Seeing as we’re fresh into a new year, I’ve opted for a bit of a twist to this week’s Unscene Heroes. Whereas usually I focus on a specific contributor to the film industry, today I look at several key players – directors in this instance – who have graced the screens with some fantastic and ingenious shots within their movies. Such inventive and clever sequences can often be overlooked with their subtlety, as audiences frequently take the techniques and processes behind a film for granted.
Sometimes you come across a shot or scene that sticks with you; something that encapsulates a movie, or even the career of a filmmaker and is so well constructed that it can define an entire movie for the audience watching it.
So here are three stunning sequences that are memorable for different reasons and in the case of some, are deemed classic moments in cinema history.
Children of Men (2006, UK/USA)
Director: Alfonso Cuarón
Cinematographer: Emmanuel Lubezki
Scene description: This film not only captures a believable and scarily possible future reality in the UK with its gritty, authentic appearance, but the strength of the script and subtle nuances of the actors bring to it make it wholly believable. It’s a fantastic depiction and solid sic-fi flick, perhaps typified by one scene in particular as Theo (Clive Owen) and Julian (Julianne Moore) are attacked as they drive down a road alongside a wooded area. It provides us with humour, character exposition, action and violence, culminating in one of the best sequences I’ve ever seen. The great thing here is not just how it looks, but how it’s filmed in such a confined area.
Interesting fact: A lot of the elements including the Molotov cocktail, smashed windscreen and, most importantly the roof, were computer generated, so the rig inside the car could pan and move freely to catch all the action in such a close quarters environment.
Goodfellas (1990, USA)
Director: Martin Scorsese
Cinematographer: Michael Ballhaus
Scene description: It may be well known as a classic scene anyway, but the ambition Scorsese has here is pretty darn big. Lasting just shy of two-and-a-half minutes, the shot tracks Henry (Ray Liotta) into a nightclub, though the kitchens and into the club itself where they are seated. It’s said to represent the character’s life always being one step ahead of him as people greet him, step aside and open doors all in one flowing motion . The level of planning must have been immense, and to have everyone in position, delivering lines on cue must have been painstaking, but the Hugo director pulled it off.
Interesting fact: The scene was actually sheer luck, as permission to film the front of the nightclub was denied, therefore Scorsese had to think of an alternative route into the main hall. Even though Scorsese himself hates the idea of a steadycam, it was used here for the eight takes required. It was only done so many times not because it didn’t flow, but because of a fluffed final line by comedian Henry Youngman right at the end of the sequence.
Contact (1997, USA)
Director: Robert Zemeckis
Cinematographer: Don Burgess
Scene description: The beginning of Contact has this fantastic zoom-out from the Earth as the camera speeds past nearby planets until we finally escape the galaxy and solar system. Even though this 3-minute uncut scene is computer generated, it still looks stunning in terms of cinematography (much like Malick’s The Tree of Life Lacrimosa sequence). The sound is one of the components that make this work as well, with the eclectic mash-up of songs, speeches and sound from the 20th Century: it is a poignant opening indeed.
Interesting fact: This scene includes audio bites of Hitler’s 1936 Olympic speech, Martin Luther King’s famous “I Have A Dream…” speech, Judy Garland singing “Somewhere Over the Rainbow” and “Wannabe” from the Spice Girls; quite a collection of 20th Century history there. Also, at the end of the sequence, the child – a young version of Jodie Foster’s character – had her eye colour altered from brown to match the blue of Foster’s.
