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A long shot can be defined as a shot that lasts long enough to capture all the action of a scene without interrupting the continuity of the scene. This is achieved through sophisticated camera moves and locks. To better understand the idea of the long shot, let’s take two examples.
The long, uninterrupted take is to the cinema what the most naked and strange solo is to the guitar. Like most virtuoso flourishes, it can be brilliant or ridiculous, depending. We will always respect the technical knowledge required for a nine-minute tracking shot, but we don’t care if the shot doesn’t serve the story or reveal the character. The most popular long shot of all time does both: In Goodfellas, wannabe gangster Henry Hill (Ray Liotta) leads his bewildered date through the back entrance of the Copacabana nightclub, through a noisy kitchen and through the halls where they are greeted by vines. at all times until they are finally in the spotlight.
With almost no dialogue, we learn Hill’s values and identity, and that the world is his oyster (at least before the food poisoning sets in). By contrast, a failed long take is pure indulgence, a sleight of hand that distracts from the hollow center of the film (see Snake Eyes, or not). Following, in ascending order, are long shots that not only strut, but enhance his movies.
Check out the list of the best cinematic long shots of all time
Rope (1948)
Alfred Hitchcock’s psychological thriller Rope tricks you into hiding many of its cuts in plain sight. Every 10 minutes, the length of a movie magazine, Hitchcock would point the camera at a man’s jacket or the back of a piece of furniture while he secretly made a cut.
Well played, Hitchcock. The real-time effect gives Rope the feel of an exciting live game. In fact, it was based on the 1929 play by Patrick Hamilton.
Old (2003)
This might be the shortest version on this list and only takes place in one location, but what it lacks in complexity it makes up for in visceral impact. After spending 15 years in solitary confinement for reasons unknown to him, the protagonist leaves with only one thought on his mind: revenge. This scene takes place later in the movie after he finds the place where he has been held for all these years and pays a visit to try to find answers.
In the scene, our main character fights his way through a plethora of thugs in a corridor, armed only with a hammer, as the camera pans his progress. And boy, does that make you sit on the edge of your seat? It took seventeen takes spread over three days to get this scene right, and the only distortion in the footage is the knife in our hero’s back, which was added via CGI in post-production. If you haven’t seen this movie, don’t look for the actual Spike Lee remake, the original is right there where it belongs.
Victory (2015)
The German film directed by Sebastian Schipper is a police thriller shot in one take. The film was shot by Sturla Brandth Grøvlen on April 27, 2014 between 4:30 and 7:00 in the Kreuzberg and Mitte districts.
If we look at the film from an aesthetic point of view, the long shot offers a rich visual representation of a Spanish woman (Laia Costa) who fights for survival against the dark world of crime.
Touch of Evil (1958)
Most “best long shots” lists start with this beauty, the opening sequence of Orson Welles’s brilliant Touch of Evil. It is with a bomb that is put in the trunk of a car and these unsuspecting people that drive away with the bomb in the car. As the shot progresses, we are introduced to our two main characters: a Hispanic lawman (played by Charlton Heston, don’t ask) and his lovely wife (Janet Leigh), walking toward the US-Mexico border.
What’s amazing about this shot isn’t just the way it moves, reaching up for an almost divine view of dusty Mexicantown with an eye on how the car moves geographically through the streets, while at other times it buzzed around looking for Heston and Leigh fragments. conversation about finally coming to America and what that means. We even get a chance to stay with the couple at the border when the car gets stuck in traffic. The sequence is not only beautifully choreographed, but it covers a lot of ground story-wise in a way that never feels patronizing or trite. This recording is packed with stuff.
Weekend (1967)
Weekend offers a particularly impressive travel shot that is pure hell for 7 minutes and 25 seconds. Jean Luc Godard’s black comedy scene is a panoramic look at a traffic jam that takes time to gauge each driver’s reaction to the situation.
It all culminates with the scene’s chilling finale, a car accident that leaves several bloodied bodies on the road. If the incessant honking of cars hasn’t driven you crazy, after watching this scene it will.
Atonement (2007)
In stark contrast to Oldboy, this scene is all about the sheer scale of what’s shown, adding to the already impressive five-minute-plus steadicam shot. A huge location and over 1,300 extras were used to convey the madness that occurs in Dunkirk and it is this scene that sticks in your mind after watching this movie.
The scene required incredible choreography and coordination, as all of these extras run across the beach as vehicles spin, guns and explosions are fired, horses are shot at, and choirs sing to convey the madness of the waiting British forces. desperately be transported back to England. after his defeat.
Paths of Glory (1957)
Directed by Stanley Kubrick, Paths Of Glory is set during the First World War. The film’s narrative revolves around General Broulard (Adolphe Menjou) ordering his subordinate General Mireau (George Macready) to unleash an attack on the German army. Unfortunately, the move backfires and General Mireau punishes the lives of three innocents to hide his mistake.
In this clip from the film, General Mireau walks through the trenches and asks several soldiers, “Ready to kill more Germans?” This is a significant shot at the beginning of the film because Mireau’s gait gives his character a certain arrogance. He is less concerned about the bombing taking place in the background and more about the outcome of the war. He also highlights the filmmaker’s goals against the ruthless and inhumane logic of military law defined by the lust for power among aristocrats and inequality on the social ladder.
Jaws (1975)
In recent years, Steven Spielberg has been rightly praised for his invisibles; Long takes that do the work of multiple takes in one uninterrupted take. There are great examples like this throughout her career, from Marion’s introduction in Raiders of the Lost Ark to the chase in Ready Player One (and yes, we do have a fully animated example of this further down the list) and there are plenty. great long shots. in Jaws, his commercial breakthrough and the film that consecrated him as a child prodigy capable of making great works of art within the restrictive framework of Hollywood.
But the best shot, and one of the least noticeable, is when Roy Scheider and Richard Dreyfuss confront the slippery mayor (Murray Hamilton) about how the shark is still out there. (This is the sequence that immediately follows the scene where Dreyfuss finds the giant shark tooth and severed human head.) .
The Shining (1980)
The horror of the “corridor” scene in The Shining is as much a function of sound as it is of sight. As little Danny races through the empty halls of the Overlook Hotel on his plastic trike, the wheels screech across the shiny floors, then sink completely onto the carpets, then return to the screeching of the hardwood floors for a terrifying, oh god. … effect of what is around the corner.
One of the first uses of the steadicam, and it was actually filmed by the steadicam’s inventor, Garrett Brown, who took his photo following Danny in a wheelchair.
Birdman (2014)
Alejandro González Iñárritu has fooled our eyes with 2014’s Birdman, a film that gives the illusion of being filmed in a single take. The film actually consisted of several shots, but with the help of some light editing and color correction, the long shots flowed together seamlessly. The result passionately underscores Riggan Thomson’s (Michael Keaton) downward spiral into madness.
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