Wednesday, August 18, 2010

THAS: Scene from The Texas Chain Saw Massacre #1

#1 - Composition - The Gas Stop Intermezzo

Progrefsive Movements

for the

Camera Forte




Tobe Hooper

Part I - Vagone Allegretto *
* Fast Wagon!

camera ritardando


Part II - Andante

Blue work-shirt 1st trumpet bridges the transition with a slurred A-flat sit-down, cuing the faint entrance of the porch-door cello.
(Hooper's directing is akin to orchestral composition.
He treats objects in his shots like instrumental lines,
and always tries never to miss a fluid bridge on action
and movement.)
The female flutists' Bathroom-Break harmony is also gracefully bridged from the previous movement:* †
* notice the girls still exiting in the background

(The tonic chord [shot], methodically returned to:)

(Hooper's Melodic Counterpoint:
Two melodic voices - the four instrumentalists in the
foreground, the two in the background - become caught
in harmonic interdependence within the camera-
composition; Altman, for another example, thrives on
this creation of diegetic polyphony)

The Cook and Washboy Medley

The washrag percussion echoes across the orchestration like a shadow flitting across faces:

The flutes are picked up again at a return to the tonic shot:

Used in reaction to the tonic flutes flitting in, the dominant Fifth chord:

... the dominant Fifth creates melodic instability, and the Brass POV of the Cook-Cello eying the flute line for his first time creates a creepy tremolo...
(It's the predator spotting the prey for his first
time, the onlooking horns having little idea
of the grave presentiment of the moment.)

(And a return to the tonic comfort and banality
of the establishing shot:)

Part III - Soda Machine Appassionato
alla breve
ass-shot molto staccatissimo

* accelerando

Allegro in D-flat for Whip-Pan and Fiddle

(Camera-inside-van [above] switches to camera-outside-
van [below], the two shots made rhythmically [and
geometrically] parallel, like two instruments passing
a lietmotif in a symphony)

* "Dammit to hell, we should have stopped back there for gas!"
* sforzando

Part IV - Fool's Errand in Three Pieces
----Dolly-track Maestoso----

No. 1, Into the Store

No. 2, The Knife Interlude
(One simple, sustained moment separating the
two mirroring dolly shots of Jerry leaving the van
and Jerry returning to the van.)
Tuba dolce begins the passage...

"You think I said something to make him mad?"

... and the composition segues to the trumpeter, bruscamente.

* "Franklin, you're crazier than he was!"
No. 3, Out of the Store

The meeting of the melodies, the flutes and horns converging.

Part V - Ritornello
D.S. al Fine (return to il segno
and end at Fine.)
(A dolly sweep along the van closes out the scene - bookends
with the dolly sweep along the van that opens the scene)

(Slow crawl sublimely initiated upon Sally's notice of the segno rosso:)


--------... poco a poco...--------

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