The main character is a self-confessed womanizer and takes a double look at every attractive woman/”bird” he might walk by.
You see a small painting/photo of a naked woman on the wall, but for no longer than 5 seconds.
A man and woman kiss on a bed. The scene cuts before anything happens.


Film review:Translated by www.rabudo-ru.com


British agents put the scientist on the train and found the camera on the taxi. When he rushed back before the train started, he was surprised that the people sitting in the box had changed. As soon as the camera turns, the dead agent’s body is on the platform. Scientists were hijacked. A cruel and realistic version of the “Lady missing” style opening. Then, Palmer, the hero played by Mike Kane, appeared in the long cry of the alarm clock. After getting up, he slowly made morning tea and delayed the shift change of the monitoring group. Immediately, he was transferred by his immediate boss Ross to work under major Dalby to replace the agent who had just been killed. Therefore, the young agent with thick rimmed glasses, who was evaluated as disobedient, arrogant and somewhat criminal in the personnel files, joined the detection of the serial cases in which the difficult scientists were hijacked

From the perspective of the plot of spy films, the video level is medium and high. The plot of the protagonist being caught, brainwashed, tortured, escaped and finally arrested the real murderer is more wonderful. It is by no means a routine design that simply pursues tension and suspense in the general sense, but deliberately and successfully echoes the character characteristics of the role. The theme music has strong melody and is memorable. I’m ready to search for the original sound download.

The reason for admiring this film is that it is listed in the top 100 of British film history (the top 100 of British people does not belong to some people, especially the eyes of some literary petty bourgeoisie). Another more important reason is that bodwell mentioned this film in his blog article praising and criticizing the work style of the new 007 Casino Royale. (excerpt from a quick look at flowers)

The photography of Casino Royale explains his shooting idea:

“With the help of techniscope, the greater depth of field allows us to put things such as lampshades and telephone booths in the foreground without deformation. In the case of iPRES There is a lens in the picture. There is a huge desk lamp. The man’s face is in the upper right corner of the picture. I like this shot very much. In the opening part of the film, the dialogue carefully designed a similar lens with large foreground occlusion and face overstocked to the edge of the frame. It echoes the spy videos of the cold war. ”

But, but

1. In the local version of Casino Royale, the opening office plot does not seem to fully explore the prospect of sharp focus. There are not many things in the foreground, and they are not deliberately focused. Of course, due to too fast splicing, it is indeed difficult to focus on the relationship between the front and back scenes.

2. Autumn 1965, Albany, New York. At that time, I was a freshman. Like farmers entering the city, they don’t let go of every video released. I’ve seen the archives of iPRES alone three times. I’m obsessed with that gorgeous lens technique. I’ve just seen Citizen Kane before, so I’m very impressed by the techniques of depth of field, stage mobilization and masking the big prospect of spy pictures.

Even more puzzling is the use of chandeliers to show the bodies of killed American agents.

I know about long lens, wide-angle lens, etc., but I know little about techniscope, so I’m eager to know how these luxury lenses are shot. Equally important, why are they used (except for looking cool)?

After repeated observation, I began to understand the function of the lampshade. The scene in which characters and huge shadows coexist in the picture runs through the whole video. Doors, chanting platforms, tabletops and other things all mask the extension of the scene.

Sometimes it’s the lampshade that blocks the target.

At the dramatic climax, the lucky hero calls his superior. The image of the superior always deviates from the center of the picture. The lampshade dominates the whole lens.

However, the shadow at this time actually hides important things. When the superior withdrew into the shadow, the guests sitting next to him suddenly appeared.

Originally, the guest is the head of crime! Now, we know that our superiors turned out to be traitors.

I was vaguely aware of three things:

·A video can be carefully constructed to follow or break visual rules.

·The creation of visual motifs runs through the whole video, sometimes forcing the audience to pay attention to their existence.

·The motif may seem unreasonable. But too unreasonable may be for some narrative purpose. When we see the red lampshade, we think it is just another luxury setting, which does not have the effect of hiding information. This is true in earlier scenes. But at the climax of the video, it surprised the audience. Therefore, I finally realized that the motif can complete the narrative function. In other words, it can help the ongoing narrative information flow.

3. Sidney J. Furie is considered a director who likes to show off his skills. Mike Kane once said that he belongs to the “attention, I’m directing” genre. Think of the intolerable exaggerated composition of Marlon Brando’s Mexican straw hat in the Appaloosa. But like Richard Lester, Ken Russell, and other directors who pursue picture expressiveness, Frye can at least make us pay attention to the existence of skills. This is a choice for fans to get started.

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