3/28/2023 0 Comments Webcopier pro v5.4 portable![]() ![]() His very presence is a reminder to Rose of all the dexterity that she lacks. ![]() She again tries to get through the song, and Phil’s plucking takes on a playful quality as he effortlessly moves through the notes and his own added flourishes, almost like a cat toying with its prey. Finally, Rose gives it one last attempt, but Phil’s banjo dominates her utterly, ending on a forceful, hate-filled strum that leaves no room for doubt as to who is in control-and yet not a single word has been spoken in the entire three-minute sequence.Īri Wegner, the film’s director of photography, embedded herself with Campion a full year before production started, establishing the visual identity of the film with references ranging from realist mid-20th-century painter Andrew Wyeth to Evelyn Cameron, a photographer who documented pioneer life in the American West. But while Wegner’s canvas was quite large when it came to transforming the landscape of New Zealand into the big-sky majesty of 1920s Montana, Phil and Rose’s potent duet called for a claustrophobic mise-en-scène that ultimately pivots the film into the psychological thriller space. “One of the things we were interested in is the idea that the threat of physical violence is scary when it’s obviously right in front of you, but psychological violence, there’s no escape, because it’s in your head. “What I love about this scene is it’s kind of a duel. It’s like a call-and-response, a sword fight, in a way. Even though he can see her, but she can’t see him, which is a kind of reoccurring theme. There’s no way to be secret or have any kind of privacy or secrets in this place.” In Rose’s mind, that’s kind of the feeling all the time, that maybe Phil is watching. This idea was taken a step further in how Wegner’s camera frames Cumberbatch in the scene. As he stands perched above in his bedroom doorway, looking down on Rose like a hawk on a rabbit, the camera is still quite tight on him, at a low angle, with deep shadows at work. Wegner also found that going handheld on Cumberbatch was quite powerful and unsettlingly intimate, giving the sense of Phil as an abstract terror in Rose’s mind. “Maybe it’s even that the camera has a freedom to move on him, while the camera, when it’s on Rose, it pushes in and stops, pushes in and stops, as if to say she’s really not in control of what’s happening,” Wegner says.
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