SYMPATHY FOR MR. VENGEANCE (Park, 2002): Long deep focus takes

Aesthetically and dramatically, Park Chan-wook's SYMPATHY FOR MR. VENGEANCE is an incredibly fascinating film. Park and his cinematographer seem to capture each aspect of this emotional rollercoaster (fear, sadness, disgust, hysterical laughter, horror, even empathy) in the most compelling and unique way without distracting from the content. Among other things, every now and then the action unravels gradually during lengthy deep focus long shots. Despite the constant tension, we are able to grasp the full scope of those widescreen compositions.

Ästhetisch und dramaturgisch ist Park Chan-wooks erster Teil seiner Rache-Trilogie ein unglaublich faszinierender Film. Park und sein Kameramann finden für jeden Aspekt dieser emotionalen Achterbahn (Angst, Trauer, Abscheu, hysterisches Lachen, Horror, sogar Mitgefühl) einzigartige und zwingende Bildausschnitte, die trotzdem nicht vom Inhalt ablenken. Immer wieder entwickelt sich die Handlung in langen Totalen, die von vorn bis hinten scharf sind. So haben wir trotz der hohen Spannung Zeit, die Breitwandbilder in ihrer ganzen Dimension zu erfassen.

See also SYMPATHY FOR LADY VENGEANCE (2005) for many of the same stylistics.

[If you can stomach nihilistic ultraviolence and nauseating sound design, then this is a MUST-SEE for purely cinematic reasons. Else, don't even think about it.]

THE DANISH GIRL (Hooper, 2015): Forced central perspective

Establishing long shots in Tom Hooper's THE DANISH GIRL (as well as in THE KING'S SPEECH) are often extremely symmetrical. A variety of wide high or low angles result in convergent vertical lines that add distortion to this central perspective. In THE DANISH GIRL especially, the divisive nature of the central relationship is mirrored in compositions that are divided in the middle (bottom image). This is visible in some of the Paris scenes (which I don't have access to at the moment).

Die Totalen in Tom Hoopers THE DANISH GIRL (wie schon in THE KING'S SPEECH) sind oft extrem achsensymmetrisch. Verschiedene Weitwinkel-Unter- oder Aufsichten führen zu zusammenlaufenden vertikalen Linien, die diese Zentralperspektive verzerren. In THE DANISH GIRL wird die spaltende Kraft der zentralen Beziehung von mittig halbierten Kompositionen wiedergegeben (unterstes Bild). Dies ist speziell schön in einigen Pariser Szenen zu sehen (von denen ich leider keine Bilder zur Verfügung habe).

 

[RV]

There are even stronger examples of forced perspective long shots in the film. Unfortunately, they are not in the clips that are available as yet.