In Memoriam 1942 – 2013 “Roger Ebert loved movies.”

RogerEbert.com

Thumb_power_rangers_ver22

Power Rangers

Trashy, goofy, and surprisingly sincere, this superhero fantasy is better than you expect but not as good as it should be.

Thumb_a-woman-a-part-movie-poster

A Woman, a Part

A Woman, a Part mixes passion and ambivalence to create a work whose ambiguities seem earned, and lived in

Other Reviews
Review Archives
Thumb_xbepftvyieurxopaxyzgtgtkwgw

Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

Other Reviews
Great Movie Archives
Other Articles
Chaz's Journal Archives
Other Articles
Blog Archives

First-Shot Bordwell

tokyo.jpg

Establishing shot: The first image of Yasujiro Ozu's masterpiece, "Tokyo Story." Ozu tends to begin with a series of static shots (say, three to five) that set the location and mood.

David Bordwell (recently returned from Easter Island!), has a swell historical overview of first shots (and the Opening Shots Project) here. David notes that many classic films begin with fairly routine establishing shots and wonders:

Was there a moment when directors started to feel that they had to weight the first shot heavily, to treat it as a dense moment that the viewer should savor? The first shot of a film could be as vivid and bristling with implication as the first sentence of a novel. When might directors have begun to think along these lines?

Advertisement

He then surveys several of your (and my) Scanners favorites, and mentions a number of his own (from films by Harold Lloyd, Yasujiro Ozu, D.W. Griffith, Sergei Eisenstein and others):

Fairly far back in film history, directors seem to have realized that first shots should be freighted with implication. There probably isn’t only one moment when this strategy arises, but I’d suggest looking first at the period when synchronized sound comes in. Most films at the time were pretty static and theatrical in their reliance on dialogue, so a flashy opening shot or sequence could reassert “This is cinema." The bravura tracking shot was a common way directors chose to draw the viewer into the film’s world, as at the start of "Threepenny Opera" or of "Scarface." Maybe this is a key moment in which filmmakers began to realize that the opening shot of a film should grab or puzzle the viewer and let us reflect a little on the fact that it’s doing so.

Popular Blog Posts

“Marvel’s Iron Fist” is Netflix’s Biggest Original Series Misstep

A review of the fourth original Marvel series for Netflix. And the worst.

Who do you read? Good Roger, or Bad Roger?

This message came to me from a reader named Peter Svensland. He and a fr...

Mysterious Beauty: A David Lynch Retrospective Comes to IFC Center

A celebration of director David Lynch's filmography in anticipation of an upcoming retrospective at the IFC Center in...

Man on the run: the haunted grace of "The Fugitive"

A classic thriller that moves with a sense of purpose.

Reveal Comments
comments powered by Disqus