Welcome back to the Lucky 13 Film Club. On this lucky day, a co-host joins me and we spend the day discussing a topic of the film industry. The more the merrier, so please share your thoughts. I am happy to introduce this month’s co-host, Sharon Wilharm from Nashville, a seasoned Indie filmmaker. Please check out her blog at faithflixfilms.
“Every frame a painting” edited and narrated by Tony Zhou explains how to recognize and understand movement in film. Which director does it best? Arguably, Akira Kurosawa.
I love the movement in films, especially when it’s done unexpectedly. I like how Akira used weather to create movement when there might not be any otherwise. I also appreciate the beginning, middle, and end of each of his movements. Each shot tells a story on its own.
The first film that comes to mind when I think of subtle movement is Forrest Gump. For a full minute, all we see is a feather fluttering through the wind, contrasted with the lack of movement everywhere else. The clouds are still. The trees are seemingly frozen. The cars are parked. But then slowly the feather flutters towards the town and everything comes to life. Pedestrians walk to work. Cars drive past. And the feather comes to rest at the feet of Forrest Gump.
The Red Balloon follows a similar technique with a boy following (or being followed) by his red balloon. Both use basic movement to communicate the simplicity of the characters.
For more complex movement I love the choreography in Butterfly Circus (2009). I love all the circular movement of the carnival rides and the circus performers, the constant movement of the camera and the cars and the characters. The tightly planned choreography combined with the precise editing, makes this movie such a delight to watch.
Movies all have some type of movement. War movies, chase scenes, and musicals instantly come to mind when I think of the orchestration of a scene which requires intensity and precision. However, like Sharon, I like to consider the subtle ways filmmakers engage the audience with movement. For example, the 2002 film The Four Feathers has its issues, but the movement is exceptional by director Shekhar Kapur. I find myself liking his films (Elizabeth, Elizabeth: The Golden Age) simply because he understands how to use nature, costumes, and his environment to create stunning, moving scenes. When nature is stationary and the character walks across or through it, I find the simple movement engrossing and loud. A walk on the apex of a sand dune or mountain top shows the heroic fortitude and audacity of the character. The journey of life. I never tire of shots like those.
Christopher Nolan is another director who understands how to compose art by movement. He can be loud and jaw-dropping by employing the technology available to him and moving the entire setting in ways never seen before like Inception or Interstellar but he can also be subtle and graceful like the concentration he elicits in us as we follow the magic trick in The Prestige.
When you think of your favorite directors and favorite films, is it the movement that captures you? What scenes can you recall where movement is expertly done?
Thank you, Sharon, for co-hosting today!