By S. Peacock
A critical appreciation of shut relationships within the sleek American motion picture, having a look intimately at modern Hollywood films which discover intimacy and the connections of characters, their atmosphere, and issues of movie style. Peacock's close readings offer a clean approach to knowing the massive American movie.
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Extra resources for Hollywood and Intimacy: Style, Moments, Magnificence
Sample text
The moves are awkwardly confined. The low angle and closeness of the shot present a compact space, filled with the clutter of kitchen utensils and cooking bric-a-brac crowded on surfaces and shelves. In emphasising a sense of restriction, the film opens up multiple meanings. First, it conveys a feeling that arises from a return to a childhood place. The setting and décor of the family kitchen, once so homely, appear to have shrunk. At the same time, the particular circumstances are equally constricting.
Slowly, the camera releases its gaze from a sky of stars to turn and sail over crop-fields, on into the town of Laurens, before settling in front of Alvin’s yard. Through each turn, the film increasingly narrows its point of focus, moving from a myriad of stars to a single house. The effect hints at Alvin’s own later trajectory, as he takes in the sweeping vistas offered by the countryside, before finally directing his focus, steering the mower down the narrow Place and Patterning 31 pathway to Lyle’s lone shack.
These intertwining aspects are explored in a series of moments, and through the character of Francesca, over the course of the film. Initially, the aspect of discovery is addressed in the first view of Robert Kincaid, from the edge of the porch. As the photographer’s truck approaches the house, Francesca stands on the porch completing a chore, beating dust from a rug against one of the vertical wooden supports. It is a gesture of everyday duty, allowing for a little release of pressure, in each swing and beat of the rug.