English patient
The English Patient, directed by Anthony Minghella, is a romantic, melodramatic film which defines the art of cinematography. The internal and external rhythms, lighting, camera angles, lenses, music, dialogue, and editing are displayed in a way which conveys the meanings and themes to the viewer in such a clear and efficient manner. Due to this fine exhibition, it is of the belief that film schools should use this piece of artwork as a guide to students who wish to learn what cinematography actually is. So poetically did this phenomenal cast tell the story based on Michael Ondaatje's novel, that after each viewing , a greater love, understanding, respect and admiration arose without any signs of boredom. One of the numerous themes of The English Patient is the troubles, hardships and ever lasting negative emotions that war causes. It tells us that: even if one is lucky enough to escape the war without physical wounds, emotionally there is no escaping its impact. All of the main characters undergo some sort of "pain" as a result of the war between the Axis and Ally forces. The protagonist, Count Laszlo Almasy, a Hungarian cartographer, perhaps has been struck the hardest of any. Almasy is rescued from his plane after it is shot
In unison, everyone in the room raises their glasses and chants "Merry Christmas. The English Patient utilizes all aspects of cinematography so brilliantly which is why there is such a tremendous amount of meaning. At times, the pain is so severe that Hana wishes death upon herself. Almasy stands behind the window with a shadow casted on his head from metal bars. The cutting rhythm of this scene is quite dynamic. The dialogue is so deep and significant that every line should be carefully listened to and thought about. Minghella outlines this negative theme throughout the film by displaying numerous tragedies. The camera cuts back and forth between the two. This shot foreshadows a later remark made by Almasy during a sequence when he and Katherine make love and Almasy states: "I claim this for me. This was accomplished with the remarkable cinematography involved in the making of this film. The most illustrious example of this lies in the relationship between Count Laszlo Almasy and Katherine Clifton. Other examples include light from bonfires and lanterns. The scene cuts to Katherine one final time and her head is dominating the entire screen from left to right. " At this precise moment the camera is located at a high position directly above the courtyard, tilting down. This scene was extremely significant, and perhaps even climatic, as we see Almasy and Katherine Clifton passionately sexually interact for the second time.
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