Ricochet is the best place on the internet to discuss the issues of the day, either through commenting on posts or writing your own for our active and dynamic community in a fully moderated environment. In addition, the Ricochet Audio Network offers over 50 original podcasts with new episodes released every day.
Back in the late 1940s and throughout the 50s, as the motion picture studios sought to fight off the advancement of the one-eyed monster called “television,” film studios experimented with gimmicks to lure their once faithful audiences out of their living rooms and back into the theaters. It saw the introductions of wide screens, curved screens, 3-D glasses, even a run at “Smell-O-Rama.” One of those early attempts to redefine the motion picture experience was Rope, Alfred Hitchcock’s 1949 attempt to replicate a “real-time” experience by shooting a single-set story in long uncut takes, the longest of which pushed it to the limits of a 10-minute film magazine (10:06).
We seem to be back in that era. Sam Mendes’ latest picture, 1917, harkens back to Hitchcock and creates a movie with a single two-hour tracking shot. Like Hitchcock, Mendes and his editor use blackouts and other distractions like a plunge underwater to hide the seams. At first, you might think it’s rather a nifty technique and it does work very well during the action sequences. But the rest of the time it becomes an annoyance, but maybe it’s me. Having directed my share of television over the course of my career and watched others much more talented than I do it even better, I believe the best direction is almost transparent and should always enhance the story and never do anything that ends up saying, “Look at what I can do!” That’s also the danger of CGI.