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On Sun, 12 Jun 1994, Donald Larsson wrote:
 
> 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.)
>
Yes, this process in _Crooklyn_ was discussed some time ago on this list,
although you bring an audience dimension into the discussion which, I
think, is interesting because I couldn't help wondering as I, too, became
annoyed that that was precisely Lee's intention--to somehow make us feel
as trapped and annoyed as Troy.
 
--Patrick