Lost Art of Filmmaking represents my attempt to highlight examples of film language that no longer seems to appear on the radar of a majority of working filmmakers. Each column, I’ll choose a clip from a movie that demonstrates a ‘lost art’ of some sort, ask you to watch it, and then go into detail about why this particular slice of movie is worth bringing back into focus.
Here’s my second dip into Spielberg’s portfolio (there’s so many to choose from). It’s another example of how a little bit of innovation can turn a simple throwaway scene into one with more visual merit.
THE SUGARLAND EXPRESS is Spielberg’s first theatrical release (unless you count DUEL). It stars William Atherton and Goldie Hawn as two escaped convicts on the lam in an effort to retrieve their ‘baby Langston’ from a foster-care home that plans on adopting him legally. Through Murphy’s Law, they end up kidnapping a young police officer and become the subject of one of the largest police car chases in Texas history – as well as becoming local folk heroes. Personally, it’s one of my favorites of his films.
This movie showcases what would become some of his usual stylistic flourishes. His use of featured extras and never-before-seen faces add levels of realism and humor to his sequences. The theme of the ‘everyman (and woman)’ living an adventure beyond their normal everday lives is also featured. It also features Spielberg’s willingness to use new technology to further his vision for his films.
Right around this time, a new camera was invented by Panavision called the Panaflex camera. It was considered a revolutionary lightweight camera that could be used in handheld or studio conditions. It eliminated the need for a sound blimp, which was a cumbersome housing used to dull the noise of the camera’s shutter click. It could also synchronize handheld work.
SUGARLAND EXPRESS was the first film ever to use this camera – which would be a pre-cursor to the now super-popular Steadicam.
It’s a long introduction for a relatively short shot, but it’s a shot that could not have existed without this camera. Check out this one:
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A moving 360 degree pan. That’s Ben Johnson driving the police cruiser – he’s the head of the Texas Rangers – and he’s responsible for staying in the shot, as well as saying his lines. Atherton has to maintain his blocking to protect the framing of the shot. So does the deputy and Goldie.
And above all – did anyone else wonder where the hell the crew was hiding? On the outside roof of the car? Was the camera remote controlled? Are they under the car, and the car is actually on a trailer? Where did they go play hide-and-seek?
I’m aware that it’s an easy shot to duplicate in today’s world. But this shot was done in 1974. Before the advent of all the technological niceties we have today.
That’s why I’m including it here. Because it was done before it was made easy. It’s a shot that’s always stuck out in my mind… now I hope it sticks out in yours.
