Argo: directed by Ben Affleck.
I’ve nothing deep to say – it’s just a great, great film. Assured directing; confident, underplayed acting; a plot that keeps moving; incredible tension in the set-pieces. Craftsmanship. Everything a thriller should be. And it’s true! Go see…
The best review I can find so far is by Robbie Collin here.
The screenplay is based on a Wired article which you can read here.
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Posted in Film, tagged Art, beauty, cutting, David Mamet, directors, Eisenstein, Film, film-making, Hitchcock, plot, Ridley Scott, thrillers, Tony Scott on August 23, 2012 |
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I was sad to hear that Tony Scott has died, and even sadder to discover that he seems to have taken his own life by jumping from a bridge in Los Angeles. May he rest in peace.
He was one of my favourite directors, and in my mind a much better film maker than his brother Ridley. Recent highlights include Unstoppable and Deja Vu; there are classic thrillers like Enemy of the State and Crimson Tide; and of course it all started in 1986 with top Gun. I’ve never seen True Romance – it was the Tarantino connection that put me off, and I think it would be too violent for my taste.
Why do I like him as a director? Because he knew, like Hitchcock and David Mamet, that film is film; that the point is to take you somewhere within the film. A good plot does not need to have a profound external meaning, but it does need to keep you moving forward within the parameters of the set-up, with your heart and mind and senses fully engaged and desperate to know where it is all going.
He’s dismissed for making films that are merely entertaining, and criticised for being at heart just an ad man – as if his skill lies in creating flashy images and cutting between them quicker than anyone else. Yes, he created some of the flashiest images on screen – what wonderful cinematographers he had, together with his penchant for hyper-saturated colours. But it’s the nature of the cut that counts, not the speed. And he was a master.
He could create incredible tension, and beauty, by cutting from one shot to the next, and thus allowing the viewer’s heart and mind to travel an infinite distance that could never be conveyed with a panning shot. This is film as film. It’s Eisenstein, it’s Hitchcock. It’s all in David Mamet’s seminal book On Directing Film (which is more easily available in this collection).
He also knew that every element of plot had to fit together into a satisfying whole at the final denouement; and that we don’t care how ridiculous it is as long as it makes sense in its own terms. How few scriptwriters and directors seem to know this! The obituary in Tuesday’s Telegraph gets it completely wrong when it says he was all external sheen without a grasp of narrative.
Not everyone is into Sci-Fi, but if you want to get a taste of pure Tony Scott then get hold of the DVD of Deja Vu.
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