Post 232

A few weeks back, my wife and I watched Alfred Hitchcock's Rope. I was really interested to see what a movie with no cuts would look like. As it turns out, Rope isn't exactly that: aside from the cuts that Hitch did his best to hide, there are deliberate cuts about every 20 minutes for when (according to Wikipedia) the projectionist had to change reels in the theater. Regardless, it was the closest thing to a single-shot film that I had ever seen, and I enjoyed it.

As I watched the film, I came to a very interesting realization: I didn't really notice the lack of cuts. More interesting still was that I noticed the hidden cuts more than I noticed the deliberate ones, and it occurred to me that a far greater miracle than a single-shot film is the fact that normal, multi-shot films don't disorient moviegoers. Because you think about it, there's nothing in real life that remotely resembles a movie. In real life, we can only ever have one perspective. So a single-shot film (or a play, for that matter) is much more analogous to real life than any movie, yet we here in modern society generally take cuts in stride. It makes me wonder whether the audiences watching the first multi-shot films were caught off guard by them.

It's hard to judge the success of Hitchcock's effect. I was shocked that it was so unobtrusive: I was almost as blissfully unaware of the camera work in Rope as I am in any other movie. But that's what we American moviegoers generally value, right--an unobtrusive cameraman? So perhaps the affect was perfectly well wrought. But if there comes a point that an affect can be so well done that it goes unnoticed, really, what's the point? It's like this blasted a cappella craze that's been slowly building in the past decade, culminating (and hopefully ending) with Glee. Yasee, I don't understand the point of getting a bunch of talented singers together, tossing in a beatboxer, and having them do their best to sound like they've got a band--why don't you just get a band? I remember the good ole days when the only a cappella I knew was Rockappella doing the theme song for Where in the World Is Carmen San Diego?--which I liked because they sounded like an a cappella group. Now a group of people get on stage and try to sound exactly like Journey and I'm like, "BOO! Get off the stage!" because if I wanna listen to Journey, I'm gonna grab one of my Journey CDs, not go see a cover band that doesn't have a single guitar, keyboard, or drum set in sight.

But I digress. The point is that it's hard to judge the success of an effect whose epitome is invisibility, and that's what the carefully choreographed camerawork in Rope was. I watched some stuff about the making of it, and I was blown away by the enormously complicated set--the whole thing certainly was a cinematic tour de force--but in the end, what have we gained? Absolutely nothing. So really, as awesome as the undertaking was, what's the point?

On the other hand, my wife and I recently saw The Russian Ark courtesy of BYU's International Cinema. It actually was a single-shot, and the effect was inescapable because the main character was in first-person. It drove me crazy, but I'm not sure that was the film's fault. For one thing, we arrived about five minutes into it, and without cuts or scenes to reorient me, I was never able to get my feet on the ground. Also, for whatever reason, it was in really low resolution--like watching a low-res YouTube video in full-screen mode. I at first believed that that was a sacrifice that the director had made to be able to do 90-some-odd minutes of film in a single shot, but the Wikipedia article tells me that it was shot in high definition, so I don't know what happened there. Also, the subtitles were buggy: there were times when people were talking but there were no subtitles, and there were times when large crowds would just be hubbubbing and subtitles would come up that couldn't be clearly attributed to any one speaker. So it's really hard for me to give the movie a fair shake overall, but I think this affect was probably a lot better than Hitchcock's because it played a role in the film itself, and I think that's important. I'm all for artistic and experimental film making, but I feel like it has to be done to some end, and I don't consider "Let's see if anybody notices" or "Just because I can" are very good ends to work toward.