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NF-Lee's Gildor and Frodo

BBM Screencaps ~ The Kiss Scenes, Pt. VII (Final), The 'Dozy Embrace'....

Posted on 2006.05.03 at 17:31

Comments:


Maeglian
maeglian at 2006-05-04 08:25 (UTC) (Link)
You know, this is one instance where I think the short story is even more effective than the film, specifically in the description of the embrace. That is such incredibly powerful descriptive writing, - it takes you into that "drowsy and tranced" state with them. Though the film scene is absolutely beautiful too, and your caps are gorgeous.

What's made a big impact on me with the scene is the simple but very effective way Ang Lee contrasts the emotions of young and "old" Jack at the end of that scene. Young Jack looks after the leaving Ennis with so much love and adoration in his still-somewhat-tranced-an-dazed eyes, while the older version shows all the resignation and sadness and even the tinge of bitterness of those 20 years' worth of crushed hopes and dreams.
(I know some reviewers made fun of the make-up towards the end of the film, but I think they did a *great* job in ageing everybody, Jake included, and certainly in that last shot of him in the film, not counting Ennis's "gay-bashing vision").

Also, in looking at your last cap I am reminded why the DC Board's Jake swoon-thread is named "Jake's eyelashes". Who *looks* like that?

And a comment as to the darkness of the scenes - have you seen the very interesting and in-depth Lee/Ledger interview on Charlie Rose? In it, amid lots of other things, Ang Lee also talks about filming the first night scene and among other information he mentions that after all, in choosing the right take to use, he was able to judge them in normal light because that's how they were filmed - and then darkened for the film afterwards. A bit ironic, with all your trouble in trying to lighten them back up again.....
Mechtild
mechtild at 2006-05-04 19:27 (UTC) (Link)
What's made a big impact on me with the scene is the simple but very effective way Ang Lee contrasts the emotions of young and "old" Jack at the end of that scene. Young Jack looks after the leaving Ennis with so much love and adoration in his still-somewhat-tranced-an-dazed eyes, while the older version shows all the resignation and sadness and even the tinge of bitterness of those 20 years' worth of crushed hopes and dreams.

Well put, Maeglian, really. But do you know it took me more than one viewing to even get it that that was a flash back!

I remember tearily looking at the screen as older Jack looked into the distance, their fight concluded, or put on hold. Then came the shot of Jack standing alone, head down, in front of the camp fire, Ennis walking up to him. Then the embrace. I completely did not notice they had on different clothes, that they looked younger, that Jack had no moustache: that is, they were dressed and looked as they during the first summer! When the flashback ended, and Jack's young face turned into his older face as he watched Ennis'leave, in a truck, in the present, I literally remember thinking, "Well, that wasn't very good editing, in terms of continuity. I can tell they shot the last sequence in different lighting."

Isn't that hysterical? I didn't get it, that it was supposed to be an inserted sequence and not part of the same pre-parting scene. *facepalm* I guess I was so deeply lost to the preceding scene, I just assumed the "dozy embrace" proceeded right out of it, as a reconciliation scene. With that expectation, Ennis initiatiing the hugging and Jack not turning around to him, but continuing to stand as if in his own world meant something really different to me than intended.

What a mis-viewing! *two facepalms*

Ah! You read that they darkened the first tent scene in post-production? Well, from the caps, unfortunately, what seems to happen to make them be dark is to take pigment from the original image and let it bleed away or get replaced with black. I can't, so far, find a way to "turn the lights" on in them in a way that brings back the original images. But, obviously someone has found a way, unless images such as the one you found were actually taken from prints or "behind the scenes" footage from the scene before it had been digitally graded. For instance, in the exceedingly dark "escape to Buckleberry Ferry" caps I did for FotR, I was working with almost indecipherably dark caps, but not as bad as the BBM ones. I could clearly see, even if it was so dark, the image of Frodo from cap to cap before I lightened them. And when I lightened them, although they were still very blue and dark, the resulting images had very good resolution. They just looked as though the scene was lighter originally.

But making caps from the first tent scene in BBM, for most of it I couldn't even see outlines or shapes, just darkness. I went by the soundtrack as to what had to be going on, and just kept clicking, hoping that when I lightened them later at least some of them would be in focus.

There must be some crucial place, technically, after which an image is darkened past the place of reclamation for future screencap doctors who come along.
Maeglian
maeglian at 2006-05-04 21:35 (UTC) (Link)
I've read other people saying they've also made your "mis-viewing"; not noticing that the story skips to a flashback from their summer on the mountain. It simply has to do with being so immersed in the story and in the emotions of the characters that a little thing like what they're wearing doesn't register. :-)
Mechtild
mechtild at 2006-05-04 22:52 (UTC) (Link)
Have you heard that? I like to think you are right.

I do think you are right. I really was just too engrossed in the emotional exchanges to notice stuff like costumes - or even whether Jake had a moustache or not!
Maeglian
maeglian at 2006-05-05 07:18 (UTC) (Link)
Yes, I have heard that, from posters on Wranglers and DC. I've also seen one person at a message board going on about the sloppy editing - obviously not catching on that there were two different scenes involved in there.

Another thing I'd heard repeatedly, was that there is absolute proof that the later inserted gay-bashing scene was just in Ennis's imagination (as he talks on the phone to Lureen) and not meant to show what actually happened, because it's the younger, mustache-less version of Jack who's getting killed. *sniff* That was claimed in early BBM discussions and I never heard it concluded upon with certainty - noone had the film back then and it fortunately goes past so fast in the cinema.
So now, that's been the first thing I used the DVD slow-mo function on; - and the theory's been disproved. Jack has both his mustache and the little paunch in that disturbing scene. It doesn't have a flashback/dream quality at all. So no hint that this isn't what actually happened to him..... I rather think, from various interviews I've seen and read, that the filmmakers are of the opinion that it *is* what happened to him. :(
Mechtild
mechtild at 2006-05-05 12:55 (UTC) (Link)
I think the filmmakers made a lot of decisions about how they would interpret places left ambiguous in the book and that was one of them. When others ask me what I think happened to Jack I usually say that. In the book it's left vague, as if it might just as easily be that Ennis has leapt to conclusions and imagined for Jack the ending he had feared for himself, which would also reinforce that he had been right to worry so, never acquiescing to coming out to be with Jack. But the filmmakers handled that scene as if it actually happened and that Ennis truly is leaping to the right conclusion.

Thanks for checking the scene on DVD. Now I don't have to!
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