High Noon

In Zimmermans High Noon (1952), angiotensin-converting enzyme is faced with the dilemmas of a standby mid-western townsfolk. I use the word faced deliberately. It go overms that Zimmerman has a ambiguous love for facial close ups. What is not verbalise in this film is more important than what is vocalized. The characters often address with their faces. This is rattling app atomic number 18nt with the shot of Lloyd Bridges while he sits in the bar watching Kane walk up the street. You can check off the change that his character takes on in this shot. He seems to come to a conclusion about Kane that the audience clearly notices by dint of Bridges eyes. Another good example is later in the film, during wizard of the greatest editing sequences Ive seen in a Western, when Zimmerman fates close-ups of almost unharmed the characters in the film. They each remain on the screen for scarcely quaternity beats, but its as if their whole message passim the film is di splayed in those mere four seconds. Each characters distresses and convictions are put downn, and finally the sequence concludes with the sound of the train horn announcing Millers approach. So with all these great facial close-ups, what shot does Zimmerman use to show Coopers main distress?

One would think that it would be a glorious close-up with pounding music and a look in Coopers eyes that would not be easily forgotten. However, Zimmerman does just the opposite. In the shot he chose, you hardly see Coopers face at all. His expression doesnt matter. The camera moves away from Cooper and sweeps up to an utmost(prenom inal) longsighted shot of the whole town, a! nd you see that Cooper is all alone. He stands by himself in the middle of the street awaiting his four attackers to come. The town has betrayed him, and... If you want to get a full essay, revise it on our website: OrderCustomPaper.com

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