Blue Velvet (1986) is in some ways one of David Lynch’s most accessible works: it has a more conventional, linear narrative than many of his other projects, it can be understood as a thriller, and it fits into the film noir tradition. Audiences have a framework for processing the film’s scenes of brutality and perversity. For instance, upon its initial release, Gene Siskel compared it to Alfred Hitchcock’s Psycho (1960).
Category: Scene Analysis
The 1943 Fox musical Stormy Weather is worth seeing not because of its conventional and wafer-thin backstage storyline, but because it offers the opportunity to see great musical numbers with the film’s two leads, Lena Horne and Bill Robinson, as well as other legendary African American artists like Cab Calloway, Katherine Dunham, and Fats Waller. Gifted African American performers were under-utilized and generally poorly served in Hollywood during the studio era, frequently relegated to stereotyped supporting roles or “specialty” numbers that could be excised from prints shipped to racially segregated areas of the United States. And while Stormy Weather is a product of its times and not without its fraught details – including a performance by a pair of comedians in minstrel-style blackface makeup – it also offers an indispensable peek at some extraordinary talents.
Phantom Thread is a movie about obsession. Call it love, admiration, compulsion or simply attention to detail, it is the central ingredient in Paul Thomas Anderson’s answer to the vintage Hollywood romance. Following the peculiar relationship between eccentric couturier Reynolds Woodcock and foreign waitress-turned-muse-turned-partner Alma, the postwar London-set film fits right in with the other classic love affairs of the time, save for its distinctly modern look at what is essentially a well-dressed, well-spoken battle of the kinks.
Have you ever had a complete breakdown in public; blurring the line between public and private spheres? In Her, Theodore faces this exact experience when his operating system lover, Samantha, breaks his heart. Samantha is not just in love with Theodore, but also 641 other users.
By Victoria Large
Director James Mangold’s Logan is rightly celebrated for bringing the superhero genre down to earth in the best possible way; the film is grounded in situations and characters – and, yes, acts of violence – that feel achingly real. Throughout, Mangold makes space for intimate moments that resonate, such as when Logan swigs alcohol alone while bandaging a hand that should have already healed, or an aged Charles Xavier tends a makeshift garden, or Logan’s daughter Laura stares wide-eyed out of a car window at a glittering city, the likes of which she’s never seen before. Indeed, one of the film’s most poignant scenes is both intimate and relatively quiet, though it begins with Logan snarling and growling himself awake from a nightmare.
By Chase Sui Wonders
Without the pomp of a grandiose opening shot, we are placed dead center in the fray of film Good Time, directed by brothers Josh and Benny Safdie. Stark fluorescent light floods the frame as a psychiatrist clinically interrogates Nick (played by Benny Safdie.) Nick is mentally disabled, and before he can make sense of the pain triggered by the psychiatrist’s pointed questions, his brother Connie (played by Robert Pattinson) bursts through the door.
By Michael Roberson
It’s the key moment in any romantic comedy: The Meet Cute, the moment when the two romantic leads first have their chance meeting and hit it off. Comedy legend Preston Sturgess certainly directed his share, but in this case, he lets female lead Barbara Stanwyck – whom he wrote this role specifically for—do some directing of her own.
By Larry Cherkasov
Slow, plodding xylophone mallets pace the viewer’s heartbeat as Suzy Bannion makes her way into the frame, shrouded in black, face bouncing off yellow light, mascara projecting her eyeball out of the celluloid. With bated breath, she spies on a witch’s coven performing the rites of its leader, the yet-unseen Helena Markos, queen witch of the hellish Tanz Dance Academy. Because her peers have already met unlucky fates, she remains an attractive victim—horror movie precedent does not excuse a protagonist from impending death. Dario Argento stretches the suspense, loosely protecting Bannion with curtain as she watches her potential murder unfold, replete with unheimlich doppelgangers, blood-streaked Nosferatus, and reptilian skin piercings. Suspiria boasts impressive pacing because there are no jump scares, just dread until it happens.
By Chase Sui Wonders
The scene from Max Ophuls’s The Earrings of Madame de… (1953) begins with the General (Charles Boyer): “But I’m warning you: she’s an incorrigible flirt. She’s an expert at asking men’s hopes. You know, torture through hope.” Through cheeky glances, the General warns Baron Donati (Vittorio De Sica) of his wife, Louisa’s (Danielle Darrieux) serial flirtations. Interestingly, this is one of the only direct characterizations we get of our protagonist. We do not know much about her—where she comes from or how she ended up in her deadlocked marriage to a man she seems to have never loved. The film itself plays on the anonymity and opacity of its protagonist by using an anticipatory framing device every time her name is shown. The viewer always just sees ‘Madame de…’ and never the full picture.
By Victoria Large
There’s this little moment in Stand By Me that doesn’t need to be there, at least not to move the plot forward. In a film defined largely by the rowdy banter and camaraderie of a group of twelve-year-old boys, we find Gordie Lachance, our narrator and protagonist, sitting alone while the other guys sleep, reading a comic as the sun creeps over the horizon. Suddenly, a deer enters the frame and pauses a few feet from Gordie. The two briefly stare at one another before the deer moves on. There’s no music on the soundtrack, just the diegetic sounds of birds and the quiet noises that signal the deer’s movements. The whole encounter takes only a few seconds, but it remains one of my favorite scenes in the film.