GALLERY OF FILM STILLS FOR CHAPTERS 5 TO 7 OF FILM PAST, FILM FUTURE

 March 2011

chapter 5: IMAGINING THE HOLOCAUST

5.1   The NBC Holocaust series for tv created massive interest

5.2   The Pawnbroker is the story of a Holocaust survivor in New York

5.3 Kitty, a survivor, returns to Auschwitz in the Yorkshire tv documentary 

5.4   Lanzmann's Shoah: the entry to Auschwitz

5.5   Shoah: the train into Treblinka

 

5.6   Shoah: Filip Muller, one of Lanzmann's major witnesses

 

5.7  Spielberg's Schindler's List: the scene between Schindler and Hoss has a noir quality
5.8   The girl in the red coat during the round-up in Krakow
5.9   Schindler's accountant, Itzhak Stern 
 
5.10   Schindler and Stern: barbaric vitality and organizational ability
5.11   Schindler addresses his workforce and the Nazi guards at the end 
5.12   Retribution for Goeth 
 
5.13   Polanski's The Pianist: Szpilman's view of the Warsaw Ghetto uprising
5.14   Szpilman returns to Chopin after the war 		  
5.15   The Jews are forced into the ghetto
 
5.16   Szpilman "lonelier than anyone else in the world"
5.17  Reitz's Die Zweite Heimat: the 'Fuchsbau' in Munich . . .  		  
5.18 . . . and its owner, Elizabeth Cerphal
 
5.19   Frau Cerphal with the students occupying her house - "You are perforce propertied class"		  
5.20   Gold's Escape from Sobibor

5.21   Shoah : Rudolf  Vrba, who escaped from Auschwitz 

 

chapter 6:   IT'S IN THE ACTING

 
6.1   John Ford's Three Godfathers, battling through a sandstorm
 
6.2   Michel descends the stairs for the umpteenth time in Bresson's  Pickpocket - the 'involuntary inexpressive'   
6.3   Bresson's Diary of a Country Priest: Claude Laydu as the priest - ditto 

6.4   Hellman's Two-Lane Blacktop: the 'voluntary inexpressive' 

 

6.5   . . . and the 'voluntary expressive' (Warren Oates)

6.6   Bresson's Trial of Joan of Arc: expressing the drama through the feet 

 

6.7 to 6.12   Dreyer's Passion of Joan of Arc: expressing the drama through the face
    
     

 

6.13   Ensemble acting: Altman's Gosford Park
  

6.14   Lino Ventura in Le Deuxieme Souffle 

 

6.15   Lamberto Maggiorani in Bicycle Thieves

6.16   Enrique Irazoqui as Jesus in Il Vangelo secondo Matteo 

 

6.17   Sarah Pickering in Edzard's Little Dorrit . . .

 

6.18 . . . with Affery (Patricia Hayes) 

6.19   . . . and Mrs Clennam (Joan Greenwood) and Flintwich (Max Wall) 

6.20   . . . and Arthur Clennam (Derek Jacobi) and William Dorrit (Alec Guinness) 

 

chapter 7: IT'S NOT IN THE ACTING

 

7.1   The designer's art: recreation of a Victorian street in London in The Prestige

7.2   Faces without words in Ordet (camera: Henning Bendtsen)

7.3   Screen test for a monk in Groning's Into Great Silence 

7.3   Conversation piece 1: Rohmer's Pauline a la plage 

7.4   Conversation piece 2: Linklater's Before Sunrise 

  

7.5 to 7   Hawks's Only Angels Have Wings: flying on the crater rim in real time

 

 

 

 

 

 

7.8 to 10   Only Angels Have Wings: the death of Joe Southern done in masterly light and shadow, with models and reaction shots 

 

 

 

 

 

7.11   Costume drama made convincing in Rohmer's L'Anglaise et le Duc

7.12   Simile or metaphor in Eisenstein's Strike: the massacre of the workers . . . 

7.13   . . . is equated with the slaughter of a bull in the abattoir 

 

7.14 and 15   Powell & Pressburger's A Canterbury Tale: Alison's opening of the disused caravan is a metaphor for the decay of memory 


 		  

 

7.16   Powell & Pressburger's Small Back Room: Sammy wrestles with the temptation to drink . . .

7.17   . . . burdened in his mind by the agony of waiting . . . 

 

7.18   . . . and crushed by the bottle in his dreams . . .

 

7.19   . . . until he wakes to the full glare of being discovered

7.20   The Holy Spirit descends on Jesus in Pasolini's Il Vangelo secondo Matteo