Fun in the Desert
Thelma Schoonmaker was in town (yay!), participating in a forum on digital restoration. As a sort of discussion piece (but much more than that), we got to see the 8K restoration of LAWRENCE OF ARABIA, which has been fine-tuned since its appearance in Cannes (which makes this a world premier, in a way). Which inspired me to make the following geeky observation —
Gasim (I.S. Johar) abandons his belt and gear in the desert as he wanders, lost in LAWRENCE —
David Niven dreamily discards his kit on the beach in A MATTER OF LIFE AND DEATH.
Lean’s contribution to Powell’s films as editor is well known (49TH PARALLEL, ONE OF OUR AIRCRAFT IS MISSING), but maybe there’s room for further consideration of Powell’s influence on Lean? Here, the shot height and framing isn’t the same, but there’s a similar feeling of the distracted character being towed along by the tracking camera, as if on invisible wires.
Lean’s camera takes the position of the sun, beaming brutally down on poor old Gasim from on high, whereas Powell’s hugs the earth as if afraid of falling upwards to heaven — the frame positions Niven as caught precisely between heaven and earth, wearing the horizon as a belt.
When Gasim is lost, Niven makes the desert as abstract as possible — there’s the giant painted sun, and shots which lay a featureless blue rectangle atop a featureless manilla rectangle with a straight flat horizon joining them like to slices of cut card. In Gasim’s shot, even the horizon and sky have been mislaid. Yet Gasim is traveling left-to-right, and Lawrence is going right-to-left, so in such a flat world they MUST find each other.
Freddie Young, ace DOP, talked about LAWRENCE containing only one special effect shot, a painting of the sun. And indeed, the commitment to doing everything for real is still awe-inspiring. If a filmmaker tried some of these shots today, the audience would simply assume they were digital effects. But Young didn’t quite tell the truth — there’s also a shot of twinkly stars which is faked up (skillfully), and if we want to really nitpick there are some studio scenes with fake backdrops by production designer John Box and his team. The various solutions to filming at night also involve some trickery —
PROBABLY this whole shot is an interior set, but even if not, that moon is definitely on a stick. Gorgeous, though, isn’t it? MUCH gorgeouser in 8K, though…