There are many ways to make a movie, says film critÂic Jim EmerÂson, and many ways to make a mess.
The truck chase scene from ChristoÂpher Nolan’s 2008 film The Dark Knight is frankly a mess, as EmerÂson demonÂstrates in a fasÂciÂnatÂing video essay (above) proÂduced as the first in a three-part series on the lanÂguage of action sequences for the Indiewire blog Press Play. “We notice lapsÂes in visuÂal logÂic whether our brains regÂisÂter them conÂsciousÂly or not,” writes EmerÂson. “I found this scene utterÂly bafÂfling the first time I saw it, and every subÂseÂquent time. At last, I now know exactÂly why.”
After studyÂing the sequence shot by shot he realÂized that Nolan had vioÂlatÂed funÂdaÂmenÂtal rules of film gramÂmar. You can folÂlow along as EmerÂson, a SeatÂtle-based critÂic who writes the ScanÂners film blog for the ChicaÂgo Sun-Times, sorts out the conÂfuÂsion. (There is an accomÂpaÂnyÂing annoÂtatÂed tranÂscript on ScanÂners.) And be sure to watch EmerÂsonÂ’s folÂlow-up essays (below) which offer shot-by-shot analyÂses of action scenes that are clearÂly intelÂliÂgiÂble.
In Part II of his series (above), EmerÂson breaks down the highÂway chase scene from Phillip Noyce’s 2010 film, Salt. The sequence is easy to folÂlow because Noyce is careÂful to estabÂlish the spaÂtial relaÂtionÂships between the varÂiÂous eleÂments, both withÂin the frame and between shots. Writes EmerÂson:
There are cerÂtain direcÂtors I think of as “one-thing-at-a-time” filmÂmakÂers. That is, they seem to be incaÂpable of comÂposÂing shots that have more than one piece of inforÂmaÂtion in them at a time. This makes for a very flat, rather plodÂding style. You see what the camÂera is pointÂed at in each shot, but you get very litÂtle sense of perÂspecÂtive when it comes to relatÂing it to othÂer eleÂments in the scene. Noyce’s techÂnique is much more fluÂid, organÂic and sophisÂtiÂcatÂed. He keeps things from one shot visÂiÂble in the next, even when shiftÂing perspective–whether it’s only a few feet or clear across sevÂerÂal lanes of trafÂfic.
In Part III (above), EmerÂson revisÂits clasÂsic chase scenes from three films: Don Siegel’s The LineÂup (1958), Peter Yates’s BulÂlitt (1968) and William FriedÂkin’s The French ConÂnecÂtion (1971). In each case the direcÂtor takes you on a chaotÂic, bumpy ride–but nevÂer losÂes you.