The DVXUser 100 Films Discussion - May 2007

[Erik Olson]

One thing that is interesting about this period, and this film in particular is the use of deeper, wider shots throughout. Even when the picture is playing in its most intimate moments, it is layered with rich art department background.

Shallow DOF is rarely apparent through the entire piece. It is there when it makes sense, but only when we need to filter out everything in the background to hear and see a moment play without the clutter. Clearly [sic], we could all take a cue from this show and how the photography compliments the subject.

About as shallow as it gets. Is Wilder allowing the spot-on art direction to fill the background in passing or is it a conscious decision? Wilder must certainly have placed a great deal of trust in his production design team, which was headed up by Alexandre Trauner, who he had worked with previously on Love in the Afternoon. Mr. Trauner worked repeatedly with the biggest directors - Stanley Donnen and Orson Wells among others.

Wilder watches the shot from just off-camera. Note the suited operator behind the formidable Mitchell BNCR.


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[krestofre]

I'm lovin' this, e. Keep it coming.

 

[Erik Olson]

C.C. Baxter (Jack Lemmon) and Jeff Sheldrake (Fred MacMurray) in a candid discussion centered on Baxter's future at Consolidated Life. This is another scene that plays with minimal cutaways from the master shot. Lemmon is shown in a wider single (see last post with Lemmon in front of lamp), but complimentary shots of MacMurray appear to a much lesser extent.

If unconventional, the scene plays perfectly - the focus entirely on Lemmon throughout. Note, that in this scene, where he finally makes a stand against his boss, that he is standing and that MacMurray is seated. This subtle staging decision gives Baxter the upper hand in the scene. Look back through the film and you'll discover that Baxter is seated, and often slouching in his chair whenever he is in the company of his boss.

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[Erik Olson]

It occurs to me, as I look back through this old thread on The Apartment, that anyone who loves the aesthetic of Mad Men will really get off on this classic picture. If anything, my bet is that the Art Director for Mad Men might comment on the influences therein.

I might make a phone call on this.

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