All tracking shots - and this one especially, for its simplicity - are effective partially because, I believe, they break an unspoken agreement we have with the artifice of movies, in that they are filmed on a camera. Take away our feeling of the camera having a solid place within the world of the film, and suddenly we’re unsure of our own limitations, which makes things feel - dare I say - magical.
Love it! All the more impressive when you think about the era in which this was produced. Today we might use various digital effects to create similar shots.
Wellman legitimately earned his nickname for being a Hollywood hell-raiser, but stuff like this clearly shows him to be an early technological innovator.
First of all, I think you are right about the tracking shot in WINGS, being the best one on your list.
Partially because in the modern era we forget what a great technical accomplishment it was at the time, and partially because it stands up so well after repeated viewings. Each time you watch the shot in WINGS you notice a new detail or two, which isn't true of the other ones. Every one of the couples at the cafe in WINGS is a small, briefly told story of their own. You get a very brief, but telling, look into their relationship.
A TOUCH OF EVIL is more impactful on the initial viewing, and may have been more technically difficult, but after the first viewing the masterfully created tension that makes the shot so engrossing is gone. I can still be emotionally involved in the WINGS shot every time I see it, noticing new details. After the first viewing of A TOUCH OF EVIL I don't notice the tension, I notice HOW the tension was built. I don't see the painting, I see the brush strokes.
That being said, I think you overlooked two of the absolute best tracking shots.
2) This one I have to say is even better than the one in WINGS, the single best of all time, IMHO. Gone With The Wind's Rail-yard Scene https://www.youtube.com/watch?v=Us6LpxSkKYo
Not only is it technically amazing, but, as you begin to realize the staggering cost of war, (not just this one, but all wars) it still gives me shivers every time I see it. When you realize that these men are just some of the casualties from one of the smaller battles of the war, the lucky ones who got evacuated back to a hospital... the staggering immensity of the tragedy begins to dawn on you. Then the Confederate battle flag reminds you that all the pain, suffering, and sacrifice was for absolutely nothing, not just because it was in the name of a lost cause, but because it was for downright despicable, unworthy, and wicked cause. At that point the irony and the tragedy of the complete and total waste is inescapable.
It isn't just a great shot, it makes a real statement, what's more so, it makes what could be a very banal statement ("War is bad") with an emotional gut punch that sticks with you for the rest of your life.
All tracking shots - and this one especially, for its simplicity - are effective partially because, I believe, they break an unspoken agreement we have with the artifice of movies, in that they are filmed on a camera. Take away our feeling of the camera having a solid place within the world of the film, and suddenly we’re unsure of our own limitations, which makes things feel - dare I say - magical.
Let’s not overthink this. The Copa from Goodfellas. That’s it.
Love it! All the more impressive when you think about the era in which this was produced. Today we might use various digital effects to create similar shots.
Wellman legitimately earned his nickname for being a Hollywood hell-raiser, but stuff like this clearly shows him to be an early technological innovator.
Opening sequence of Bonfire of the Vanities?
First of all, I think you are right about the tracking shot in WINGS, being the best one on your list.
Partially because in the modern era we forget what a great technical accomplishment it was at the time, and partially because it stands up so well after repeated viewings. Each time you watch the shot in WINGS you notice a new detail or two, which isn't true of the other ones. Every one of the couples at the cafe in WINGS is a small, briefly told story of their own. You get a very brief, but telling, look into their relationship.
A TOUCH OF EVIL is more impactful on the initial viewing, and may have been more technically difficult, but after the first viewing the masterfully created tension that makes the shot so engrossing is gone. I can still be emotionally involved in the WINGS shot every time I see it, noticing new details. After the first viewing of A TOUCH OF EVIL I don't notice the tension, I notice HOW the tension was built. I don't see the painting, I see the brush strokes.
That being said, I think you overlooked two of the absolute best tracking shots.
1) Notting Hill's tracking shot https://www.youtube.com/watch?v=Ce_BXD_ONQ8
2) This one I have to say is even better than the one in WINGS, the single best of all time, IMHO. Gone With The Wind's Rail-yard Scene https://www.youtube.com/watch?v=Us6LpxSkKYo
Not only is it technically amazing, but, as you begin to realize the staggering cost of war, (not just this one, but all wars) it still gives me shivers every time I see it. When you realize that these men are just some of the casualties from one of the smaller battles of the war, the lucky ones who got evacuated back to a hospital... the staggering immensity of the tragedy begins to dawn on you. Then the Confederate battle flag reminds you that all the pain, suffering, and sacrifice was for absolutely nothing, not just because it was in the name of a lost cause, but because it was for downright despicable, unworthy, and wicked cause. At that point the irony and the tragedy of the complete and total waste is inescapable.
It isn't just a great shot, it makes a real statement, what's more so, it makes what could be a very banal statement ("War is bad") with an emotional gut punch that sticks with you for the rest of your life.
can I just say: awesome! and thanks.