Four figures move in a shot from Yasujiro Ozu’s 1932 film I Was Born, But… The first are Keniji and Ryoichi, who upon reaching agreement exit right. After the boys go, a train enters in the far background and passes through the composition, seemingly pushing Keniji and Ryoichi along on their journey. Finally, their dog follows suit up until a mooring rope says, “Sit.” Alone, only the dog’s eyeline narrates that which is beyond the frame.
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.