Observations on film art : Unsteadicam chronicles

Run-and-gun technique doesn’t demand that you develop an ongoing sense of the figures within a spatial whole. The bodies, fragmented and smeared across the frame, don’t dwell within these locales. They exist in an architectural vacuum. In United 93, the technique could work because we’re all minimally familiar with the geography of a passenger jet. But in The Bourne Ultimatum, could anybody reconstruct any of these stations, streets, or apartment blocks on the strength of what we see?

Reminds me once again of Die Hard as an architectural film. I don’t think this kind of spatial understanding is an absolute requirement for a good action movie or any movie, really, but it’s interesting to think about. I recently mentioned The Thin Red Line did a great job during the hilltop battle. Rear Window, too, but that’s maybe an easier task, given the confinement. Which others?

Observations on film art : Unsteadicam chronicles