Three Views of a Ladder

Stanley Kramer's "The 5,000 Fingers of Dr. T", 1953.

Heroes and Villains #2

"Ghostbusters", Ivan Reitman, 1984.

Despite the violent protestations of the malignant Stay Puft Marshmallow Man, the Ghostbusters heroically join together and form one super-penis to fight evil.

One, two, get her.

Le Deuxième Souffle

Jean-Pierre Melville, 1966.

In the first three shots of the film, Melville sleekly and with great economy presents the protagonists, their motivation, the obstacles, the locale, and their relation to one another in space.

Shot One:

Here are our heros. It is late at night and they are attempting to move unseen. The walls form very clean surfaces and draw the eye in the direction of the first man's gaze.

Shot Two

Here we see what he is looking at. More clean lines, another wall and a spotlight establish they are in a prison—they are about to escape. Our eyes are already trained on the upper right portion of the screen at the spotlight. Now the the corners of the walls draw our eyes downward.

Shot Three

While we are already prepared to look down, the bird's-eye view of the prison guards must be from the point of view of the prisoners. The guards are looking back to the left of the screen, presumably toward the spotlight, which places us in the same location as the prisoners, giving us a clear indication who we are to identify with.

The scene is nearly silent and the efficiency of the camera work and editing are mirrored by the prisoners' quiet exit (or vice versa).

Killers #8

Jean-Pierre Melville's "Le Deuxième Souffle", 1966.

Haynes Does Fellini

Todd Haynes' brilliant "I'm Not There", 2007.  

Captioned with stills from Fellini's 1963 masterpiece, "8½ ".

Haynes

Fellini

Fellini

Haynes

Fellini

Haynes

Fellini

Killers #7

Anthony Mann's "T-Men", 1947.

The hitman emerges slowly from the blackness.  It's the best shot of the film and it happens about two minutes in.

Liz Taylor

A pair from George Stevens' "A Place In the Sun", 1951.