Such a Beautiful Movie, Such Amazing Actors Such Excellent Writing
Gobsmacking! Especially the scenes in the cabin by lamp light and those of Henry Akeley by the radio--the way the light moved across his silhouette and through his beard. The blacks were so saturated and the lines soft--the most like film (Except for the faces of the people in the jars but they looked more 50's) in the whole movie. Oh, and when Hannah was peering out of the window--the sliver of her eye glowing in the darkness. Whoa.
Was the movie shot in sequence? Seemed like it. It seemed like the lighting people understood more and more how to light the images and get the most out of them. I Love black and white movies shot on film, but it's hard to make video do what film does. Partly it's the technical side of things--the basic nature of each is very different. Partly it's experience--all the lost info on lighting and what colors do what in b&w. Granted the black and white of "Nosferatu" (Original) isn't the same as the black and white of "His Girl Friday" or "The Thin Man." My only quibble is it might have used more in the way of reflected light--especially at the party in the beginning--if only because the harsh lighting made it feel like a later era film.
Somehow, Leman and Branney get the most amazing actors with the most amazing faces, themselves included. Matt Lagaan in particular was able to project and control such intensity. I thought having dialog suited Matt Foyer's talents better than the silent movie.
I loved the dialog... I Don't love without reservation how they chose to end the movie, but, I love how they got there. Maybe a movie like this results when everyone wants to be there and are reaching to use all their talents.
We don't see things as they are, we see them as we are. Anais Ninshare