I cannot pin down exactly what was so effective about this particular aspect, but I know it was. The movements when the camera moves up to the body is incredibly effective and perhaps my favorite moment of the whole film. I usually am not at all a fan of this type of movement, but for some reason this was just awesome. I want a DVD version so I can see every frame of that part. Numerous other moments have this same shaky movement, and it just fits beautifully. I have no clue as to why. I just wanted to put this out there.
Hmm, I didn’t notice this, I need to watch this again.
It’s because it was done by Sergei frickin’ Parajanov, he can’t fail.
Robley, I’m getting The Color Of Pomegranates soon.
That’s great! It’s his best film, in my opinion (they’re all amazing).
“I usually am not at all a fan of this type of movement, but for some reason this was just awesome.”
I bet it has to do with how wide-angle the lenses were that were used throughout that movie. So much handheld camerawork, but often distorted, almost fish-eyed sometimes. I wonder if (ie: suspect) that makes the handheld less jarring overall.
And Rocky, if you like the handheld camera in SHADOWS, then you’ll….be really in for another experience with POMEGRANATES (it IS his best movie, but no decent transfers or really even prints of it exist as far as I can tell). Not a single lick of camera movement that I can think of upon reflection. Anyone?