4/29/09

frames within frames

the Bat Whispers 1

The Bat Whispers (1930)
directed by Roland West
cinematography by Robert H Planck

How effective to use frames within frames to maintain the feeling of claustrophobia on a 70mm screen. It keeps yet another old dark house story from becoming lost in the dark.


the Bat Whispers 2

the Bat Whispers 3

the Bat Whispers 4

4/27/09

nocturne in black and white

Deception 1

small 2 Deception small 3

Deception (1946)
directed by Irving Rapper
cinematography by Ernest Haller
art direction by Anton Grot

I really like this sub-genre of orchestral film noir I'm slowly discovering. Emotive composition is creatively sculpted out of formal symphony arrangements and curvy, beautiful instruments.

The strong geometry isn't limited to the music scenes. Like the concert halls in the other films, its also applied to this sensational apartment/loft/studio:


Deception 6

Deception 5

Deception 7

Deception 4

Deception 8

I especially love the door handle (resembling that of a public building, like a music hall) and what I assume is a radio speaker cover - in the bathroom, no less.

4/22/09

single shot - bad luck

Bad Luck

Zezowate Szczescie (1960)
directed by Andrzej Munk
cinematography by Jerzy Lipman

4/21/09

now i'm rich

ahora soy rico 1

Ahora Soy Rico (1952)
directed by Rogelio A Gonzalez
cinematography by Agustin Martinez Solares
set design by Jorge Fernandez


ahora soy rico 3

ahora soy rico 2

ahora soy rico 4

Another Mexican gem, brimming with film noir moodiness. The art direction is fabulous. The composition in nearly every frame is a work of art. Sadly, the print was very poor else I'd share a lot more images of the art moderne apartments which contain many key scenes.

What really impressed me was Pedro Infante. In a typically Mexican wandering plot that includes gangsters and marital disharmony, there is a deeply moving scene where Infante is struggling with his male inferiority complex. He literally howls in pain. The scream shatters the momentum of the story line, taking a moment to rawly expose the true underlying unrest in all of film noir. Very powerful and very moving.

4/16/09

line and shape

Wings in the Sky 4

Wings in the Sky 3

Wings in the Sky 2

Wings in the Sky 1

Wings in the Dark (1935)
directed by James Flood
cinematography by William C Mellor
ariel photography by Dewey Wrigley
art direction by Hans Dreier

4/14/09

Statement of Purpose

"The continuous optical spread is shattered into its many constituent features, which are then recomposed, by a new logic of design, without reference to the original optical unit...
[The color] approaches monochrome so as not to compete with the design...."


I recently came across this description of Cubism in Gardner's Art Through the Ages (10th edition I believe) and I smiled. I'd been searching for a written way to describe what I'm trying to do here with SIXMARTINIS AND THE SEVENTH ART. Now, reading about my most favorite visual style in modern art, I found the very words I'd been searching out.

What I want to present is the magic that I feel when I'm watching certain films.

I like films that transport me into another world. A certain and precise set of circumstances have to combine for me to suspend my disbelief enough for this to happen. I'm not even aware at the time this is going on until certain moments present themselves as culminations of many elements great and small. Then it's like the roller coaster car tipping over the first hill of the ride. It's a moment when I gasp out loud and feel the need to clasp my hand over my mouth while trying not to blink so as to not miss a single frame of film. My only explanation is that a kind of magic is created.

To me a great film is one that envelopes me completely, but what bowls me over is the visuals.

To try to convey this to another person with words alone is very difficult for me to do. I could employ a vast vocabulary of standard film terms and still feel that I'm not coming across as I'd like to be understood. It's like trying to find an alchemic formula to turn visuals and feelings and magic into words.

Writing about film eventually becomes it's own art form. Daily, I read many great film writers who practice this with their own blogs. I'm impressed and entertained and I learn a lot, and yet it's ultimately different than what I'm trying to do. My analysis is a different take so I've adapted a different form.

I try to analyze what amazes me in visual terms.
It only makes sense to try convey that to you all by also using visuals to show what I see when I watch a film. As there is no tangible way to describe the magic, I try to recreate some here.

4/6/09

just a wee vacation

*** I'm taking this week off from the blog. Please keep the suggestions coming via the last post (I'm loving them all!) and I'll be back next week ***

Love, shahn.

4/1/09

suggestions

Big Brown Eyes 1

Big Brown Eyes (1936)
directed by Raoul Walsh
cinematography by George Clemens

Big Brown Eyes 2

Two wonderfully surreal images, especially when divorced from the
rest of the film.

I haven't found any movie visually earth-shattering lately.
Perhaps those Mexican spectacles have raised the bar to unattainable heights?
Did Five knock out all other competition?

Does anyone out there have any suggestions, requests?
I'd love to hear about more movies to track down.