Archive for Revenge of the Creature

Stereoscopic Amphibian

Posted in FILM with tags , , , , , , , on June 24, 2018 by dcairns

Put your glasses on now!

We rocked up too late at the Piazza Maggiore last night, hoping to see Emilio Fernandez’ ENAMORADA, but there were no seats, owing to the Scorsese Effect — the great man was introducing the movie and a lot of people came just for that. We ended up being among them as the idea of standing for the whole feature film was a little too much — it looked AMAZING though (shot by Gabriel Figueroa) so we’ll have to catch it another time at a less spectacular venue (probably our home), outwith this festival.

We tried to compensate by seeing REVENGE OF THE CREATURE in 3D at midnight, which is no substitute. If your heart is set on Maria Felix then no gillman, however charismatic, can take her place. And as for John Agar, you can see why they named a jelly after him. But it was worth it to see the amphibious protagonist raid a lobster house during a jazz performance — the close shot of the trombone player was suitably stereoscopic.


All the same, I can’t help feeling sorry for the creature.


The Sunday Intertitle: Now in 3D?

Posted in FILM with tags , , , , , on September 26, 2010 by dcairns

Haven’t managed to find any 3D intertitles!

But the opening super from REVENGE OF THE CREATURE is the modern equivalent of the intertitle, I guess.

One could also argue that establishing shots, particularly those including signs, pick up where the old intertitle left off, informing us via text of the location of the next scene. Here’s a 3D example from THE FRENCH LINE ~

Obviously, we pull out from a close-up on the single world “Paris”, the better to get the gag.

All of this kind of film-making can be seen as old-fashioned. I don’t normally agree 100% with Brian DePalma, but when he said “Establishing shots are a waste of time,” he was kind of right. Place can be established as easily in close-up or mid-shot in the course of the action, leaving the long-shot for a moment when it has dramatic impact — a principle first noted by Hitchcock, in conversation with Truffaut, and illustrated by the example of THE PARADINE CASE (not otherwise a hyper-modern piece of cinema).

But on the other hand, and one should always try to have another hand, as the famously ambidextrous Lars Von Trier* argues, ostensibly clunky devices like titles to tell us the time and place have “an atmospheric value” — partly because they evoke other movies we’ve seen. There’s something hilarious about the redundancy of a shot of the Paris skyline, Eiffel Tower prominent in the distance, with the superimposed title “Paris.” Nothing says Hollywood quite like it.

*Camera in one hand, penis in the other, both vibrating violently.