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.
Category: Scene Analysis
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.
(Due to copyright issues, please view the clips on YouTube)
Stalker (1979) slips in and out of science fiction film typology, and in this scene, it becomes slasher. Not one of the Stalker-Writer-Professor trio is sliced into gore and bits or screams, but the buildup to the point at which the cameraman grows tired and rests in the abandoned vehicle suggests an ineffable sinister force—the Zone—stalking its prey.
Directed by Sergio Martino, Your Vice… is a loose adaptation of Edgar Allen Poe’s The Black Cat. The story involves an alcoholic writer, Oliviero (Luigi Pistilli), who regularly abuses his unraveling wife Irina (Anita Strindberg). After a string of murders leaves Oliviero the prime suspect, Irina becomes complicit in helping to dispose of a corpse so that more suspicion doesn’t fall on him. As paranoia and infidelity cause the couple’s psyches to dissolve, they begin plotting to kill each other. The film reaches a series of successive emotional heights in its final act, deviating wildly from Poe’s writing with a scene where Irina finally murders Oliviero.
If this plot sounds familiar, that’s because Kubrick has translated it into the iconic “All work and no play” scene of The Shining (1980). While The Shining (1980) is notorious for its dramatic alteration from the source material in favor of original expression, the final product feels so singular that it may come as a surprise to some viewers that parts of the film are as a matter of fact borrowed images.
Trainwreck held a lot of surprises for the year 2015 – mainly that Amy Schumer could ditch fart jokes and command an audience’s attention longer than the length of a Hulu clip and that director Judd Apatow’s career wasn’t on a steady decline. Though those revelations were nothing short of incredible in a summer season filled with Pixels and Ted 2, neither compares to the one-two punch of casting Tilda Swinton, the Oscar and BAFTA-winning actress, and then using every trick in the cosmetology book to disguise her as thoroughly as possible.
While critically panned, The Beach (2000) is not as horrid as contemporary collective wisdom such as its Rotten Tomatoes score would make you believe. DiCaprio plays Richard, a young man on a quest for meaning who comes across an off-the-grid island in Thailand that is inhabited simultaneously by marijuana farmers and a cult-like community run by Sal (Tilda Swinton) – with both parties keeping to their respective side of the island. Richard thinks he has found paradise in this community and soon succumbs to madness while trying to protect his utopia from intruders from his past. In this scene of Richard’s hallucination, his perspective is transformed to that of Daffy, a character whom the audience – and Richard – meets at the start of the film and who also happens to be the insane man that started the island cult. Throughout this scene, Richard increasingly loses his subjectivity until his and Daffy’s are one in the same.