Goodfellas - Prof. Young James Kenny Identify two scenes involving distinct moving camera PDF

Preview

Summary

Prof. Young James Kenny
Identify two scenes involving distinct moving camera shots. Describe how they are similar and different. What's their purpose?...

Description

Professor Young James Kenny CIN 100 SEC# 53318 12 March 2019 Goodfellas (1990) Besides from being known as one of director Martin Scorsese’s best films, or the film in which the “f” word and its derivatives are repeated well over 300 hundred times, Goodfellas also includes some of the most distinctive and iconic scenes in the film history. Two of them are specifically known for the use of the steadicam (the device that allows the cameraman to move freely through the set, while ensuring stabilization) and the fact that they are long, single take shots. Both of the scenes are used to introduce us to the gangster world of the leading characters - Henry Hill (Ray Liotta), Jimmy Conway (Robert De Niro) and Tommy DeVito (Joe Pesci). The first scene is taking place into Sonny Bunz’s restaurant, where Henry introduces us to some minor characters that are enjoying the night at the restaurant. The narration by Henry introduces us to each of the characters, their names and nicknames, while the camera smoothly navigates throughout the set, briefly addressing each of them. During this part of the scene, we see the characters through Henry’s point of view. We meet Anthony Stabile, Frankie the Wop, Freddie No Nose, Pete the Killer, Nicky Eyes, Mickey Franzese and Jimmy Two Times. The camera follows Jimmy Two Times as he’s going to “get the papers, get the papers” and leaves the dining room, entering a storage space where we see Henry again in a full shot. The single take shot briefly continues as Henry enters deeper into the storage room, with the camera following him, until we’re back at the dining room and the scene ends. The second single-take scene, is probably one of the most iconic ones in the film - the Copacabana nightclub scene. Henry and Karen (Lorraine Bracco) are going out on a date, and

are ready to enter the Copacabana Club from the back entrance, so they don’t have to wait in line with the rest of the customers. The fact that he even has this option, underlines his status and the power he can yield. The difference, however, between these two scenes is that firstly, there is no narration. Secondly, we don’t see through Henry’s point of view - instead, we see the couple making their way throughout the kitchen and a medium shot is maintained by keeping a distance while the cameraman is following them. Keeping a distance allows us, the audience, to see how Henry is being treated by and also treats the people working for the club (people opening the way for him to pass by, and him offering tips to the staff) so we can get a sense of his luxurious lifestyle and social status. We feel as if we’re there with them. As they enter deeper into the club, we can also sense that Henry navigates confidently into the kitchen and is taking Karen (an innocent woman, introduced into this new reality ) deeper into his world, the world of crime, violence and power. The single take scene continues until the couple makes its way into the club. The waiters bring a table for them, so now the attention is focused on them, until everything is ready for the couple to get seated. Henry is told that Mr. Tony, an acquaintance, is seated next to him and the camera makes a brief pan to show us his table, as well as the premium seat that the waiters chose for Henry, next to the orchestra. Undeniably, the beauty of this scene lies, on the one hand, to the perfect synchronization of the actors and the technical staff, such as the steadicam operator Larry McConkey, and on the other hand, to the symbolic nature of the scene. As Henry tried throughout his youth to climb to the top of the mobster world, in this scene he’s at the peak of his “gangster” career....