Comments on: Werckmeister Harmonies

By: Rick

Rick — Mon, 05 May 2008 13:09:01 +0000

Yeah, I think that’s right Jonathan … or maybe they removed one of the walls. If it’s a Steadicam (and I don’t know how else the whole shot could have been done), the operator must have backed up a ramp or something.

Or could they have done the whole thing on one of those small dollies? An amazing shot, nevertheless.

By: Jonathan Lapper

Jonathan Lapper — Mon, 05 May 2008 12:45:14 +0000

To talk about the camera space a little more I find that it takes me out of the movie but not in a bad way. It’s more like Marilyn mentioned, where I’m simply aware of the technique at work, like in “Taxi Driver” when the camera goes overhead at the climax and I know they had to cut a path in the ceiling to do it. Like you said, it detaches us from the scene, to observe things in detail. So it’s a way the filmmaker can remove us from the characters for moments of observation.

Terrific choice for an entry Rick.

By: Rick

Rick — Sun, 04 May 2008 23:07:14 +0000

Thanks, Bob.

Ain’t it the truth about the music… it’s glorious, and it is timed perfectly as that camera begins that slow backward glide.

By: Bob Turnbull

Bob Turnbull — Sun, 04 May 2008 22:28:59 +0000

And the music! The theme that starts up around the halfway mark of the scene is just glorious…If memory serves it pops up again when he visits the whale. You’ve reminded me again that I really need to get a copy of the soundtrack somehow.

That’s a great write-up about the scene though. It’s a stunning film.

By: Rick

Rick — Mon, 24 Mar 2008 01:35:30 +0000

Thanks, Amy — I enjoyed it too!

By: Amy

Amy — Sat, 22 Mar 2008 23:23:23 +0000

A Beautiful Meditation. I really enjoyed watching this film on the “big screen” Between the perfect black and white contrast, spot-on exposure and use of over & under-exposure and facilitated meditation, I couldn’t have been happier!

By: Rick

Rick — Mon, 17 Mar 2008 16:17:32 +0000

Interesting observation … I’m going to have to go back and look at it yet again. The camera pulls back and up, and the POV is suddenly god-like … I’m not sure that the space is so much the issue, but that sudden detachment from the group, that glide to up-angle that gives the game away. If memory serves, Tarr uses high angle in that long shot of the mob moving down the street … the angle detaches us from the scene, allows us to clinically observe all it’s details.

Thanks for the Comment!

By: Marilyn

Marilyn — Mon, 17 Mar 2008 15:33:58 +0000

One thing that particular struck me about this sequence is its playing with space. You note that the camera moves back. Yes, it does, into a space that could not exist as the real size of the room. This effect, for me, helped illustrate the infinity of space that János’ simulation represents, as well as the feeling of freedom the dancers wished to have. It also, of course, emphasizes that we are watching a movie, that we are participating in an artificial construct, one of Tarr’s more gentle prods at provoking his audience.