Saraswatichandra, Film and Form. - Page 6

Originally posted by: -Ivy-

Twila,

1. The skewed camera angles are obviously something AK has let go of... Or was it used in IPKKND as well? This type of camera angle called the 'Dutch angle' is mostly used in film noir to highlight the psychological tension of the character. Perhaps this guy has his demons, maybe or that he is 'grey' and has come with ulterior motives?

2. Again, AK's camera shoots from behind props, peeking and trespassing... Underscores the enigma and 'secrets' of the male.

3. The male is filmed in low-angle shots so that he comes off as macho and intimidating... All to highlight his masculinity. Even the setting of the stable, populated with horses representing virility, enhances that.

4. Skewed camera angles are initially not used upon the female... So she is happy and balanced in life... Without past hurt and demons.

5. Later the female is filmed in skewed angles too... Foretelling a possible 'battle of the sexes' between the two... Alpha Male vs Alpha Female... with 'twisted motivations'...

6. Again, placement at opposites and space within leads, to highlight tension.

7. Once they come close though, they are filmed in normal angles, suggesting that they both need each other to find that stability and balance in life.

8. By the end, once he actually masters the horse, the male is filmed at normal angles, while the female in filmed in Dutch, suggesting that they've clashed swords and he has prevailed, but she will make sure that there is a next time, so she can get a 'win' over him too.

9. GAME ON, between the two, both who are filled with ego and attitude.

Homework Done! 😳

Originally posted by: -Ivy-

Happy Dost, first kaan pakad ke maafi for being so late with this & a huge Mickey Mouse hug to you for the epi link. The Star Player one cut off that entire 'Tadap Tadap' song! 😲 Now I can also understand why you felt a semblance of the old magic with this scene... 😳

Special attention to how the gate is being used... Kusum crosses it with ease... But Kumud seems unwilling to pass that threshold. Putting camera behind the gates, makes the outside world look like a cage, and the VC house, a safe harbour, which it is for Kumud... Note that the house is never shown specifically, only the gates... Which emphasises that this is a 'crossing' for Kumud. It is the gate that she has to cross, that is the 'action' which matters.

There's also a nifty camera trick employed, when Saras addresses Kumud for the first time, it appears almost as though he is standing near her right shoulder, but when the camera moves out, we see that actually there is significant middle-ground between them, symbolised by a car (BD's property)... This is to emphasise how 'intimate' Saras and Kumud are, and it symbolises Saras' as Kumud's 'guardian angel'... Remember that concept of Good Angel/Bad Angel, Saras (placed on the right, is the good angel) he has come to see Kumud safely home. And when she turns to him, listening to the 'good angel' it is to signify that in coming home Kumud has made the 'right' decision.

Right through the middle-ground between them (the car) is emphasised. Also the use of the gate in the shot, gives the impression that the conversation between the two is happening in a 'fishbowl'... Two people who cannot cross the lies society and tradition have etched, there's an element of being conscious and yet intimate. There is also a deliberate slowing of the frames when the two cross each other, at parting time, to emphasise how the two are starcrossed. Very poignant.

Brilliant instance of play-off, the footsteps the two take in the opposite direction match and mirror. They are both filmed in low-angles, not to make them appear intimidating but to emphasise the intensity of the emotions they are experiencing... Ki unke jaazbaat ke aage baaki sab chota padh jata hai. Even when camera is on one (Saras), the two are placed such that despite the distance, their shoulders are aligned and appear to 'touch'. The self-same moment both turn and match their steps to each other but for that bloody gate! They both hold onto it, and regain their control... This is the threshold Kumud has crossed, but Saras cannot. The gate limits and remindes. The use of dissolves to heighten emotions, and to complement the bg music, makes the scene flow ever more fluidly.

Originally posted by: Arshics

Guru ji, aap mahaan, aapka gyan super mahaan. I am awestruck. Itna sab kuch, itna attention to detail, itna thought and application.

I am running away from home to become a film director. I have decided that this is what I want to do! 😉

Originally posted by: happychappy

@ Ivy, 🤗

p.s. The roses are being sent by Special Delivery!!..😉