The Danish Girl
The Danish Girl lacks an immediacy and vibrancy, as well as a genuine sense of emotional connection.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
From Schuyler Chapman:
Down a desert road the car ambles erratically, while the motorcycle-cop watches from the far side of the road. Lapsing, perhaps, four seconds and consisting of a 180-degree pan that follows the car as it heads toward and passes the camera and police officer, it's not a terribly long shot -- but it perfectly encapsulates the film, "Repo Man," that follows.
A synthesized sound and clanging industrial rhythm accompany the automobile's desultory progress. The music that scores the first shot, like the jagged, punk rock guitar played over the credits, creates a sense of dread -- an undercurrent of menace -- that complements the bizarre Chevy Malibu. Music is integral to this scene (and the movie), establishing a sense of tension that might have been otherwise lost. Listen to the thrumming electronics and the rhythm vaguely reminiscent of heartbeats. This atmospheric touch tells us that something's not right. This auto is not swerving as the result of an intoxicated driver -- or rather the result of a driver intoxicated by the typical substances -- it's the result of something unknown and alien.
The audience is set up for the film that follows: a surreal and slightly sinister chase for an old Chevy. Another aspect of the shot clinches it for "Repo Man" offering one of the best and most appropriate cinematic openings: the movement of the car itself. How have I described its motion? Desultory, erratic -- I should also add forward. Like the story that tracks its movements, the Malibu wanders hither and thither but maintains general forward momentum toward some discernible end. There will be slight detours but they never take us far off course and, frankly, make the narrative a more "scenic" trip.