Here are a few more frames from "Captain Blood". We pick up the story as Dr. Blood and all the other detainees are being lead into court:
This is another one of the moments in the film where they create an empty space then fill it. Notice on the frame above, the dominant imagery is the row of gallows awaiting their clientele. Then as soon as we absorb that image, the prisoners march in rank and file. It's very effective.
Once inside the court, we are greeted with this stark image of the judge. I love the swath of shadow creating an angle across the upper left corner of the screen.
They even cheat it a little closer to m'Lord on the close-up.
As he reads the names of the accused, only Peter Blood maintains his innocence. But of course is sent away in irons just the same as the rest of the rabble.Once on board the ship, we get more prison style images (remember Blood's intro in the previous post?). Here they shot this poor soul through the grating of the ship's deck.
Then cut to the reverse angle, as he's beaten back down. Many of the shots in this film make use of layers and foreground elements. And notice those angled lines across the frame. It really adds to the drama. Remember, this is an era when cutting was slower, and camera movement was much more subdued than today, so they had to work with different tools to create tension within a shot, or scene.
Shots like this one make use of the "frame within a frame" concept. Unlike paintings or comic books, you can't alter the size and shape of your frame. It's a constant shape (either a 16:9, or 1:1.85, or in this case a 4:3 ratio). So sometimes we need to create smaller openings within the field of view, making a frame within the frame. Sure they could've pushed in for a close up, and Mr. Flynn wouldn't have minded that, but the emotion of this shot didn't warrant a close up, plus they would have lost the imagery of the character behind bars.
Once they get to the islands, we meet the villain, the girl and her father (the current Governor).
Then cut to the reverse angle, as he's beaten back down. Many of the shots in this film make use of layers and foreground elements. And notice those angled lines across the frame. It really adds to the drama. Remember, this is an era when cutting was slower, and camera movement was much more subdued than today, so they had to work with different tools to create tension within a shot, or scene.Shots like this one make use of the "frame within a frame" concept. Unlike paintings or comic books, you can't alter the size and shape of your frame. It's a constant shape (either a 16:9, or 1:1.85, or in this case a 4:3 ratio). So sometimes we need to create smaller openings within the field of view, making a frame within the frame. Sure they could've pushed in for a close up, and Mr. Flynn wouldn't have minded that, but the emotion of this shot didn't warrant a close up, plus they would have lost the imagery of the character behind bars.Once they get to the islands, we meet the villain, the girl and her father (the current Governor).I chose to include this shot, not because of any dramatic staging, but for the very subtle use of the parasol to highlight our lady fair. If she had chosen to keep the bumbershoot closed, the background would have been busier and she wouldn't have read as well against it.
As it is, her face is the object of our attention no matter who is talking. Her face sits there like a jewel on a pillow, and ultimately framed by the two other actors. No question who is the highest paid performer in this shot.
As it is, her face is the object of our attention no matter who is talking. Her face sits there like a jewel on a pillow, and ultimately framed by the two other actors. No question who is the highest paid performer in this shot.Later, we enter the prison camp. I love this shot where this fellow is banging the bell/gong. It's an empty circle, a perfect frame waiting to be filled.
And wouldn't you know it... here comes the villain, riding into the shot, right into that circle frame.
And wouldn't you know it... here comes the villain, riding into the shot, right into that circle frame. Immediately, they cut to a close up of the bay guy. It's a great edit.
1 comment:
Hey Tim,
It makes me wonder how much story boarding (if any) they did on the film or was it all set up from a shooting script; great planning either way.
Andrew
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