Saturday 26 November 2011
Class Act
Doors were shown frequently throughout the movie so far because the director meant to. In the scene where the horse was killed, it seemed like you were walking through a door. Doors could mean a separation, invitation, or a transition. In the scene of Luca Brasi, it seemed like you were watching him and part of the movie. It somehow made me feel like i was separated by the door. Another scene was when Luca Brasi went to Tattaglias to get some information about them. This scene was shot through a window or door, and again it seemed like you were separated.
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I definitely agree with what you have stated about the methods Francis Ford Coppola has utilised to produce the inclusion and seclusion of the audience depending on what is appropriate for each scene or shot. Like you have stated, its frequent appearance and involvement in each scene is an obvious indication of the director's intention.
ReplyDeleteTo add to your point on separation and transition, not always is the viewer the subject, but at other times, the individual characters of the story pass through doors themselves. A recent impressional scene was where the fresh, recently shot body of I-forgot-his-name was left in the car while the two Corleones walked away. A great contrast was visible in this shot between the inside of the car―where the corpse was―and the outside once exited the car―where there was a beautiful scenery of a road lined with golden wheat with the Statue of Liberty seen in the distance.
Doors are so significant in the story it could only be thought that Coppola truly wanted a distinct separation between one side of doors and the other.