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.The openingof such prominent directors as Ridley Scott.[it] received sequence announces the theme in spectacular fashion: shaftsthe sort of serious attention from the press that was custom- of blue moonlight shine through the branches of a shadowyarily denied to examples of culturally despised genres.Most forest, foreshadowing the battle between good and evil thatcritics found it scary, entertaining, not unintelligent, and is about to take place.To reemphasize the point, Thomsonwell made, almost as if Hawks had directed it himself. cuts away from Darkness s (TIM CURRY s) lair to a shot ofa bright summer s day as Lily (MIA SARA) skips down theReferencepath of the enchanted forest.Another lighting effect inTodd McCarthy, Howard Hawks (New York: Grove Press, 1997),Darkness s first scene shows him lamenting his lack of power483.while bathed with a majestic purple light, his eyes and fin-gernails glowing green in the semi-gloom.THE THIRD MAN In another sequence Thomson underlines the hypnoticGB 1949 r/t 104 min b/w.Production Companies: London aspects of Lily s seduction by Darkness.As the maskedFilm Productions and British Lion Film Corporation.Pro- dancer walks around the terrified princess, the action cutsducers: David O.Selznick, Carol Reed, and Alexander Korda.to a close-up of the dancer s fingers clawing across her face.Director: Carol Reed.Writer: Graham Greene.Director of Pho- This is followed by an out-of-focus shot of the dancer mov-tography: Robert Krasker.Music: Anton Kara.Cast: Orson ing rhythmically across the frame, at first obscuring andWelles (Harry Lime), Joseph Cotten (Holly Martins), Alida then revealing Lily s face, which gradually alters from fear toValli (Anna Schmidt), Trevor Howard (Major Calloway).rapture.She is now Darkness s slave. TINKER TAILOR SOLDIER SPY 301 %Thomson found Scott s attention to detail awe-inspiring, minated by the morning sun.On the soundtrack, the neigh-especially on a production the size and complexity of Legend.ing of horses can be heard, as Feraud and his seconds emergeHe observed to Magid that a lot of the film s atmosphere from the rear of the frame in preparation for the forthcomingcomes directly from Ridley, because he dresses the sets impec- conflict.Feraud rides to the front of the frame, draws hiscably and he creates a lot of that mood himself, just through sword, and dismounts, while his seconds wish good morn-his compositions and because he props the whole thing. ing to D Hubert s seconds.Feraud subsequently walks awayfrom the camera towards the farmhouse; all we can hear inReferencethe background is bird-song, the faint clip-clop of the horsesRon Magid, Labyrinth and Legend, Big Screen Fairy Tales, Amer-hooves and the baa-ing of unseen sheep.Scott holds the shotican Cinematographer 67, no.8 (August 1986): 67.for nearly fifteen seconds, during which time we see the twoduelists preparing for their conflict in the middle distance.THUNDER PERFECT MINDBy this means Scott and Tidy emphasize the sheer pointless-GB 2005 Commercial r/t 30 sec.Production Company: RSAness of the conflict.It doesn t matter who wins: life in ruralFilms.Directors: Ridley Scott and Jordan Scott.FRANCE will continue in the same way it always has done.A 2005 film by JORDAN SCOTT and Ridley Scott, thatIn his excellent Director s Commentary on the DVDdepicts Canadian supermodel Daria Werbowy movingversion of the film, Scott states that he operated the camerathrough various urban scenes (such as a nightclub, the backhimself, but maintains that Tidy s contributions were equallyof a taxi, and around Potsdamer Platz in Berlin), while aimportant.Indeed, he and Tidy had previously workedrecitation from the fourteenth-century poem (entitled Thetogether on scores of commercials, so the cameraman wasThunder, Perfect Mind ) is read in as a form of narrativewell acquainted with Scott s cinematic preferences. I had nocommentary.A shortened version of the film was used in aconcerns about how much [of the imagery] was in the shad-Prada advertisement to promote the launch of the fashionows, Scott notes. Frank knew that this was what I liked.house s first perfume.The advertisement can be viewed onlineI don t mind if windows blow out.[and] I don t mindat http://www.rsafilms.com/d/rsa/companies/rsa-uk/87.sometimes if [the frame] goes totally dark.Frank just reallyknew how far to go
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