Raj and DK’s handling of these scenes isn’t particularly special-the CGI is spotty, and you can clearly make out the ‘hidden cuts’ if you pay enough attention-but part of the thrill of watching them is appreciating just how easily they could’ve fallen apart, but didn’t.Īnyway, The Family Man does it really well, and you can almost anticipate that this will become a signature of sorts for Raj and DK in their future projects. In India, though, when you think of flashy sequences such as these, you will likely (and understandably) be reminded of The Family Man. The maestro quickly came to be regarded as the most skilled architect of these single take sequences working today, perhaps besides the master of the ‘oners’ Steven Spielberg, who would probably still be the best in the business even if he were to dedicate the rest of his career to shooting the patches of grass and nothing else. Cuarón’s fluid, immersive style inspired similar scenes in True Detective, Game of Thrones, the Kingsman movies, Atomic Blonde, and countless others, culminating with Sam Mendes’ near-miraculous 1917, the entirety of which was made to appear like an unbroken single sequence.Īlso read | RRR: SS Rajamouli’s epic tests the limits of believability, but nothing is as far-fetched as Ram Charan’s character arcĬuarón himself doubled down on this flamboyance in his subsequent films-the space survival thriller Gravity, and the semi-autobiographical drama Roma. These scenes were a much-needed diversion from the explosion-heavy brand of action that we’d become accustomed to in the 90s, thanks to Michael Bay and Simon West, and the quick-cutting, almost queasy intensity of the game-changing Jason Bourne movies by Paul Greengrass. Possibly the most prominent early example of sequences such as this came in director Alfonso Cuarón’s Children of Men-a film that tanked commercially when it was first released, but almost instantly gained a reputation as a modern classic of the science-fiction genre. These scenes aren’t actually filmed in elaborately choreographed single takes, but are instead stitched together from several individual shots, which, by the way, is the industry practice the world over.
One of the most impressive things about Prime Video’s The Family Man-and there are many-is directors Raj Nidimoru and Krishna DK’s giddy enthusiasm for long, unbroken action sequences.
0 kommentar(er)
