers </i>(2002)</td>
<td><i>Star Wars Episode I: The Phantom Menace</i> (1999)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHZK6Hj3oI-JVockK89j5sRNUcp3s-vafrXBkRptydiK-Zt2PvMRjWAi8xq09PsB6zLoMRnZZJTFs2Qt0KnjzQo4o-7E1NtnMuKxjww-VJjRjodWfQdxOI0V-mKVK2IcON6-jWD0wku5o/s1600/two_towers-haradrim.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="93" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHZK6Hj3oI-JVockK89j5sRNUcp3s-vafrXBkRptydiK-Zt2PvMRjWAi8xq09PsB6zLoMRnZZJTFs2Qt0KnjzQo4o-7E1NtnMuKxjww-VJjRjodWfQdxOI0V-mKVK2IcON6-jWD0wku5o/s200/two_towers-haradrim.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDjTTx0CxT73gx0sJyGINW1ve-U1Du3DgEicDHTEfXackALb-dgtYkspP2kGSsOVoc5n6Kfk9FQ1npElna8GdD4DNLS3LKV2bawW8Xd2DTzP1jcB1c9ZahG6QkUU8z8m1ewlnXALxTOjY/s1600/phantom_menace-gungans.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDjTTx0CxT73gx0sJyGINW1ve-U1Du3DgEicDHTEfXackALb-dgtYkspP2kGSsOVoc5n6Kfk9FQ1npElna8GdD4DNLS3LKV2bawW8Xd2DTzP1jcB1c9ZahG6QkUU8z8m1ewlnXALxTOjY/s200/phantom_menace-gungans.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">This scene, in which Frodo, Sam, and Gollum watch the Haradrim army and their giant elephant-like Mumakil marching toward Moria reminds me of the Gungan army and their giant fambaas (seen as the shot above pans right) en route to engage the Trade Federation's battle droids.</td>
</tr>
<tr class="SRmoviename">
<td><i>Star Wars Episode I: The Phantom Menace</i> (1999)</td>
<td><i>Seven Chances</i> (1925)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh3BOcVmdQpNl7Jxdv4ErPFDowITe2mDC4-s9CNtywiA2E51I-nJ8MyH_x6pfHWj65i3OWtz67h8No3J5soy1LCjRGQRlI1bHybRwWZpFMhm8TTKAJuIVo16pO-dtzEBpyVGndSMWuySQ/s1600/phantom_menace-balls.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh3BOcVmdQpNl7Jxdv4ErPFDowITe2mDC4-s9CNtywiA2E51I-nJ8MyH_x6pfHWj65i3OWtz67h8No3J5soy1LCjRGQRlI1bHybRwWZpFMhm8TTKAJuIVo16pO-dtzEBpyVGndSMWuySQ/s200/phantom_menace-balls.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjllMNqL0h9xIK-WO2vz8jQhgdftm5wrVTwJKj8PbPVhgy0YNt8wCTT61FZF4C2MqQMyyE9pnX6tKFWkR6qg9PQLDWOmx1j4L4J9ibOHYZpYJqe9L6Clug3u023BOQzG5ATH0OkHGfuUk/s1600/seven_chances.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjllMNqL0h9xIK-WO2vz8jQhgdftm5wrVTwJKj8PbPVhgy0YNt8wCTT61FZF4C2MqQMyyE9pnX6tKFWkR6qg9PQLDWOmx1j4L4J9ibOHYZpYJqe9L6Clug3u023BOQzG5ATH0OkHGfuUk/s200/seven_chances.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">During the battle against the droid army, Jar-Jar Binks inadvertently looses a wagonload of <i>boomers,</i> boulder-sized explosive balls which roll down the hill as he scurries to avoid being hit by them. Buster Keaton has owned this gag since his 1925 film <i>Seven Chances,</i> which found him running down a hill pursued by an avalanche of dislodged rocks.</td>
</tr>
<tr class="SRmoviename">
<td><i>The Avengers</i> (2012)</td>
<td><i>Star Wars Episode I: The Phantom Menace</i> (1999)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_BsZdDw72tNGAGeRJaJGLjeY2-G-0Cv6FJvDRsIo3Pgq5OCfOnr_pQ-5EeffZI04cWrM9Ix9TRh9yfndJq5WR0nJIuQWcJF_kfgWdF9VoUYljmdVmc4w_G5n4ICwXekSExgA1NWUwTLI/s1600/avengers1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_BsZdDw72tNGAGeRJaJGLjeY2-G-0Cv6FJvDRsIo3Pgq5OCfOnr_pQ-5EeffZI04cWrM9Ix9TRh9yfndJq5WR0nJIuQWcJF_kfgWdF9VoUYljmdVmc4w_G5n4ICwXekSExgA1NWUwTLI/s200/avengers1.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTd1ndVNlBxvVzrfI5TiEKc2DA1NYo3-XbhvgJ6kHlEQ4SpUtxKQ2iEE4xcYh-0bGjUYzoRYnsOAsMkaHiFPP1mMIePHhvFnxw0KrJeyKqdzO3ztUKSxds26BerdOA4nTFPWne4FEK-tA/s1600/phantom_menace1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTd1ndVNlBxvVzrfI5TiEKc2DA1NYo3-XbhvgJ6kHlEQ4SpUtxKQ2iEE4xcYh-0bGjUYzoRYnsOAsMkaHiFPP1mMIePHhvFnxw0KrJeyKqdzO3ztUKSxds26BerdOA4nTFPWne4FEK-tA/s200/phantom_menace1.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwcQv-PpDYvjE06yk89HZN3ddzBNVw8d51_wT2w0RfYEyiSJbWejws5wR9neQSKaGkE28lLuyjWUJNWW5c-yH9LOkl_tOgwS9k8MuvYw_ypwuPFr6OGGE_o9Y-ncKGfifIl7Tzr3gBGDM/s1600/avengers2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwcQv-PpDYvjE06yk89HZN3ddzBNVw8d51_wT2w0RfYEyiSJbWejws5wR9neQSKaGkE28lLuyjWUJNWW5c-yH9LOkl_tOgwS9k8MuvYw_ypwuPFr6OGGE_o9Y-ncKGfifIl7Tzr3gBGDM/s200/avengers2.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy75xJF6fTSnFX65OxJpUIa81D8XQwk3wAhnpQOVnWs48ruRI_asGGto91nbonMR-m7obPmox_CXBtNJ4S9gY5Xg9GqRSY-PUmEm7Mw7vgSt8gZKWarXYBT2GH-DxJfwGvhuObib0qpTQ/s1600/phantom_menace2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy75xJF6fTSnFX65OxJpUIa81D8XQwk3wAhnpQOVnWs48ruRI_asGGto91nbonMR-m7obPmox_CXBtNJ4S9gY5Xg9GqRSY-PUmEm7Mw7vgSt8gZKWarXYBT2GH-DxJfwGvhuObib0qpTQ/s200/phantom_menace2.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">The battle against the invading Chitauri aliens in <i>The Avengers</i> is similar to the battle between Gungans and battle droids in <i>The Phantom Menace</i> in that the invading army is controlled by an orbiting "mother ship." Once Iron Man destroys the ship, as Anakin destroys a similar one in <i>Phantom Menace,</i> the Chitauri collapse, as do <i>The Phantom Menace</i>'s battle droids.</td>
</tr>
<tr class="SRmoviename">
<td><i>Batman & Robin</i> (1997)</td>
<td><i>Blonde Venus</i> (1932)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh60OeQKzcvUUCNzzIa-Pj0COYisNsnzpdTZ5DI4MIpOA5QySM9bVX-0JGW0rJA_MlEd0u4LDjKXoQuWXsbFLUFdFeOWoadzBHkvNTXC9NoGdimTUw6rb2IFPN3rclOZJdvc03sThUkpik/s1600/batman_and_robin.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="123" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh60OeQKzcvUUCNzzIa-Pj0COYisNsnzpdTZ5DI4MIpOA5QySM9bVX-0JGW0rJA_MlEd0u4LDjKXoQuWXsbFLUFdFeOWoadzBHkvNTXC9NoGdimTUw6rb2IFPN3rclOZJdvc03sThUkpik/s200/batman_and_robin.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO8LZ_sVLHEkfs7NDuRX4ezLpXZcButVXqufG9jG6oT70v4TQ_8SinCd4pcxievDV7pZzBpJJl6YITxP04qypMbRelCIslAp1JvlTVPqDirPZjKp0VyNirrJBp17HuXIHx7_3oC85Jd6k/s1600/blonde_venus.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="147" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO8LZ_sVLHEkfs7NDuRX4ezLpXZcButVXqufG9jG6oT70v4TQ_8SinCd4pcxievDV7pZzBpJJl6YITxP04qypMbRelCIslAp1JvlTVPqDirPZjKp0VyNirrJBp17HuXIHx7_3oC85Jd6k/s200/blonde_venus.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">Poison Ivy's emergence from a gorilla costume in <i>Batman & Robin</i> is a direct lift from Marlene Dietrich's "Hot Voodoo" number in <i>Blonde Venus</i>.</td>
</tr>
<tr class="SRmoviename">
<td><i>From Russia with Love</i> (1963)</td>
<td><i>North by Northwest</i> (1959)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaZal-evNCjvy1NfyfkJ0QJWS_63UzNxeyHeetXS9F1WthH2FKRr4ynKvwfh7MFN74ryQXXGJ48ue0oOLURr8XM2oUGFXbQkmFCj-vdalQ0qPgjaKW7FVXjjkK_Oye6FJjotjOg1aleHo/s1600/from_russia_with_love.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaZal-evNCjvy1NfyfkJ0QJWS_63UzNxeyHeetXS9F1WthH2FKRr4ynKvwfh7MFN74ryQXXGJ48ue0oOLURr8XM2oUGFXbQkmFCj-vdalQ0qPgjaKW7FVXjjkK_Oye6FJjotjOg1aleHo/s200/from_russia_with_love.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGlypzzOIPmnhYPDJq-SZs6Gn_BVoXfdVeffE2WHhzchn2j0daN2AEJ2Yelza8FYaoaUj64sa6XxLW_32csQeJtwJYQWsY3spjfP7_YsuU1U9reM7bHiZmbThFp27y-c5fsL9zlgzMi80/s1600/north_by_northwest.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGlypzzOIPmnhYPDJq-SZs6Gn_BVoXfdVeffE2WHhzchn2j0daN2AEJ2Yelza8FYaoaUj64sa6XxLW_32csQeJtwJYQWsY3spjfP7_YsuU1U9reM7bHiZmbThFp27y-c5fsL9zlgzMi80/s200/north_by_northwest.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8YOfgvbufKDSrqfUEh43f2_ihp6IiuULW1SpOciaBPW8tfdSWZkYbhREuonUhBo9C4H6rBFmE0uwhyphenhyphen_uGsvz0Kl2XzHGJiPKjbUK1cKyFkSs9SbMI4A3hJBKOt2572FTM8uyU9qKRDi8/s1600/from_russia_with_love2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8YOfgvbufKDSrqfUEh43f2_ihp6IiuULW1SpOciaBPW8tfdSWZkYbhREuonUhBo9C4H6rBFmE0uwhyphenhyphen_uGsvz0Kl2XzHGJiPKjbUK1cKyFkSs9SbMI4A3hJBKOt2572FTM8uyU9qKRDi8/s200/from_russia_with_love2.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi81E2KOo9UYEk_DnebvgrtARyGDs0cFbRKDXFnyPdTbTHo6qUQNutgzI8OnIjTqcUYs-ACq8JhZB1kH5-M_5NFq3GB351nWzWKfK1Ly9zT1eqVR_sBbQrbYQBaBdrJmsE1wgjeaE3LLUs/s1600/north_by_northwest2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi81E2KOo9UYEk_DnebvgrtARyGDs0cFbRKDXFnyPdTbTHo6qUQNutgzI8OnIjTqcUYs-ACq8JhZB1kH5-M_5NFq3GB351nWzWKfK1Ly9zT1eqVR_sBbQrbYQBaBdrJmsE1wgjeaE3LLUs/s200/north_by_northwest2.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">The James Bond film contains a scene in which Bond is chased and fired upon by a gunman aboard a helicopter, reminiscent of the famous crop duster sequence in Hitchcock's film.</td>
</tr>
<tr class="SRmoviename">
<td><i>Independence Day</i> (1996)</td>
<td><i>The Right Stuff</i> (1983)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_wLeVtnymNMuuVTkGpf_2uTvzLZUfK-thC-ul_V88GoR8-YQIrNNdFukF2r6wYcUI6-hnc0jEK2TdBOVGEM2zq1RcMIev231q853qgkL69K-fWHNQFDSrmpnT_TxfWSyNc0Gx_q12Qj8/s1600/independence_day1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="96" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_wLeVtnymNMuuVTkGpf_2uTvzLZUfK-thC-ul_V88GoR8-YQIrNNdFukF2r6wYcUI6-hnc0jEK2TdBOVGEM2zq1RcMIev231q853qgkL69K-fWHNQFDSrmpnT_TxfWSyNc0Gx_q12Qj8/s200/independence_day1.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzFJNOgNL4imw6MFoS3lOOITLNsntOnZW2APpG0Koiw7WbZ9Cqb70PPWor23raY6etW_NRPKypm8wbJp7_j4T8Vekkq6t5qEGYGbarStUrsgjofQ2kxNfbsyDBvZLHT45lSInuOy5awMA/s1600/right_stuff1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzFJNOgNL4imw6MFoS3lOOITLNsntOnZW2APpG0Koiw7WbZ9Cqb70PPWor23raY6etW_NRPKypm8wbJp7_j4T8Vekkq6t5qEGYGbarStUrsgjofQ2kxNfbsyDBvZLHT45lSInuOy5awMA/s200/right_stuff1.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7u-GVJ2K9LpjdGFWYTczBd86tU8xa67oG2hmgtekWCVe9LkQMCHtfwdi2UFy6c9vvAji-9AaTRPHKArSz1-nK5XFdNHdibhe68xw3C0CoGhwdGsQDyDLTtGk3SUnkdH5ZlH5SuCzA-C8/s1600/independence_day2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="96" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7u-GVJ2K9LpjdGFWYTczBd86tU8xa67oG2hmgtekWCVe9LkQMCHtfwdi2UFy6c9vvAji-9AaTRPHKArSz1-nK5XFdNHdibhe68xw3C0CoGhwdGsQDyDLTtGk3SUnkdH5ZlH5SuCzA-C8/s200/independence_day2.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0nJNBZ43LDpk19xT5CuvK_i5FbpyfF5-5cU0rae-pici2xAR8hGR9g7b432AaksObys_6cR7UV1FVrYsdY0pKiTUT5zkgWmE9R3HwOua03W-lVeP12Z0_WN68bbCShZUOPpypKj9ACjQ/s1600/right_stuff2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0nJNBZ43LDpk19xT5CuvK_i5FbpyfF5-5cU0rae-pici2xAR8hGR9g7b432AaksObys_6cR7UV1FVrYsdY0pKiTUT5zkgWmE9R3HwOua03W-lVeP12Z0_WN68bbCShZUOPpypKj9ACjQ/s200/right_stuff2.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">An <a href="http://second-reel.blogspot.com/2010/07/homage-reference-and-free-association.html?showComment=1304287874452#c1269721234014112934">anonymous comment</a> on my original <a href="http://second-reel.blogspot.com/2010/07/homage-reference-and-free-association.html"><i>Homage</i> post</a> pointed out a similarity between the end of <i>Independence Day</i> and the Chuck Yeager crash scene toward the end of <i>The Right Stuff.</i> Rightly so.</td>
</tr>
<tr class="SRmoviename">
<td><i>Pale Rider</i> (1985)</td>
<td><i>Shane</i> (1953)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsrUTGMzbkg-ETgJ8hxXp9ooQMGy_FJimALA8DHAqb_vFKVd9fWzFnAW1L2r_FlkOVi07bznwOtuXMga_x4QUa_wQnvMKNPu04DbqiDFxzLNm9FVmMCxtwiuyE69sn9lrTSBlUfhl17-s/s1600/pale_rider1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="94" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsrUTGMzbkg-ETgJ8hxXp9ooQMGy_FJimALA8DHAqb_vFKVd9fWzFnAW1L2r_FlkOVi07bznwOtuXMga_x4QUa_wQnvMKNPu04DbqiDFxzLNm9FVmMCxtwiuyE69sn9lrTSBlUfhl17-s/s200/pale_rider1.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimq0v7kCBOqsKlomDsoXQJ_PgShplbfeSU_YRE2VzGT4CNpmQBnQ8V2nnXpkOH3LtG3myBNc0ShWipX6TkxplaTlMH548-PGuQjiYZeEDJ0hS3-_0xoutC9eJZNg8c8cUU8jOSN6uApm4/s1600/shane1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimq0v7kCBOqsKlomDsoXQJ_PgShplbfeSU_YRE2VzGT4CNpmQBnQ8V2nnXpkOH3LtG3myBNc0ShWipX6TkxplaTlMH548-PGuQjiYZeEDJ0hS3-_0xoutC9eJZNg8c8cUU8jOSN6uApm4/s200/shane1.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1BfeXfLFdicN8OdL6dAireU-pTSqRaxZbSlIYGShsg2JXiabJKObvdcxueI-57nFmUm57rpslAaVlAOkAbOR5W2FivAXSgbityf2Riyhz1w-hGqqtv7ujWeMWqHDx-jj5_CRRIAWJ3LI/s1600/pale_rider2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="94" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1BfeXfLFdicN8OdL6dAireU-pTSqRaxZbSlIYGShsg2JXiabJKObvdcxueI-57nFmUm57rpslAaVlAOkAbOR5W2FivAXSgbityf2Riyhz1w-hGqqtv7ujWeMWqHDx-jj5_CRRIAWJ3LI/s200/pale_rider2.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8xljbgkFYfRKIPRkD4JlU90QB1qQ7KjrT-64IcXmvMvO0ncpWyL7c86fXjj9FwGhSvcNrkh4DptrcKol2gpfTsNhNN6W10h0xhaaY_xvKpMn2jiLBJPXwKBdWc6u6FcgmjcyFO4ucCM0/s1600/shane2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8xljbgkFYfRKIPRkD4JlU90QB1qQ7KjrT-64IcXmvMvO0ncpWyL7c86fXjj9FwGhSvcNrkh4DptrcKol2gpfTsNhNN6W10h0xhaaY_xvKpMn2jiLBJPXwKBdWc6u6FcgmjcyFO4ucCM0/s200/shane2.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">Clint Eastwood's <i>Pale Rider</i> borrows heavily from one of my favorite Westerns, <i>Shane.</i> Two notable examples are when Preacher helps Hull break a rock that the miner has been working on for a long time, just as Shane helps Joe Starrett clear the tree stump that has vexed Starrett for just as long, and when Spider is shot down by hired guns in much the same fashion that Stonewall Torrey is killed by Jack Wilson.</td>
</tr>
<tr class="SRmoviename">
<td><i>Total Recall</i> (1990)</td>
<td><i>Forbidden Planet</i> (1956)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJyFutiu6pWY3Li74znrt86zZ_dKHnEX8ZGogmB3hdMjocs1H_ynwB_q6tlJzvFa-oQhFSC_9-XGmw3nGXGA-NotOLq-MpYVLA2YwaLwjBwqfmsmL00tPGU_Grd4H4STyDzAgXKBwUP9M/s1600/total_recall-machine.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="122" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJyFutiu6pWY3Li74znrt86zZ_dKHnEX8ZGogmB3hdMjocs1H_ynwB_q6tlJzvFa-oQhFSC_9-XGmw3nGXGA-NotOLq-MpYVLA2YwaLwjBwqfmsmL00tPGU_Grd4H4STyDzAgXKBwUP9M/s200/total_recall-machine.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg61A3ZqsFTvbasu6FcZCYyKrqvWotccuDbxSqZdpQt3vuze_hXB1XAc5zrCpvKiCiZPYjJ3QqntOPjL3d9UVw6i4eBgV7cmjR4AfiDhkSZESoqKRoh2yWK0pwB8Y07v_7NerJOWunnSE4/s1600/forbidden_planet-machine.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="93" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg61A3ZqsFTvbasu6FcZCYyKrqvWotccuDbxSqZdpQt3vuze_hXB1XAc5zrCpvKiCiZPYjJ3QqntOPjL3d9UVw6i4eBgV7cmjR4AfiDhkSZESoqKRoh2yWK0pwB8Y07v_7NerJOWunnSE4/s200/forbidden_planet-machine.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">The Arnold Schwarzenegger hit is similar to the 50's classic in that it, too, features an expansive machine of unknown purpose deep under the surface of another planet. It's not until the end of each movie that the function of the alien technology is discovered.</td>
</tr>
<tr class="SRmoviename">
<td><i>Iron Man</i> (2008)</td>
<td><i>Alien</i> (1979)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb5X8XQZ_AVaFAJbaRY2C2y-hVv7lhAIPesc-9SyyMvhCdf9Uq8LQriSn8Mx6p8MjwLJsHlqcqgTQ03NHolZsbBUvVlmMa_UHB3QrzMXOsSmnMNUAeYL6knt_oFqu0nFuR4mrgTVDZuWQ/s1600/iron_man-chains.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="93" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb5X8XQZ_AVaFAJbaRY2C2y-hVv7lhAIPesc-9SyyMvhCdf9Uq8LQriSn8Mx6p8MjwLJsHlqcqgTQ03NHolZsbBUvVlmMa_UHB3QrzMXOsSmnMNUAeYL6knt_oFqu0nFuR4mrgTVDZuWQ/s200/iron_man-chains.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKVrd763bwPpn8YJDfwGel5DO3hVLmYihzE9TQpiwdrcIJjNYIt7d1aN1JUj5l9Sv-UK2FvE6HLJ5ka-QHRPg2KOWbbxZfp26CJLpHQNLgHORDBSuBk_s9b84HI0vsAprnmR8kak2vCYA/s1600/alien-chains.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKVrd763bwPpn8YJDfwGel5DO3hVLmYihzE9TQpiwdrcIJjNYIt7d1aN1JUj5l9Sv-UK2FvE6HLJ5ka-QHRPg2KOWbbxZfp26CJLpHQNLgHORDBSuBk_s9b84HI0vsAprnmR8kak2vCYA/s200/alien-chains.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">The lab where Pepper seeks out Obadiah, who has suited up as the sinister Iron Monger, is dark and rife with hanging chains, making it eerily reminiscent of the section of the <i>Nostromo</i> where Brett searches for Jones, the <nobr>cat . . .</nobr> and finds the alien.</td>
</tr>
<tr class="SRmoviename">
<td colspan="2"><i>Kiss Me Deadly,</i> et al.</td>
</tr>
<tr>
<td class="SRpicturecell"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;">
<tbody>
<tr>
<td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4YKZLWnwhj0Y9X1p-cc4TWdjGbgEM6EPPxVKQ6mEFbLnjsr1Tzm9TRN6JWh2GY60Yk0qnBlm5N8RNTYKsBBJ-phcKRgf75ordBB6KG3EQed6_ZK0yovoFZ19m7XSzz4C7KQE7DhacYFQ/s1600/kiss_me_deadly.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4YKZLWnwhj0Y9X1p-cc4TWdjGbgEM6EPPxVKQ6mEFbLnjsr1Tzm9TRN6JWh2GY60Yk0qnBlm5N8RNTYKsBBJ-phcKRgf75ordBB6KG3EQed6_ZK0yovoFZ19m7XSzz4C7KQE7DhacYFQ/s200/kiss_me_deadly.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="tr-caption" style="text-align: center;"><i>Kiss Me Deadly</i> (1955)</td>
</tr>
</tbody>
</table>
<br /></td>
<td class="SRpicturecell"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;">
<tbody>
<tr>
<td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGuCZE9b1dUfC7wDrhelH0_I712wMFognbXLvJAt1_ICjx9MOJrx6y134jy-g-HWdXGcJKJNWILvhBoyCuiANQObeqMNQrp9Pg2xs7fDrPGhqPJXUNdyIEpy7Vd58YDoPQwQ5WQYc5a1U/s1600/raiders_of_the_lost_ark-glo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGuCZE9b1dUfC7wDrhelH0_I712wMFognbXLvJAt1_ICjx9MOJrx6y134jy-g-HWdXGcJKJNWILvhBoyCuiANQObeqMNQrp9Pg2xs7fDrPGhqPJXUNdyIEpy7Vd58YDoPQwQ5WQYc5a1U/s200/raiders_of_the_lost_ark-glo.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="tr-caption" style="text-align: center;"><i>Raiders of the Lost Ark</i> (1981)</td>
</tr>
</tbody>
</table>
</td>
</tr>
<tr>
<td class="SRpicturecell"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;">
<tbody>
<tr>
<td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuwein31BgYibfwiBuGTI1DPCMDmzbkbJfbqlEAYMYdZtYvwtWoXx55KmyHkoPzW42pyoS58rTDoXurtVanVMde8qOg27tngi2AlXwNt3xNg6zj1r0hOdBUPcsk5RBz2LtgtDwPXr-J-E/s1600/repo_man.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="112" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuwein31BgYibfwiBuGTI1DPCMDmzbkbJfbqlEAYMYdZtYvwtWoXx55KmyHkoPzW42pyoS58rTDoXurtVanVMde8qOg27tngi2AlXwNt3xNg6zj1r0hOdBUPcsk5RBz2LtgtDwPXr-J-E/s200/repo_man.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="tr-caption" style="text-align: center;"><i>Repo Man</i> (1984)</td>
</tr>
</tbody>
</table>
</td>
<td class="SRpicturecell"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;">
<tbody>
<tr>
<td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSIBpdvHC2-CFfJbnG7dra2ZGjcdQ_Tya7Q1FZP4p1DWwoWxQzETXNK7l3BDuWTxVe4zDZTfodCw4KTZ0zGBGYBh7agVZCepeApimCsZsMJauwCirVcLjnE3FRCy84TPf8zSrplo4cktE/s1600/pulp_fiction-case.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="71" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSIBpdvHC2-CFfJbnG7dra2ZGjcdQ_Tya7Q1FZP4p1DWwoWxQzETXNK7l3BDuWTxVe4zDZTfodCw4KTZ0zGBGYBh7agVZCepeApimCsZsMJauwCirVcLjnE3FRCy84TPf8zSrplo4cktE/s200/pulp_fiction-case.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="tr-caption" style="text-align: center;"><i>Pulp Fiction</i> (1994)</td>
</tr>
</tbody>
</table>
</td>
</tr>
<tr>
<td class="SRpicturecell"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;">
<tbody>
<tr>
<td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY17vMdcDrUywKERh8b20nVsn5aKXKGow41qHLMSRFx2zl5avfZpIKZdVaXgT-xlBSeZCbcF2oB0MVvppDWbc4cLnVb98IhmjlPpKhEvH5dacIJf10zAwpTGZiMyI0uumV-hZWGdsIrkk/s1600/goldmember.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY17vMdcDrUywKERh8b20nVsn5aKXKGow41qHLMSRFx2zl5avfZpIKZdVaXgT-xlBSeZCbcF2oB0MVvppDWbc4cLnVb98IhmjlPpKhEvH5dacIJf10zAwpTGZiMyI0uumV-hZWGdsIrkk/s200/goldmember.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="tr-caption" style="text-align: center;"><i>Goldmember</i> (2002)</td>
</tr>
</tbody>
</table>
</td>
<td class="SRpicturecell"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;">
<tbody>
<tr>
<td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1f38Vt4e738BJa5hhR4fR9jjNrA-rBLKyQgoymZZW8A92GuSNU0Zbg_iqcfXR97mlAyBZbwz5jpTGS1ia6OFeX_TB27md1hJZbMs2ZgirOW9lry6clW72znBchKmedIjy4hpdJdCXcQg/s1600/captain_america.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1f38Vt4e738BJa5hhR4fR9jjNrA-rBLKyQgoymZZW8A92GuSNU0Zbg_iqcfXR97mlAyBZbwz5jpTGS1ia6OFeX_TB27md1hJZbMs2ZgirOW9lry6clW72znBchKmedIjy4hpdJdCXcQg/s200/captain_america.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="tr-caption" style="text-align: center;"><i>Captain America</i> (2011)</td>
</tr>
</tbody>
</table>
</td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">A handful of films have used this before — a character opens a mysterious closed container (the Ark of the Covenant, a car trunk, briefcase, wooden box, even his own pants) and is lit up by a glow from within.</td>
</tr>
<tr class="SRmoviename">
<td colspan="2"><i>Star Wars Episode II: Attack of the Clones</i> (2002) and Ray Harryhausen</td>
</tr>
<tr>
<td class="SRpicturecell" colspan="2"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;">
<tbody>
<tr>
<td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGHl6j0fuv5x-76uiy_OcwkXj-sOlLfczS_EDL5fLfuV3rduApSipQrI0TJpaYxH-686pUx_RfweKWtARnjI06ZGiYj5m1eeV4NSDgrOldCiwcnM1ZDLotH77Pc0k7Ji5l_ls9Cbm48l4/s1600/attack_of_clones-arena.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGHl6j0fuv5x-76uiy_OcwkXj-sOlLfczS_EDL5fLfuV3rduApSipQrI0TJpaYxH-686pUx_RfweKWtARnjI06ZGiYj5m1eeV4NSDgrOldCiwcnM1ZDLotH77Pc0k7Ji5l_ls9Cbm48l4/s400/attack_of_clones-arena.jpg" width="400" /></a></td>
</tr>
<tr>
<td class="tr-caption" style="text-align: center;"><i>Star Wars Episode II: Attack of the Clones</i> (2002)</td>
</tr>
</tbody>
</table>
</td>
</tr>
<tr>
<td class="SRpicturecell" colspan="2"><table border="0" style="width: 100%px;">
<tbody>
<tr>
<td align="center" valign="top"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;">
<tbody>
<tr>
<td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWERnrnrwUl6NFAqEfrBfpzRC7aY_OsHGXqNsNn4vIHute308VFg-qPRZ1FCiM3k8ByRqPeCE8zRkaIuOeNTpfZ4A7suiAbx77YSw9hFq5fOci_Of4u6gBP9WZEBn9ovNLU4WTDATtJsg/s1600/7th_voyage_of_sinbad.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="90" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWERnrnrwUl6NFAqEfrBfpzRC7aY_OsHGXqNsNn4vIHute308VFg-qPRZ1FCiM3k8ByRqPeCE8zRkaIuOeNTpfZ4A7suiAbx77YSw9hFq5fOci_Of4u6gBP9WZEBn9ovNLU4WTDATtJsg/s200/7th_voyage_of_sinbad.jpg" width="150" /></a></td>
</tr>
<tr>
<td class="tr-caption" style="text-align: center;"><i>The 7th Voyage of<br />
Sinbad</i> (1958)</td>
</tr>
</tbody>
</table>
</td>
<td align="center" valign="top"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;">
<tbody>
<tr>
<td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX1ffeNxK3TqL6aSvjxsa6ysxGiPBSmOJxk7Pai6Vk8s-AToWwVHW0I-QhNIXBmK-fsyYLNha87UaaATmfNmXyxcrttuCbznUuK1mxG1X-g85tXs37dorLXxMv60GGJAgfMOxUrExoO-o/s1600/mysterious_island.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="90" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX1ffeNxK3TqL6aSvjxsa6ysxGiPBSmOJxk7Pai6Vk8s-AToWwVHW0I-QhNIXBmK-fsyYLNha87UaaATmfNmXyxcrttuCbznUuK1mxG1X-g85tXs37dorLXxMv60GGJAgfMOxUrExoO-o/s200/mysterious_island.jpg" width="150" /></a></td>
</tr>
<tr>
<td class="tr-caption" style="text-align: center;"><i>Mysterious Island</i> (1961)</td>
</tr>
</tbody>
</table>
</td>
<td align="center" valign="top"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;">
<tbody>
<tr>
<td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn0l5HPRyj3A1WcsPCXP-zDpLYHFscxsXSZEPcc9cM7jyQpECHVzRSlZlKHstTXUNk4GFBr-AnL460tNG8dKBtwJ0MMacsXwf0I4qXJYhW11BuJZA0NNPQr3m5QhXZMIgZbv0jhJguunk/s1600/one_million_years_bc.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="90" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn0l5HPRyj3A1WcsPCXP-zDpLYHFscxsXSZEPcc9cM7jyQpECHVzRSlZlKHstTXUNk4GFBr-AnL460tNG8dKBtwJ0MMacsXwf0I4qXJYhW11BuJZA0NNPQr3m5QhXZMIgZbv0jhJguunk/s200/one_million_years_bc.jpg" width="150" /></a></td>
</tr>
<tr>
<td class="tr-caption" style="text-align: center;"><i>One Million Years B.C</i> (1966)</td>
</tr>
</tbody>
</table>
</td>
</tr>
</tbody>
</table>
</td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">Obi-Wan's weapon of choice when battling monsters in the Geonosian arena? A stick — the same preferred by the creature-fighting heroes of many a Harryhausen film.</td>
</tr>
<tr class="SRmoviename">
<td><i>Star Wars Episode II: Attack of the Clones</i> (2002)</td>
<td><i>Minority Report</i> (2002)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoWluzJkHGJEy36xhOw9KzkKFPFG2EOyN8RkJf3zNZ77ADIfnOalRwCxLm7qV830DwPIH_0dzdoeWpzhKh1q0Om66ssRi5TY9VP2TUQ5_UM3mPLhbK5bv7HtO8gIYYqzI7H0slP62pqA4/s1600/attack_of_clones-assembly_l.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="94" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoWluzJkHGJEy36xhOw9KzkKFPFG2EOyN8RkJf3zNZ77ADIfnOalRwCxLm7qV830DwPIH_0dzdoeWpzhKh1q0Om66ssRi5TY9VP2TUQ5_UM3mPLhbK5bv7HtO8gIYYqzI7H0slP62pqA4/s200/attack_of_clones-assembly_l.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPVVfmUuN_zRIMYw4iR8WHxXj3GU1_YDT2xSOPXa1EmpPErqnrh_BsgnXoeT41JphHuN-52R15-UjawTwNT-75h0ouyCAwi7YpLF-Vz6IDpstiDPO40_hHWOC_Khs6depzWpeCQoPchLo/s1600/minority_report-assembly_li.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="91" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPVVfmUuN_zRIMYw4iR8WHxXj3GU1_YDT2xSOPXa1EmpPErqnrh_BsgnXoeT41JphHuN-52R15-UjawTwNT-75h0ouyCAwi7YpLF-Vz6IDpstiDPO40_hHWOC_Khs6depzWpeCQoPchLo/s200/minority_report-assembly_li.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">It looks like George Lucas and Steven Spielberg were thinking alike when they plotted these chase scenes, both from 2002. Each director set their chase on an automated assembly line, where swinging robot arms posed as much danger to the protagonists as did the pursuers. Pictured above, both Anakin and Anderton nearly lose their right hands as machine parts clamp down upon them.</td>
</tr>
<tr class="SRmoviename">
<td><i>Salt</i> (2010)</td>
<td><i>Die Another Day</i> (2002)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLlb1R_sXJQo0u5LEVRRhNf_FqWuCQBdh8JwYOMzPN5SxFyptuHYPD6P9N7WrciHU8xP2RAmkPP1LWoTQQOHM58iKlBdMt2qdWF7Wvkpl0kmiO9XzA3SwRvz52pD_qFz_t4OFoGIIJaRY/s1600/salt.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="91" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLlb1R_sXJQo0u5LEVRRhNf_FqWuCQBdh8JwYOMzPN5SxFyptuHYPD6P9N7WrciHU8xP2RAmkPP1LWoTQQOHM58iKlBdMt2qdWF7Wvkpl0kmiO9XzA3SwRvz52pD_qFz_t4OFoGIIJaRY/s200/salt.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_O9mOgdYAI8c-2jujuVvqBEh-6CEelirJ8x-p4pT_kzwHiauE4yhemBTcfqGCbbUtkunFE107GzRFL-P2g0u1E3_MgUhuVP0oN9GOVRPmUB5pBI7J4JrfwV7DKXVfvEsmtf9TkP1-4b0/s1600/die_another_day.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="93" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_O9mOgdYAI8c-2jujuVvqBEh-6CEelirJ8x-p4pT_kzwHiauE4yhemBTcfqGCbbUtkunFE107GzRFL-P2g0u1E3_MgUhuVP0oN9GOVRPmUB5pBI7J4JrfwV7DKXVfvEsmtf9TkP1-4b0/s200/die_another_day.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">If you thought the opening moments of <i>Salt</i> looked familiar, you'd probably watched the same scene eight years earlier in <i>Die Another Day</i>. Both films begin with a secret agent being taken captive in North Korea, tortured, then released many months later during a prisoner exchange in the demilitarized zone.</td>
</tr>
<tr class="SRmoviename">
<td><i>The Lord of the Rings: The Return of the King</i> (2003)</td>
<td><i>Major Dundee</i> (1965)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUbSQvVG6ZMGv4U7eq1ajlxS-8EVUU9aLRIX9ckhEhd_6MDQbYYm_UMigWkPb10Ekq9AVUZKcYCqQKG_UNpp6FKO9dABfBtTdgENcqIth4KAYOlpd2pYZyiTRIdHc4W_leE4s4IhO37EI/s1600/return_of_the_king.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="93" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUbSQvVG6ZMGv4U7eq1ajlxS-8EVUU9aLRIX9ckhEhd_6MDQbYYm_UMigWkPb10Ekq9AVUZKcYCqQKG_UNpp6FKO9dABfBtTdgENcqIth4KAYOlpd2pYZyiTRIdHc4W_leE4s4IhO37EI/s200/return_of_the_king.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0AA5nKXpoUcWARRSblyMl0ivb_a2LC5lZOwwpScUGmMuPvrEZ9t1FiER4nlWCnR8wyOQAAZ7Qx1yy1H8OMblA4xFVV4ai_y_w5Ijlr0RuTkTpDquuw3tIgdbnGz15zd_YSiBX-L0SH7U/s1600/major_dundee.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0AA5nKXpoUcWARRSblyMl0ivb_a2LC5lZOwwpScUGmMuPvrEZ9t1FiER4nlWCnR8wyOQAAZ7Qx1yy1H8OMblA4xFVV4ai_y_w5Ijlr0RuTkTpDquuw3tIgdbnGz15zd_YSiBX-L0SH7U/s200/major_dundee.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">Aragorn's plea to the Army of the Dead — ghosts of soldiers who deserted their king long ago — to aid him in defending Minas Tirith recalls Dundee's proposition to the Confederate prisoners he hopes will help him battle the Apaches.</td>
</tr>
<tr>
<td class="SRpicturecell" colspan="2"><table border="0" style="width: 100%px;">
<tbody>
<tr class="SRmoviename">
<td align="center" valign="top"><i>The Lady from<br />
Shanghai</i> (1947)</td>
<td align="center" valign="top"><i>Gorilla at Large<br />
</i>(1954)</td>
<td align="center" valign="top"><i>The Man with the<br />
Golden Gun</i> (1974)</td>
</tr>
<tr>
<td align="center" valign="top"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPIM8ymFS6bYoCmv0LW6wbqSqjhp-KLSahU0JdqYePNFHzA3tTwTu24PjdvHzninipMCDlg78w4xWqHfCY96DbPLGJTxKJb-cKQ02JzfSr9oWTtyHR-vjhbkM8D_QZTYmJgBXSNqzAm10/s1600/lady_from_shanghai.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="93" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPIM8ymFS6bYoCmv0LW6wbqSqjhp-KLSahU0JdqYePNFHzA3tTwTu24PjdvHzninipMCDlg78w4xWqHfCY96DbPLGJTxKJb-cKQ02JzfSr9oWTtyHR-vjhbkM8D_QZTYmJgBXSNqzAm10/s200/lady_from_shanghai.jpg" width="150" /></a></td>
<td align="center" valign="top"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyaTv9LRnKMCKA1jQqVbV5lGf-hbbsYHzduR-agX1oAeB15juU7VmgwyMLlCNV47bTmefJEp2gISVkGyPW-YFcMh2Cg7dCO2lx2AX7zI7lMzg_lqCSV3XhuicRPdAvZQYTO4cn_byW17k/s1600/gorilla_at_large.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="98" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyaTv9LRnKMCKA1jQqVbV5lGf-hbbsYHzduR-agX1oAeB15juU7VmgwyMLlCNV47bTmefJEp2gISVkGyPW-YFcMh2Cg7dCO2lx2AX7zI7lMzg_lqCSV3XhuicRPdAvZQYTO4cn_byW17k/s200/gorilla_at_large.jpg" width="150" /></a></td>
<td align="center" valign="top"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGab_xNICiHDPvrv59ZzkxIAl5DRP3CP_adaX8RWM3h-y48pIEjoYyeUrACfRe15IRVfMYGNSudJiannHsqCUK1_s6A9BSW0YBG8u3o4OS5zTObP3JmfnHtfbo6-ylv8DKoNZKGzJU7Ko/s1600/man_with_golden_gun.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="94" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGab_xNICiHDPvrv59ZzkxIAl5DRP3CP_adaX8RWM3h-y48pIEjoYyeUrACfRe15IRVfMYGNSudJiannHsqCUK1_s6A9BSW0YBG8u3o4OS5zTObP3JmfnHtfbo6-ylv8DKoNZKGzJU7Ko/s200/man_with_golden_gun.jpg" width="150" /></a></td>
</tr>
</tbody>
</table>
</td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">The hall of mirrors scene at the end of Orson Welles' famous film noir has spawned its share of imitators.</td>
</tr>
<tr class="SRmoviename">
<td><i>Austin Powers: International Man of Mystery</i> (1997)</td>
<td><i>The 10th Victim </i>(1965)</td>
</tr>
<tr>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkTJa81q6geUf25EktYs2wKdcd71nnY8PZzzw0Z-d2Jy1hJnQebVZ_t9KJczzYt1BR3kcr4zw8J1sRrA0RR_eK1cwP3Bbzl9C1GADb5ciMjgzETZU1PqC2tUM_eOp_eG_iL4neswuv2GQ/s1600/austin_power-fembot.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="116" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkTJa81q6geUf25EktYs2wKdcd71nnY8PZzzw0Z-d2Jy1hJnQebVZ_t9KJczzYt1BR3kcr4zw8J1sRrA0RR_eK1cwP3Bbzl9C1GADb5ciMjgzETZU1PqC2tUM_eOp_eG_iL4neswuv2GQ/s200/austin_power-fembot.jpg" width="200" /></a></td>
<td class="SRpicturecell"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-Q7HbZ5_RKcH2OR_7llCrPJy12TV_NUr0IkA5MQ4vOPZlIalkZTkvWru1vTQ26WVJhWfbYrnviutTOX-VopixyoEpsmzmKMJh3yQvBpKLxefTVhZHx8vqje1O-rejXcjqHBlieHnhbIo/s1600/10th_victim-bra-gun.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-Q7HbZ5_RKcH2OR_7llCrPJy12TV_NUr0IkA5MQ4vOPZlIalkZTkvWru1vTQ26WVJhWfbYrnviutTOX-VopixyoEpsmzmKMJh3yQvBpKLxefTVhZHx8vqje1O-rejXcjqHBlieHnhbIo/s200/10th_victim-bra-gun.jpg" width="200" /></a></td>
</tr>
<tr>
<td class="SRphotodesc" colspan="2">The bra gun wore by Dr. Evil's "fembot" assassins is based upon a similar device worn by a killer played by Ursula Andress in <i>The 10th Victim.</i></td>
</tr>
</tbody>
</table>
<b><i>See also:</i></b><br />
<i><a href="http://second-reel.blogspot.com/2010/07/homage-reference-and-free-association.html">Homage, reference, and free association</a></i><br />
<i><a href="http://second-reel.blogspot.com/2011/07/homage-reference-and-free-association.html">Homage, reference, and free association: Harry Potter edition</a></i>Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-69699993909767965912013-01-24T19:19:00.001-05:002013-05-17T16:53:31.059-04:00The Stalking Moon<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_t0g7ugk1eZie5OB015MobKo1xxK_xOnHQCMTJC1AX3FbteRowgoxNfhYl-7wAAYv2KRn7OXIJHSpUc3V1HR0VYnSLBq5nnHVzJeRN2iL6c0bE7DaPydUQndA1ClGpbYnQbQht_kEYn0/s1600/stalking_moon-trio.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_t0g7ugk1eZie5OB015MobKo1xxK_xOnHQCMTJC1AX3FbteRowgoxNfhYl-7wAAYv2KRn7OXIJHSpUc3V1HR0VYnSLBq5nnHVzJeRN2iL6c0bE7DaPydUQndA1ClGpbYnQbQht_kEYn0/s400/stalking_moon-trio.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Stalking Moon</i> (1968)</td></tr>
</tbody></table>
<br />
For a film which at first seems akin to the traditional captivity narrative, there is a surprising lack of shunning in <i>The Stalking Moon</i> (1968). Sarah Carver, a white woman who was held captive by Apache Indians for ten years, conceiving, giving birth to, and raising a son during that time, is not shunned by the soldiers who find her, nor by the scout who offers to escort her to safety. She is not shunned by the Apache women of her tribe, who stand by as mere set dressing as Sarah chooses to rejoin white society and ask the Army's help in fleeing from her Apache husband, who's on a murderous rampage to reclaim his son. She's given some contemptuous looks at a stagecoach station, where one man makes some hostile comments about Indians, but ultimately this is not a movie concerned with the more complex ramifications of the captivity scenario.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOMeSSpZe_SwC0EyfXcKgdEgeEvkgzy2QqEYy9PebRV-SAhyk2ZTxPYnzbiM-acvZmEiz0kUhcLCE-de-7B-phIlLIoEAxmTwo1eBcoFp-nEd1mb-nq37J4NEoT6Qo_b4af-e4Z9Cg2qs/s1600/stalking_moon_poster.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOMeSSpZe_SwC0EyfXcKgdEgeEvkgzy2QqEYy9PebRV-SAhyk2ZTxPYnzbiM-acvZmEiz0kUhcLCE-de-7B-phIlLIoEAxmTwo1eBcoFp-nEd1mb-nq37J4NEoT6Qo_b4af-e4Z9Cg2qs/s200/stalking_moon_poster.jpg" width="132" /></a></td></tr>
<tr><td class="tr-caption" style="line-height: 14px; text-align: center;">"You can't escape<br />
The Stalking Moon"</td></tr>
</tbody></table>
<i>The Stalking Moon</i> instead presents itself as a horror thriller, the type where a deadly and inexorable hunter kills everything on its way to a final showdown with the film's protagonist. When this threat is in the form of a giant shark or a masked psychopath, its relentlessness is not questioned — it's a one-dimensional killing machine with no profound motives. But from the viewpoint of the early 21st century (post-<i>Little Big Man</i>, <i>A Man Called Horse</i>, <i>Dances With Wolves</i>, post-Elián González), when that threat is an American Indian who will stop at nothing to reclaim his son, he's not so much a horrific threat, just a dedicated dad. Granted, this father, an Apache named Salvaje, kills every white person along the way, even those not directly connected to his quest. But after decades of films that have changed the portrayal of American Indians in Westerns, this murderous rampage is more understandable, arguably excusable, to today's audience.
<br />
<br />
I would almost say that this is the main reason the film fails as a thriller, and that it does so only in a modern context, if it weren't for other, more fundamental problems it has in setting up its thrills. The suspense leading up to the eventual confrontation with the film's protagonist, the scout, Sam Varner (played by Gregory Peck), is diminished by one of the techniques presumably intended to build it, namely that Salvaje is not seen, even briefly, until he reaches Varner's homestead for the climactic fight. Successful horror movies often withhold from view the face of the killer but give you increasing glimpses — the silhouette of Norman Bates on the shower curtain in <i>Psycho</i>, for example, or the first flashes of fin and teeth in <i>Jaws</i> — or force the audience to see through the killer's eyes in POV shots. <i>The Stalking Moon</i> does neither, and while we await the arrival of Salvaje, we don't necessarily fear it. (The evident trappings of classic Westerns also dull the tension: in the final showdown, the good guy almost always wins.)
<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDn_iNd2GRVxQjONA18vv3G3Vqo5CK9tjxLm5r3HLeyPbhESSMJ8zsV3q1wx6CBaGLysEJxZdhwLbm1DV-3-xcPZ3tsgQByt-jzSgcmONgN5cxkvfFKhi2dwooU7CHiwayjQxaJfzmdXM/s1600/stalking_moon-in_wait.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDn_iNd2GRVxQjONA18vv3G3Vqo5CK9tjxLm5r3HLeyPbhESSMJ8zsV3q1wx6CBaGLysEJxZdhwLbm1DV-3-xcPZ3tsgQByt-jzSgcmONgN5cxkvfFKhi2dwooU7CHiwayjQxaJfzmdXM/s320/stalking_moon-in_wait.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Aim the gun, dammit!"</td></tr>
</tbody></table>
The deliberate teasing of the audience also works against the film. The first time Varner leaves his home — and therefore Sarah and her son — only to find that the Apache has taken advantage of Varner's absence to attack, was an acceptable (albeit predictable) contrivance. But when Varner does this again, and nearly a third time, suspense is replaced by amazement at how this man ever found work as a scout. Furthermore, as Salvaje — who arrives in a less silent manner than Sarah (and the movie's poster!) indicates he will — comes through the door of Varner's homestead, Varner is waiting for him, rifle at the ready. But Varner hesitates and waits until the Apache can see him before even lifting his gun to aim. Sure, this delay creates tension, but strains credibility to the point of annoyance. (In his <a href="http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19690211/REVIEWS/902110301/1023" target="_blank">1969 review</a>, Roger Ebert recalled "mentally urging" Varner to "Aim the gun, dammit! Shoot him!" My reaction was the same, only audible.)
<br />
<br />
Peck's portrayal of Varner is a bit stiff (more so than the usual Peck), and I'm not convinced that his character really thinks through his offer to bring Sarah and her son home, nor that he is genuinely moved to do so. For me, the emotional high point is when the boy, realizing his father has come for him, runs from Varner's house and tries to reach his father's hiding place. The bond between father and son that this scene implies is stronger than any other interpersonal relationship in the film: that between Sarah and her son, who seems indifferent towards his mother, between Varner and petulant junior scout Nick, who barely conceals his hurt at being left by Varner when the elder scout retires, or between Varner and Sarah, who are paired only out of sympathy and necessity.
<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSsvF4ls9VI9m9_kWuTqpTBQr3g4Dx3Y3OoS5rcXMD9ZXJVxDylVJnG4jCJffUEJH8YxcyQkSQ15fUFW4tPWI_TeRgfmGvcU6rUW4OJOjHg6bbcDLN4jDuBBmGMTlBire8fZvTSN-MHBg/s1600/stalking_moon-homestead.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSsvF4ls9VI9m9_kWuTqpTBQr3g4Dx3Y3OoS5rcXMD9ZXJVxDylVJnG4jCJffUEJH8YxcyQkSQ15fUFW4tPWI_TeRgfmGvcU6rUW4OJOjHg6bbcDLN4jDuBBmGMTlBire8fZvTSN-MHBg/s320/stalking_moon-homestead.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Varner's homestead</td></tr>
</tbody></table>
<i>The Stalking Moon</i> is a nice-looking movie, though, with some fine location shooting. My favorite is Varner's homestead, an idyllic frontier Eden, one of the nicest locations I've seen in a Western. It would have been nice if the scenery had been backed up by some depth to the characters, particularly the Apache pursuer — insight to his thoughts about retrieving his son, about his original abduction of the boy's mother, about his vendetta against the white settlers — and perhaps an ending that reunited him with his son. That would have been interesting.Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-60586264333643843652013-01-12T00:30:00.000-05:002013-02-06T12:58:35.612-05:00Happy Birthday, HAL<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjTs_yxrYQSF1-ppdl8bDbOeVDGwB0xvazUeQREurKCn4c45sDsAY1E7tRLa7angKSdBIP4C7yVctX7eym7VNlyR2SbyiHu_kRbYNTNVT4v4_CUADvmdg2VU7pphFhlYJy6Gk4pjQiSuA/s1600/2001-hal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjTs_yxrYQSF1-ppdl8bDbOeVDGwB0xvazUeQREurKCn4c45sDsAY1E7tRLa7angKSdBIP4C7yVctX7eym7VNlyR2SbyiHu_kRbYNTNVT4v4_CUADvmdg2VU7pphFhlYJy6Gk4pjQiSuA/s400/2001-hal.jpg" width="400" /></a></div>
<br />
<blockquote class="tr_bq">
Good afternoon, Gentlemen. I am a HAL 9000 computer. I became operational at the HAL plant in Urbana, Illinois on the twelfth of January, 1992.</blockquote>Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-58263258075409731802012-11-11T21:30:00.002-05:002013-06-28T11:38:25.556-04:00Happy Birthday, Robert Ryan<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhne62elgNXLkQoeQwFUkOLDB0UEBKiiW6kdnznzwFM_N5EPTH5KmipPeXN10RL3_aWtuxNl3MUmvjPSaJ0vofsoQl96I2d9_svhjq34L0vOsVRC15MPXOd1BF9TXZVBE6rIcrN1Z4Sj3k/s1600/robert_ryan.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhne62elgNXLkQoeQwFUkOLDB0UEBKiiW6kdnznzwFM_N5EPTH5KmipPeXN10RL3_aWtuxNl3MUmvjPSaJ0vofsoQl96I2d9_svhjq34L0vOsVRC15MPXOd1BF9TXZVBE6rIcrN1Z4Sj3k/s320/robert_ryan.jpg" width="250" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Robert Ryan</td></tr>
</tbody></table>
I first became aware of Robert Ryan in my early twenties when I saw him in <i>On Dangerous Ground,</i> which rocked my naive assumption that the cop-on-the-edge had been invented by Clint Eastwood in <i>Dirty Harry</i>. The scene where Ryan's Jim Wilson beats information from a belligerent perp showed a man frazzled from a life patrolling the underbelly of society, worn out as much by his own violent tendencies as by the criminals he unleashed them on. Jim Wilson was the type of part I would later discover Ryan excelled at: the tough guy with a bit more going on inside.<br />
<br />
As I watched more of Ryan's films (there are many), I found this to hold true. His character in <i>The Wild Bunch</i> has an outlaw past, but the man we see is a forlorn turncoat hunting down his former gang and silently wrestling with what that means. His Cotton Ryan from <i>Lawman</i> is a sellout sheriff who eventually has to confront his own complacency. In <i>The Professionals,</i> he's one of four men assembled to rescue a woman kidnapped by a Mexican bandit. Each of these men has a specialty — weapons, explosives, tracking. Ryan's Hans Ehrengard's skill is horse wrangling, and Ryan plays him with a sensitivity that could mislead one into thinking he's soft — until he KO's a man over the mistreatment of a horse.<br />
<br />
At other times, Ryan was just fun to watch. I forget where I read this, but someone said that the trick to his Ben Vandergroat in <i>The Naked Spur</i> was that Ryan just laughed when delivering each line, making his character not only sinister, but unexpectedly likable.<br />
<br />
This is why, in his Western roles especially, Ryan stands out among other leading men of the genre. While I certainly consider John Wayne one of the great Western stars, Ryan displayed in his supporting parts a much greater range. (So much has been said about Wayne's inability to act that this may not be the most effective comparison, though I've always felt such criticisms of John Wayne were overdone.)<br />
<br />
And I would be lying by denying that the little I know of Ryan's personal life contributes to my affection for his work. His tough guy credentials included being a former Marine and boxing champ, but he was also a civil rights advocate and Democrat who supposedly clashed with John Wayne over HUAC on the set of <i>Flying Leathernecks,</i> living for real the complexity he played on screen.<br />
<br />
<div align="center">
<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="http://www.youtube.com/embed/8IpwJuAD5aU?rel=0" width="420"></iframe></div>Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0tag:blogger.com,1999:blog-4804928946512327810.post-755269375015508512012-10-25T22:18:00.000-04:002013-10-09T10:39:44.881-04:00McCabe & Mrs. Miller<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2PyuLnJ0fLmEUdLR8211Yfpf5O9lcz7Q4i6b7md5vQFcjUC6WVbBUHJQ_huPEsCImiDPucdUuoCYhrxOrZXILsd-wBppCZo4GSdbNIHjPjmw_6FcPJFUK2-SsThgAXFi3q0rADvMLHpw/s1600/mccabe-miller.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2PyuLnJ0fLmEUdLR8211Yfpf5O9lcz7Q4i6b7md5vQFcjUC6WVbBUHJQ_huPEsCImiDPucdUuoCYhrxOrZXILsd-wBppCZo4GSdbNIHjPjmw_6FcPJFUK2-SsThgAXFi3q0rADvMLHpw/s400/mccabe-miller.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>McCabe & Mrs Miller: </i>Warren Beatty & Julie Christie</td></tr>
</tbody></table>
<br />
<i>McCabe & Mrs. Miller</i> (1971) is a highly praised movie (Roger Ebert called it "perfect", Pauline Kael called it "a beautiful pipe dream of a movie") that seems to make its way onto lots of internet "Best Westerns" lists (for what they're worth), so I understand I am in small company by not loving it. I don't entirely dislike the movie, though it does baffle me to the point of frustration.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVYhd6zgm00rWLBK7WKzEkwVo1kB3mr06jSKgGJd9JEua1Gp1OEWRflwgGLFZ3QZd1QUks4db_zTkkOiLNLYGi_tuQMFIFpSXawsALkk_oL3QoHltl9W-WLOEZNkbEFtEksCpoAGF8RfE/s1600/mccabe-jesus.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVYhd6zgm00rWLBK7WKzEkwVo1kB3mr06jSKgGJd9JEua1Gp1OEWRflwgGLFZ3QZd1QUks4db_zTkkOiLNLYGi_tuQMFIFpSXawsALkk_oL3QoHltl9W-WLOEZNkbEFtEksCpoAGF8RfE/s1600/mccabe-jesus.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"He looks just like Jesus!" — McCabe in the tub </td></tr>
</tbody></table>
In his review, Vincent Canby of the <i>New York Times</i> — a critic who did not like the movie — commented on the scene in which McCabe, played by Warren Beatty, soaks in a bathhouse tub prior to visiting Julie Christie's brothel madame, Constance Miller, describing Beatty with "his arms draped along the sides, his eyes closed, and his bearded face hanging limply forward." Continues Canby:<br />
<br />
<blockquote class="tr_bq">
When such a shot prompts the woman behind you to hiss..."He looks just like Jesus!" you may be sure you're in the presence of a movie of serious intentions. Shots that make the characters look just like Jesus don't happen by accident.<br />
<br />
The intentions of <i>McCabe and Mrs. Miller</i> are not only serious, they are also meddlesomely imposed on the film by tired symbolism, by a folk-song commentary on the soundtrack that recalls not the old Pacific Northwest but San Francisco's hungry i, and by the sort of metaphysically purposeful photography that, in a tight close-up, attempts to discover the soul's secrets in the iris of an eye and finds, instead, only a very large iris.</blockquote>
<br />
This, I think, is my main sticking point with <i>McCabe & Mrs. Miller:</i> Scenes like these suggest something greater at work, some deeper meaning that I should be able to assemble from the various images and moments that look like so many puzzle pieces. Chief among these pieces are the presence of the church and McCabe's death, yet despite much mental juggling, I come up empty.<br />
<br />
The name of the town — Presbyterian Church — begs examination, as does the fact that the actual church is never completed. This may be nothing more than a joke — the town may appear pious to anyone on the outside, though religion is the farthest thing from the minds of its people. But the church fire, and the role of the reverend in it, seem to suggest something that never quite materializes.<br />
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<tr><td class="tr-caption" style="text-align: center;">McCabe's death</td></tr>
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As for McCabe's death, I have no objection to it, but I can't resist wondering what it signifies. Is McCabe some sort of sacrifice for the town, to lead the people closer to God? After all, they come together to put out the church fire, a fire started by the gunfight, a gunfight started by McCabe's refusal to sell. Something tells me no, and not just the alcohol-fuelled revelling that happens immediately after the fire is extinguished. What about a sacrifice to lead the town to a better future, a future of potential economic prosperity under the mining company? Maybe, but nothing about the company — which sends the hired guns to the town to kill McCabe — suggests it will provide a better life.<br />
<br />
Is McCabe's death instead a penance for bringing the killers to town, or rather for his pride in refusing to sell, which brings the killers to town? Is it merely symbolic of the oppression of corporate America, of The Man? Or does it preach the lesson that by participating in violence, one is ultimately done in by violence?<br />
<br />
Boilerplate writeups of this film frequently mention how it "subverts" the conventions of traditional Westerns, and perhaps this is an example: The protagonist's death makes no larger statement about the genre. Though perhaps I'm not thinking of "traditional" Westerns. I have in mind a group of films which sacrifice, via exile or death, their heroes as a form of commentary: <i>The Searchers,</i> <i>The Man Who Shot Liberty Valance,</i> <i>High Noon,</i> <i>Ride the High Country,</i> <i>Butch Cassidy and the Sundance Kid,</i> <i>Shane</i>.<br />
<br />
At the very least, McCabe's death appears to be the realistic outcome of a gunfight between an inexperienced gunman (which is what we discover McCabe is) and three professional killers. Indeed, that McCabe is able to kill any of these men — let alone all three — is the real puzzle.<br />
<br />
I am aware that looking for everything to "add up" is to perhaps miss what others like about this film. Roger Ebert says that <i>McCabe & Mrs. Miller</i> "is one of the saddest films I have ever seen, filled with a yearning for love and home that will not ever come — not for McCabe, not with Mrs. Miller, not in the town of Presbyterian Church, which cowers under a gray sky always heavy with rain or snow. The film is a poem — an elegy for the dead."<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Amadeus:</i> Quicklime on a common grave</td></tr>
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This is as appropriate a description as any, I suppose. I recall only one sunny scene in the movie (the arrival of the first three prostitutes); the rest of the time the town is deluged by rain or shrouded in snow, which, in light of Ebert's words, makes me recall the funeral scene in <i>Amadeus,</i> the cloud of rain and quicklime falling onto the bodies in the common grave, and the final lines of James Joyce's <i><a href="http://www.online-literature.com/james_joyce/958/" target="_blank">The Dead:</a></i><br />
<br />
<blockquote class="tr_bq">
A few light taps upon the pane made him turn to the window. It had begun to snow again. He watched sleepily the flakes, silver and dark, falling obliquely against the lamplight. The time had come for him to set out on his journey westward. Yes, the newspapers were right: snow was general all over Ireland. It was falling on every part of the dark central plain, on the treeless hills, falling softly upon the Bog of Allen and, farther westward, softly falling into the dark mutinous Shannon waves. It was falling, too, upon every part of the lonely churchyard on the hill where Michael Furey lay buried. It lay thickly drifted on the crooked crosses and headstones, on the spears of the little gate, on the barren thorns. His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead.</blockquote>
<br />
(Though I find it curious that much of the snow in <i>McCabe</i> looks unnatural — not like fake snow, but like a separate film of snow superimposed over director Robert Altman's footage, as if the snow-shroud is being applied to the film, not to the town in it.)<br />
<br />
Ebert's suggestion also brings to mind an actual poem, my favorite by Richard Hugo, <i>Degrees of Gray in Philipsburg,</i> another elegy to another dying mining town. I don't think, though, that the film conveys a sense of sadness and death about everyone in Presbyterian Church the way it does for McCabe and Constance.<br />
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<br />
McCabe talks about poetry as well, and seems to recognize the danger of trying to turn the abstract into something concrete. "Well, I'll tell you something. I've got poetry in me. I do, I got poetry in me," he says to himself, wanting to say the words to Constance instead. "I ain't gonna put it down on paper. I ain't no educated man. I got sense enough not to try it."<br />
<br />
Which might almost suggest this verse by Emily Dickinson:<br />
<br />
<blockquote class="tr_bq">
Tell all the truth but tell it slant,<br />
Success in circuit lies,<br />
Too bright for our infirm delight<br />
The truth's superb surprise;</blockquote>
<br />
But I'm not convinced the truth of this film is fully defined, or that it is a certainty that can be revealed, even slowly. I think instead these errant "puzzle pieces" provide material for a suggestion of truth, a suggestion of a truth that will be discovered, if it is discovered, as different to each viewer, but which may evaporate if scrutinized.<br />
<br />
Pauline Kael seemed to acknowledge something like this in her review:<br />
<br />
<blockquote class="tr_bq">
A movie like this isn't made by winging it; to improvise in a period setting takes phenomenal discipline, but <i>McCabe & Mrs. Miller</i> doesn't look 'disciplined,' as movies that lay everything out for the audience do. Will a large enough American public accept American movies that are delicate and understated and searching — movies that don't resolve all the feelings they touch, that don't aim at leaving us satisfied, the way a three-ring circus satisfies?*</blockquote>
<br />
I may have a different idea of what "delicate and understated and searching" means (I'm sure we all do), but in the end, I don't connect with <i>McCabe</i> in the same way I do with several other movies which don't "lay everything out": <i>In the Course of Time</i> (aka <i>Kings of the Road</i>); <i>2001: A Space Odyssey; Apocalypse Now; Aguirre, the Wrath of God;</i> <i>A Serious Man;</i> or <i>The Life Aquatic with Steve Zissou.</i> Perhaps coincidentally, none of these films are Westerns, and all of them present, to varying degrees, characters looking for answers, for a kind of truth, even if they or the audience never arrive at a single, solid understanding of that truth. So it may be that my expectations about Westerns are what get between me and <i>McCabe;</i> I never had this trouble with another non-Western, <i>Barfly</i> (1987), which has a similar ring.<br />
<br />
Incidentally, my experience with <i>McCabe and Mrs. Miller</i> is similar to my experience with <i>The Life Aquatic.</i> Wes Anderson's movie leaves me in a similar lurch, scrambling for meaning: Why does Ned need to die? How does Ned's death revitalize Zissou's career? What is significant about Ned not really being Steve's son? I still don't think everything adds up, but for whatever reason it doesn't bother me as much as with <i>McCabe,</i> and I count <i>The Life Aquatic</i> among my favorite movies.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>The Life Aquatic:</i> Eleanor</td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>McCabe:</i> Constance</td></tr>
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</td>
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<br />
One shot from <i>The Life Aquatic</i> particularly echoes <i>McCabe:</i> During Ned's funeral, Eleanor lies in the depths of Steve's ship, cigarette in hand, with a look that could imply sadness, though her thoughts about Ned and what he represents are never quite clear. Similarly, at the end of <i>McCabe & Mrs. Miller,</i> as McCabe slumps, dead, in the snow, Constance lies on a cot in an opium den, cradling her pipe, with an equally ambiguous expression that is equally evocative of what-have-you. (She also examines, in the extreme close-up referenced by Canby, a small bottle, the significance of which is lost on me — though it may be nothing more than Christie's and Altman's portrayal of the effects of an opium high.)<br />
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<tr><td class="tr-caption" style="text-align: center;">Hugh Millais as Butler</td></tr>
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I would like to point out two scenes from <i>McCabe and Mrs. Miller</i> that I really like. The first is the meeting in Sheehan's saloon between McCabe and Butler, the killer, played by Hugh Millais. Millais is perfect in the role, dominating the scene with his imposing stature and easygoing menace (not to mention two backup gunmen), and Beatty plays well against him; he makes a brilliant move in stooping to pick up a tray dropped by the killer, showing how McCabe is completely without recourse in the face of this threat. Every line in this scene is perfect.<br />
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<tr><td class="tr-caption" style="text-align: center;">Shootout on the bridge</td></tr>
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The second is one of the most memorable gun fights I've seen in the movies, between "the kid" (one of Butler's killers, a blond, baby-faced punk) and a young, affable cowboy (played by Keith Carradine) on a small, low-hanging rope bridge. It's a terrifying scene whose outcome is preordained the moment the cowboy steps onto the bridge, though I find myself hoping it will end differently each time I watch it.<br />
<br />
<small><b>Sources:</b><br />
<i><a href="http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19991114/REVIEWS08/911140301/1023" target="_blank">McCabe & Mrs. Miller</a></i> by Roger Ebert, November 14, 1999<br />
<i>Pipe Dream</i> by Pauline Kael, published in <i>The New Yorker,</i> July 3, 1971<br />
<i><a href="http://movies.nytimes.com/movie/review?res=EE05E7DF1730E46EBC4D51DFB066838A669EDE&partner=Rotten%20Tomatoes" target="_blank">McCabe & Mrs. Miller</a></i> by Vincent Canby, published in <i>The New York Times,</i> June 25, 1971</small><br />
<br />
<small>*[4/8/2013 update]<br />
Or, as <a href="http://www.jonathanrosenbaum.com/?p=31892" target="_blank">Jonathan Rosenbaum writes</a> in his comments about "puzzle movies" like <i>Memento</i> and the actions of the critics featured in <i>Room 237:</i></small><br />
<br />
<blockquote class="tr_bq">
One way of removing the threat and challenge of art is reducing it to a form of problem-solving that believes in single, Eureka-style solutions. If works of art are perceived as safes to be cracked or as locks that open only to skeleton keys, their expressive powers are virtually limited to banal pronouncements of overt or covert meanings — the notion that art is supposed to say something as opposed to do something.</blockquote>
<br />
<small>Though I think my scrutiny of <i>McCabe & Mrs. Miller,</i> as I mention above, was in response to a missing emotional connection with the film.</small>Jeff (Second Reel)http://www.blogger.com/profile/03299991689675651531noreply@blogger.com0