EVITA SEQUENCES
YOU MUST LOVE ME
Here are three video clips from our next scheduled film, Evita.
The first is the "Don't Cry for Me, Argentina" sequence. Notice the use of lighting (such as the light crossing Madonna's face in the first seconds) and the crowd scenes, a familiar image in the film. Note the use of Che observing Evita (we see him about 3 times in the crowd).
It's always good practice to mark when a cut is made and to what. If the cut is on dialogue, naturally you should consider on what word the cut is made and to what object/person.
There are two pan shots on the crowd in the beginning of the song. There's also a blip before the first flashback (ignore the blip, which is not part of the film but is a defect in the video).
The flashback suggests a cause-effect relationship between Evita's present need for love and power and her early poverty. You can also observe the dust motif in the the flashbacks.
Note the slightly canted (tilted) angle as Madonna sings, "looking out. . ." (:54). Of course, the entire sequence is shot from a low angle; so this is a classic use of the low-angle shot, though it is justified (motivated) by the fact that the crowd is looking up at Evita.
The word "freedom" is linked to Evita's free-love past (dancing, etc.). in the flashback sequence. As she sings "nothing impressed me at all," we see Evita walking, in apparent dejection, along a dark street. Note the use of a passing light at 1:22 (again at 2:33), with her husband looking on. (Evita is always the object of attention.)
After the song the camera dollies in before another flashback, this time to Evita on the train. Again we see the dust, and her wave outside the train window is followed by a false eyeline match to the present crowd cheering her. That is, it's as if they are cheering the youth rather than the older woman.
"You Must Love Me" (the Oscar-winning song specially written for the film, otherwise it would not have been eligible for the Oscar). In this song the group formations are ironic, since Evita is dying even as she's honored. We also see the staircase motif (but now a dying Evita is carried up by her husband). We see more flashbacks (from Juan Peron's point of view), contrasting the dying Evita with her past glory. (Note the canted angle at 2:01, along with the door motif.) The sequence ends on a dolly-in (tracking shot) on Juan, always in long shot, emphasizing his loneliness, and then a cut to a medium shot of Juan in apparent despair, to end the sequence.
"Rainbow High" starts with a dolly-back on Evita and her assistants, emphasizing her power and authority ("we must start rolling"). A montage sequence of short shots shows Evita's artificial makeover. By using a flashforward sequence, Evita's determination and success are emphasized: that is, even before her song of decision is finished the results of that decision have been shown. The plane propellers add a punch to the end of the sequence, similar to the start of the propellers in the airport sequence of Casablanca.
DON'T CRY FOR ME, ARGENTINAThe first is the "Don't Cry for Me, Argentina" sequence. Notice the use of lighting (such as the light crossing Madonna's face in the first seconds) and the crowd scenes, a familiar image in the film. Note the use of Che observing Evita (we see him about 3 times in the crowd).
It's always good practice to mark when a cut is made and to what. If the cut is on dialogue, naturally you should consider on what word the cut is made and to what object/person.
There are two pan shots on the crowd in the beginning of the song. There's also a blip before the first flashback (ignore the blip, which is not part of the film but is a defect in the video).
The flashback suggests a cause-effect relationship between Evita's present need for love and power and her early poverty. You can also observe the dust motif in the the flashbacks.
Note the slightly canted (tilted) angle as Madonna sings, "looking out. . ." (:54). Of course, the entire sequence is shot from a low angle; so this is a classic use of the low-angle shot, though it is justified (motivated) by the fact that the crowd is looking up at Evita.
The word "freedom" is linked to Evita's free-love past (dancing, etc.). in the flashback sequence. As she sings "nothing impressed me at all," we see Evita walking, in apparent dejection, along a dark street. Note the use of a passing light at 1:22 (again at 2:33), with her husband looking on. (Evita is always the object of attention.)
After the song the camera dollies in before another flashback, this time to Evita on the train. Again we see the dust, and her wave outside the train window is followed by a false eyeline match to the present crowd cheering her. That is, it's as if they are cheering the youth rather than the older woman.
"You Must Love Me" (the Oscar-winning song specially written for the film, otherwise it would not have been eligible for the Oscar). In this song the group formations are ironic, since Evita is dying even as she's honored. We also see the staircase motif (but now a dying Evita is carried up by her husband). We see more flashbacks (from Juan Peron's point of view), contrasting the dying Evita with her past glory. (Note the canted angle at 2:01, along with the door motif.) The sequence ends on a dolly-in (tracking shot) on Juan, always in long shot, emphasizing his loneliness, and then a cut to a medium shot of Juan in apparent despair, to end the sequence.
"Rainbow High" starts with a dolly-back on Evita and her assistants, emphasizing her power and authority ("we must start rolling"). A montage sequence of short shots shows Evita's artificial makeover. By using a flashforward sequence, Evita's determination and success are emphasized: that is, even before her song of decision is finished the results of that decision have been shown. The plane propellers add a punch to the end of the sequence, similar to the start of the propellers in the airport sequence of Casablanca.
YOU MUST LOVE ME
RAINBOW HIGH
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