Adrift

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I was lecturing today upon the art of visualisation — getting from words on a page to images on a screen. I wanted to show the first talking scene from THE GRADUATE but I also thought “What the hell?” and showed the whole title sequence.

It brought back to me my first impressions of seeing the film as a teenager: how the opening shot immediately made me feel that I was in… not safe hands, but purposeful hands. Here’s Dustin Hoffman as a kind of disembodied head. The filmmaker definitely has something on his mind. It turns out Mike Nichols signature image for the film was “He’s out of his depth.” Hence all those shots of Dustin Hoffman poolside, or filmed through glass, or otherwise framed in a way to suggest drowning. Here he is, shot as if bobbing in a sea of white¬†upholstery.

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Then we get the shot Tarantino stole for JACKIE BROWN’s title sequence. As blatant thefts go, it can be excused somewhat on the basis that it’s not just a nice shot repeated, but the shot is apt in both cases. Our main character is a passenger. Dustin Hoffman is literally a passenger, Pam Grier is a stewardess, but still, she does not control where the plane is going. By shooting both characters on a kind of conveyor belt, the directors suggest that these people are trapped in a rut, being led along by life, passive. But this is going to change.

Nichols goes one better and cuts to Hoffman’s suitcase, on its own conveyor. Dustin is like his suitcase, and inanimate object trundling along on a preordained path.

For the first time, I noticed the sign. I’m obsessed with writing onscreen but I had not become so when I first saw this movie. It’s a great line to put up front in what is, in effect, a romantic comedy in disguise ~

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Just back from Ricky Callan’s funeral. When the music in the pub switched to Simon & Garfunkel’s The Sound of Silence, I figured that the day had come full circle and it was time to wander home. Cheers, Ricky.

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