Tony Montana, Second Floor, First Floor discussed on Overthinking It Podcast
Who's never called by the name that clearly refers to him and that is the title of the movie but the the it may be also humidity the character who gets everything he wants is the most miserable throughout the entire thing. He's never happy. This guy's never never satisfied. He's always pissed off at somebody you know and i really think like tony. Soprano he needs to do some work on himself. He needs to really work on. Mindfulness you know and gratitude. Mindfulness and gratitude for tony montana. That's that's that's what i think but sorry we thank you thank you. I talking about the the generation of directors came of age in in the seventy s. And yeah they say doing l. pacino impression. Flawless was like what would you say in that situation. I don't know i feel like this. Meditation is put in for me. I mean mark did you ever actually the cinematography of the movie. I did that the shot that you mentioned before is a gorgeous shot on add like the neon reflecting onto the street as well as like just like you're just elation of eighty s lewdness as you can get the wet street with a wet actually. Don't know who shot this. i'm gonna look it up but yeah the oh my god the wet the wet street anyway. Yeah yeah. I want to talk about the particular really notice that the camera year is like really is very intentionally trying to do something but kind of grasping around a little bit trying to figure out what exactly it was. It is The scene As forementioned Lead up to the aforementioned chainsaw scene where they got other car tony and his accomplice get out of the car and they send. I believe two flights of stairs so you know first floor second floor third floor and the camera is expertly tracking them up as they go. You guys aren't really yes. Yes yes yes so i my brain is looking at this. Like this is very notable right like a million different ways. You could shoot this but this one in particular. They had to go out a lot. They clearly weren't there a lot of trouble to get this way and it feels good and it's something but i'm not entirely sure what it is. He doesn't pack from a well. There's a few different angles to it. I think the one what angle that i liked when i saw it. And this just might have been me reading into. It was that when tony and his an angel climb the stairs they climb the stairs right. They're focused on climbing the stairs. But when manny climbs the stairs he sends the other guy around to the side because he anticipates that somebody else might also wanna climb stairs. And so as a result of tony and angel climbing the stairs kind of not looking back and not looking sideways. Kind of bowling forward. They end up getting ambushed by other people who are also climbing the stairs behind them. And i thought that sir but that's that's sort of like that's not the purpose of is shot because you have to give it the old stanley fish treatment and recognize that that extra information from manny doesn't arrive until later in this shot. It's almost feels like they're in a honeycomb writer an insect habitats right. It's like it's like daito in the bees in the near where they've arrived at the city. Where these like things have been built and they're scaling them right and there are other seeing all the activity around them in their kind of joining. It I mean yeah i guess i mean the simple thing. Is that bhai climbing by by by going into and going up there's more action right to go in and go up Everything there's a lot of spaces that have concentric layers that matt already referred to the diner but other places right kind of expand outward but then once you get inward you have to go upward right and so what you don't recognize that with the upward. This comes danger comes dehumanisation right comes. You know the the various social crimes social sins that the side is is sort of engaged in. I mean how many different tall places are there in the movie that are bad. I mean bolivia right a helicopter helicopter. Don't go in ellicott through good after. That's the highest place where the worst things happen right. I mean tony's tony's own temple of a theme nikkei right which is. I think what they are architectural inspiration. For tony's house is is the temple of victory right if sat instead of saying it says the world is yours right right right exactly so yeah i mean i would say yeah that that that there's both going in and going up and it does recall old new. Are you know gangster movies where there are lots of gunfights staircases. But it's new because you can see from the outside Which is not something. That's i mean. I guess you could do it. A fire risk. But that's a different vibe to it. I know matt. What did you think that shot. So i think that like think about like what the camera is and kind of what it represents in terms of what it does right and and is the chemical like a narrator where you know. Sometimes it's a first person narrator and you only see things that are kind of point of view or very close to point of view limited to one character like that. You know that is one way to do it. Another is that it's sort of a. It's more theatrical. You know. it's a third person thing and it shows you just. It shows you kind of objective an objective. Look at what's going on. You know maybe in a wide shot and you see the different people acting and it sort of is not. The photography is not preferential two to one point of view or another and then maybe like a further her way down this continuum. There's a camera that's like curious and is is almost independent right and and so here. It's i think mark like the interesting thing is that that is i. Think one of two two or three similar shots kind of crane type shots where we go down from the second floor motel room where this thing is taking place Where this kind of botched drug dealers taking place to To the car where who who many sitting in the car right and he's flirting with someone with women's walking by in a bikini and like not really paying attention and it's kind of like as you've seen you know the the the the accomplices show up behind Behind tony where he stabbed her behind. Tony's crew guy where he standing in the in the doorway. You know the the You see the the sort of the others. Who are they colombians. In this case. I think like just sort of showing up in the like that. Silhouette behind him prefiguring the end of the movie a little bit by the way like your your mind is thinking. Well what is what's going on. Like what is What where is the backup that tony wisely asked to sort of so wait in the car and keep and you know then. The camera floats back down to to the car. It's it's almost like it's sort of manifestation of your anxiety you know of like or of where you want to look and it does a couple things one is sort of tracks what you're thinking about..