American Cinematographer - October 2003 - 82

Putting the "Move" in Movie
A

variety of

camera
were

mounts

rigged

inside and

up

on a

car driven by
Gene Hackman
for The French

Connection

(1971), shot by
Owen Roizman,
ASC. The

ensuing chase,
in which
Hackman's

detective,

Popeye Doyle,
pursues a
criminal

attempting to
escape on a

subway, has
been justly
celebrated
one

as

of the most

thrilling in film
history.

sweeping ballroom sequence. Still,
of Glory is even more notable
for its lengthy dolly moves in the

Paths

trenches, which

made two feet

were

wider than the real

thing to

modate the shots. The

back

accom¬
tracks

camera

general inspects the
bedraggled, demoralized troops,
who appear and recede on the sides
of the frame like insignificant
onlookers. Later, that same general
as

a

sends those troops over the trenches
and onto the battlefield to execute a
suicidal mission, and the camera
moves with them
halting as they
-

fall, and then moving on. Andy
Romanoff, president of Panavision
Remote

Systems and a former cam¬
of these moves,
"They are enormously powerful at
making you feel the inevitability of
what's going on, and of pushing you
era

operator, says

toward it."

This is
emotion

movement

in

that

creates

the

spectator, says
Romanoff. On the other hand, he

says, the opening of Touch ofEvil -
which remains at the top of most

people's lists of great
-

camera moves

is not about emotion, but is "an

amazing storytelling movement. It's
a tour de force of
exposition." Says
Fraker, "It's the most fabulous shot,
but it's about

telling the story."
though? In his 1985
introduction to the film's published
shooting script, Terry Comito wrote:
Is it,

"[The] camera seems less concerned
monitoring the events on the

with

than in

disorienting the spec¬
by cinematographer
Russell Metty, ASC and camera
operator John Russell, a 22-foot
Chapman crane moves up and
down, back and forth, laterally and
diagonally, picking up a range of
activity, introducing Charlton
Heston and Janet Leigh, but repeat¬
edly losing the car on which a bomb
has been planted. What the shot
conveys is the world of Touch ofEvil,
a
"whirling labyrinth," wrote
Comito. It also conveys the person¬
ality of the filmmaker, and the indescreen

tator." Guided

78 October 2003



American Cinematographer - October 2003

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