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Date: | Sun, 12 Jun 1994 08:20:06 -0600 |
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In reference to the recent discussion of anamorphic/wide-screen vs. "flat"
processes:
Has anyone seen Spike Lee's CROOKLYN yet? There is a whole sequence in that
film in which Troy (sp?), the daughter, does to live with relatives in a
middle-class suburban "normal" hell-hole; the whole episode is shot with
an anamorphic lens but left "squeezed".
I assume that the process is meant to convey a subjective sense of Troy's
being "squeezed" by the restrictive lifestyle of the household. It's a
cute idea--and in line with other "subjective" bits in the film (Troy's
nightmares, the glueheads walking upside down, et al.)--but I don't think
the sequence really works. For one thing, it's much too long and gets
to be merely annoying after a while. Secondly, until quite late into the
sequence, when the scenes are crosscut with scenes in Brooklyn, there's
nothing to confirm that it is in fact a subjective effect. I was tempted
to run out and complain to the theater management, but waited, knowing it
was in Lee's style to do something like that on purpose. I really had
to restrain myself, though. (Aside from that and the rather obsessive
soundtrack, I like the film--it's one of Lee's lightest and maybe his most
personal.)
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