Saturday, February 5, 2011

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The plot (Family Plot): Stress and strain in time to a magician

Pedro E. A Delgado

spoke earlier at the entrance of the virtues (expansion) that is comedy.
But what difficult it is, and what charm is.
aside the eternal diatribe if it's easier to laugh or mourn, especially in film, it does appear certain is that, probably not the greatest difficulty comes from the classical use of the parameters of a single genus, but the mixture of these, the interconnection of at least two, being present both at the same time without losing their identity in the space / time.
more difficult to laugh or mourn is to laugh and mourn together.
And usually, when it can, we are close to genius.

In the deliberate mixing / confusion / gender intersection teacher, for my taste, is Sir Alfred Hitchcock .
wisdom with touches of comedy that ran in an atmosphere of suspense (present in many of his films) without losing, again, the characteristics or the suspense or comedy fell short of very few.

This is obviously not the only case, but it was a classic in the classes that gave Peter, I bring him here today as a reflection, honor and remembrance of the time.

is a scene from the movie "The plot " (Family Plot) the last Hitchcock film he directed back in 1976.
Here we see how the main couple were riding in a car where someone has sabotaged the brakes with the intention of getting rid of them.
The danger is real, suffering, fear and vertigo is quite real, and death stalking.
But mixed up with the breakneck speed and unstoppable that car, we still have time for humor in the situation.

The whole scene lasts four minutes, here you have:

The scene as one would expect, just start giving us the information we need to place in the context of history.
see the car that starts and joins the road, we stand at the back and approached the plane to focus on sabotage, to see how slowly the car is losing brake fluid.

From here, almost exclusively, we will have two levels: The two of them and the reverse shot of the road. We will articulate
entire sequence with the collation of them, and will be perfect to create the necessary pace to it. This rate will
unstoppable crescendo, although that will not change the frame, thanks to the duration (getting shorter) to the two planes and we feel the speed achieved also on the rise, they feel the players within the vehicle.

This map is the only escaping to the duality characters / highway before he spoke, and their only function is to remind us, yet the beginning of the scene- why not stop the car.

Once in position (two framing, dramatic tension of the scene) becomes comedy.
For this, the maintenance of the frame will be essential.
What we see now no longer a puppet theater as a representation within the representation.
course, the wayward character, counterpoint absurd is it, that face the stress of the moment will embody the strife, the hilarity, which will focus on throw the blame on the driver while everyone (us, he same) we the danger (real, insist) is another.

This fixed frame and the spatial variation (especially her) leads to relaxation and humor that comes from, much more than the dialogue, the distribution of the characters in that one frame.

comes a time when the speed of the car itself and the events, everything goes haywire .
The framing of them fixed before it moves diagonally giving much more dynamic, and in the frame of the road, where at first only saw the scene, cars and motorcycles now appear to be cross with them, stressing even more if there is a danger exists.

and reaches the end.
Despite the intrusion (excessive, incomprehensible and absurd) of women driving it, but somehow perhaps because of it, the tension ends with getting out the car off the road and standing (but surely dump) singing in the middle of the earth.

A final frame / game is going to highlight the constant scene told.
We have seen how the car has finally been stopped.
do not know yet but we tend to think that nothing bad has happened to the protagonists, but there is a moment of tension before confirmation.
From a closed frame, we see the car still leaves women, confirming our suspicions that nothing has happened, but in the next shot we see she leaves the car to support your foot in the face of it, which in this way, with a hint of comedy-close all the tension and absurdity lived during the scene.

might think that all the touches of absurdity and comedy that have lived alongside the suffering of those involved have been preparing the viewer, have made known that nothing bad would happen, but for me, rather, they overlap and complement each other.

Thus one does not remove the other , and we can be concerned about the fate of the protagonists, while the attitude of women raises all kinds of feelings: It's funny in the absurd, we are outraged because we found powerless and does not help us if you're just concerned about interfering with a resolution of the problem in which they are immersed.

all well mixed, everything when perfectly ...


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