Favorite films
Don’t forget to select your favorite films!
Don’t forget to select your favorite films!
Friedrich GnaB in the role of Franz is able to masterfully portray the deterioration of his character's friendly and comfortable facade. In the grips of the law, Franz shows a man who, while underneath is desperate for his life, tries to ease the strictness of the lawmen that surround him. During the long take of the inspector writing in his notebook, the silence is filled with Franz's increasing concern for his freedom. This is shown by the actor's shifting body,…
Lang and his cinematographer use the camera as a predator in order to emphasize Hans Beckert's role as the mouse. The forward tracking shot, going from a high angle down to head level, paired with increasing dark shadows, mimics the motion of "going in for the kill". His mental disease seems to be trapping him in the vine covered fence of the restaurant. The high angle shot of inside the sweets store accentuates Beckert's weakness and the power that the…
This review may contain spoilers. I can handle the truth.
Billy Wilder uses characteristics of German Expressionist cinema in Double Indemnity. In the first 57 minutes of the film, he sets many of the scenes in the darkness, a motif of German Expressionist cinema. The first scene, the scene inside of Walter Neff's apartment, and the sequence of scenes leading up to the murder, all occur during the night. Wilder also uses the German Expressionist motif of shadows in the film. Half of the characters' faces are usually covered in…
The digital Mis-en-scene in Hugo is executed well. Here are are few scenes in which the artistic quality of this digital Mise-en-scene stands out.
Hugo is standing in front of Georges' house for the first time and a train passes by behind him. The large train and the huge cloud of smoke it leaves behind is placed in the shadows behind Hugo, who is lit up by the lamp light. The composition makes him seem powerless and small compared to…