The panavision aspect ratio and depth of field conspires to create a sense of in-the-placed-ness that sets up the film's elliptic groundless-ground. we're already enmeshed. so are the characters. does anybody know why they're here?
we follow around a guy with a half-name as he goes up an increasingly comically excessive ladder. first level down, second level down, third level down...fourth level...fifth level! not the rule of threes.
he wants his 93,000 from whom? from the people he stole it…
The camerawork and staging and cage-talk movement of the one-cut long opening scene is so ostentatiously virtuosic.
Rewatched for the first time since it was played over a wheeled in TV during substitute-controlled elementary school PE
Some thoughts:
- Actual horror film. The cut towards the guy with the axes and knives on a cart while Charlie longingly looks at the bleak factory. This film is a genre onto itself.
- Wonka fucks up by not selecting Violet Beauregard. She's brave and stylish and clearly the most capable of channeling a love of sensation and new inventions…
The film begins with the the sort of wooden over yet under performances in the first act. Almost a kind of pornographic line reading. Somehow mesmerizing.
Starts with the editing, color-editing, music and tone of a Curb Your Enthusiasm episode.
The photography's incredible synthesis between chaotic and orderly. The shots that seem cluttered and arbitrary fade into order and vice versa. The photography that seems almost digital and over-exposed is also somehow filmic and softly lit.
Cruise is undeniable here.…
