I watched The Big Combo (1955) again last night. This shot stuck out to me as a great use of light, shadow, and space, with characters entering from the depth and foreground, and exiting frame right.
Starring Cornel Wilde and Jean Wallace, and directed by Joseph H. Lewis and with photography by John Alton, a later film in the classic noir period, the film frequently gets mentioned for its cinematography1. There is something a little late-night-TV about the movie, and its 1.85:1 aspect ratio makes it a more contemporary touchstone where style is concerned.
A friend of mine posted a game on social media where you list ten definitive shots that influenced you. I do not think I could ever cull through my brain to select those decisive shots, let alone rank them. However, there are shots that I see from time to time that I find myself drawn too. This felt like a good reason to start an intermittent series of posts devoted to shots that I happen to feel are fantastic.
Below is a three shot from Tina Fey’s adaptation of Rosalind Wiseman’s Queen Bees and Wannabes: Helping Your Daughter Survive Cliques, Gossip, Boyfriends, and Other Realities of Adolescence, which would become Mean Girls (2004), directed by Mark Waters.
I show this shot a lot to students and remark that if it was broken up into a number of close ups, it would lose its magic and comedic effect. Each face has its own thought and emotion that relates to its fellow faces, allowing for the eye to endlessly bounce between each writing a narrative.