Second #3713, 61:53
Jeffrey, having followed Frank to a building, sneaks inside at night to confirm that it is, indeed, where Frank lives. The shot only lasts a few seconds, and serves as a bridge between what has just come before (Jeffrey’s cloaked, nighttime pursuit of Frank) and what will come after (the scene at Arlene’s Diner with Sandy as he recalls to her witnessing the actions of the Yellow Man, the Well-Dressed Man, and Frank).
The frame is pure Expressionism as Jeffrey finds himself searching for Frank’s name on the mailboxes in a low-angle shot whose shadows and lines run in a weirdly menacing way from left to right. The black door, the oblong bank of mailboxes, the shadows on the wall, the window above Jeffrey’s head with its faintly frosted panes, the fluorescent light; all of this adds up to a moment of quiet turmoil.
Jeffrey, having followed Frank to a building, sneaks inside at night to confirm that it is, indeed, where Frank lives. The shot only lasts a few seconds, and serves as a bridge between what has just come before (Jeffrey’s cloaked, nighttime pursuit of Frank) and what will come after (the scene at Arlene’s Diner with Sandy as he recalls to her witnessing the actions of the Yellow Man, the Well-Dressed Man, and Frank).
The frame is pure Expressionism as Jeffrey finds himself searching for Frank’s name on the mailboxes in a low-angle shot whose shadows and lines run in a weirdly menacing way from left to right. The black door, the oblong bank of mailboxes, the shadows on the wall, the window above Jeffrey’s head with its faintly frosted panes, the fluorescent light; all of this adds up to a moment of quiet turmoil.
- 2/13/2012
- by Nicholas Rombes
- Filmmaker Magazine - Blog
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