The Danish Girl
The Danish Girl lacks an immediacy and vibrancy, as well as a genuine sense of emotional connection.
From Leonard Maltin:
The one that first comes to mind is from a film I fell in love with thirty-some years ago, "Scarecrow," directed by Jerry Schatzberg and shot by Vilmos Zsigmond. I revisited it when it finally came to DVD last year and felt exactly the same way. It opens on a static shot of a wood and wire fence alongside a two-lane highway, as a figure makes his way down a hill toward the fence (and us)...the sky is gray behind him. We're riveted to this image, eager to find out who this is, where he's coming from, and where he's headed. I haven't timed it to see how long the shot actually runs, but it's long, and absolutely mesmerizing: an opening shot that draws you in and makes you want to watch the movie.
JE: Thanks, Leonard -- it's a beauty! The dark gray clouds contrasting with the pale tan of the dry, grassy slope; the light playing across the hillside that makes the clouds shift even darker; the sound of thunder echoing in the distance -- it's the kind of shot where, seconds into the movie, you can almost smell the setting: The ionic scent of the approaching rain, the dusty pollenated aroma of the baked grass. And it's also funny, as Gene Hackman attempts to extricate himself from the fence. Anyone who's attempted to climb over, under or through barbed wire knows the pain and frustration of this moment all too well! It looks like the shot was originally even longer, and is interrupted by a few cutaways to Al Pacino watching from behind a tree -- perhaps to substitute different takes. And you're right: Now I'm going to watch the whole movie. (Love Pacino's introduction: "Hi. I'm Francis.")
Matt Zoller Seitz reviews and reflects upon Jesse Eisenberg's New Yorker piece about film critics.
This message came to me from a reader named Peter Svensland. He and a fr...
An article about Spike Lee's Honorary Oscar at the 2015 AMPAS Governors Awards.