* A moment from The Texas Chainsaw Massacre 2, in four pieces (go from bottom to top).
* This is bold, self-demanding, highly effortful and aspiring visual composition - so striking not because it is "stylish" or sleek, dynamic or thrill-creating, but because it is communicative of idea and meaning.
* Being done here is the kind of allegory-making that is firmly and solely in the hands of the film director-artist -- a purely "directorial" allegory-making. For in his composition (of the dance of characters and camera), is really a graceful and conceptually full visual-symbolical encapsulation of the essence of the brothers' dynamic and the heightened meanings in it. In the form itself is contained the expression of the characters' natures and feelings: the Cook's patriarchal and parochial bullying embodied in the camera's aggression; Leatherface's pitiable vulnerability in his "volleying" in and out of the frame; and Chop-Top's dissociative, manic dissoluteness in his background presence, then ambushing the frame with more of his war-spew.
* Added on top of the articulacy of Hooper's directing is his plunging into the heightened comedic tone - tone, a separate thing from form, having its own allegorical functions and creative results. It suggests a great film adaptation of a work of the Theatre of the Absurd - Carson's script's absurdist tropes grasped by Hooper with a sense of both the comedy and the obscenity of the piece, as well as of character intimacy and the power of clowning and gesture [... yet treated with the same graceful expressiveness of camera that is so uniformly a piece in all Hooper's work, without regression to some low expectation for form in comedic film...]. In fact, Hooper's knack for entropic allegory in general, in the content he chooses, in his formalist directing, and his constant creation of environments so heightened and bleak they're practically existentialist, makes me think Hooper would definitely feel affinity with the work of the absurdist dramatists, and makes me dream of a Tobe Hooper Presents Waiting for Godot.
SHOT 1 / Sawyers peer into tunnel, inching TOWARDS the camera. / Camera is moving BACKWARDS with them.