Word: tableaux
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Dates: during 1960-1969
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...characters look at what is going on. Its slow pacing frequently pauses while we and the characters savor the beauty of the world. This quality of leisure gives the film the true feeling of its period, as does the quality of its images: less recorded action than set-pieces, tableaux. Characters are presented behind windowpanes and in portraits, shown as individuals first and only later as figures related to other people. Each character is complex and complete, composed of light and dark...
Stroheim presents the characters and settings of each shot as directly as possible. Actors rarely overlap one another; all are fully visible; yet he saves his shots from being flat tableaux by placing his actors at different distances from the camera and by enhancing their different depths with lighting. The way he places his "realistic" objects similarly use depth. Prominent natural objects in the foreground play off objects in the background to make the space of each shot real and three-dimensional...
...Smith moved to Bolton Landing, and during the war years, he spent most of his time at his welder's trade, working on locomotives and tanks at a nearby plant. But by 1945, he had accumulated an exquisite series of small, neo-Surrealistic bronze-and-steel tabletop tableaux. Both Home of the Welder and Reliquary House are rich with Smith's private sexual imagery...
...realistically, with sets, costumes and actions designed so that the audience could "feel a good aromatic inhalation of Vienna" at the time of Empress Maria Theresa. Merrill's Turandot was stylized in the sparse formal motions of the ice-cold princess and her hapless suitors. Against these semi-tableaux, there was a flurry of action provided by the counterpoint clowning of Ping, Pang and Pong. One of Merrill's finest productions, Strauss' Die Frau ohne Schatten, was mounted as a fantasy; it captured the magic of the evil nurse, the semi-spirit world of the empress...
Hall emphasized closeups instead of movie-style shots of sweeping vistas and cluttered tableaux, which, though characteristic of Shakespeare on the big screen, are hardly suitable for TV's cramped picture. "A long shot," he explained, "diminishes the power of what is being said." The many full-face shots build an air of intimacy between actor and audience that is especially suitable for the TV screen (though the film was also released in London last week as a feature movie). "For the first time," says Paul Rogers, who plays Bottom in a blustering, John Bullish vein, "a Shakespearean movie...