It’s the long take the characters in Robert Altman’s The Player (1992) talk about, as they move through an even longer one of their own. It is also his longest. The stakes are higher, the special effects more spectacular; you can really feel the fate of Middle Earth on the line as Frodo (Elijah Wood) battles a giant spider, Aragorn (Viggo Mortensen) leads a coalition of elves and dwarves and humans to defend Minas Tirith, and our breakfast-loving hobbits, trailed by Gollum, brave death to return the ring to Mount Doom. JFK (1991)Oliver Stone’s Nixon was also long enough to make this list, but the director’s thriller about the assassination of John F. Kennedy is, frankly, the film you will remember when you’re old and gray. Still one shot…”, Director Theo AngelopoulosCinematography Giorgos Arvanitis, Theo Angelopoulos was one of cinema’s greatest exponents of the sequence shot and one could choose any number of his films and find myriad masterful examples. Given that it's Tarkovsky's longest film, I tentatively approached Andrei Rublev as if it were a behemoth, which would require the patience, focus and aptitude of the most demanding Lav Diaz or Béla Tarr features. Lawrence of Arabia (1962)Sure, your butt might hurt after sitting through all of David Lean’s 216-minute widescreen epic. Setting up its Macguffin (a wearable virtual reality device that records and plays back what the user sees) and immediately mainlining the film’s themes of audience complicity in visual media consumption, it’s a bravura narrative delivery system that piles on the ethical complexities as the film progresses – not least in its brutal, perspective-flipping murder sequence. Jennifer Coolidge Hears You, But Kim Cattrall Is Too ‘Perfect’ to Replace. Director Jean-Luc GodardCinematography Raoul Coutard. Cassius Clay, Malcolm X, Sam Cooke, and Jim Brown really did meet up in a Florida motel in 1964. “It’s only the bad things that [audiences] are aware of, isn’t it? It’s an exhausting ride, and you can’t help but spare a thought for steadicam operator/DP Tillman Büttner, who captured the whole thing on the fourth, arduous take. May that John Williams score haunt you in your sleep. ASL (Average Shot Length) indicates the average duration of a shot between cuts in a film (total film run time divided by number of shots). I think we know this thug. Beatty, who also directed the film, is in the swan song of his hotness here. There are sequence shots of greater technical complexity later in the film than that which opens The Red and the White, to which any attempt at description would do a disservice. Well, three or four. It is Tarkovsky's longest and most violent film, and was only available in heavily cut versions until The Criterion Collection DVD release in 1999, which restored the … He only kicks a moderate amount of ass in this one. By neptune Russian movie Let's take a look at the rich tradition of Russian cinema this week. Director Johnnie ToCinematography Cheng Siu-keung, Watch the opening scene from Breaking News (2004). Warren Beatty and Diane Keaton play the titular socialists and Jack Nicholson shows up to play Eugene O’Neill (offering an unintentional preview of Something’s Gotta Give). The opening shot of Welles’s Touch of Evil was six and a half minutes long. Like a chill senior’s valedictory address, Endgame mixes good-humored winks with a misty-eyed reverence for everything that’s come before while never wearing out its welcome. Francis Ford Coppola makes the extra run time count: Part II is only 25 minutes longer than the first installment, but it expands the scope considerably, detailing the criminal rise of Vito Corleone and the spiritual fall of his son. It’s not the longest single take in movies – it’s not even the longest single take in this movie – but it’s the one we all remember, much to Welles’ disappointment: “I always resist compliments about that opening shot in Touch of Evil – because it’s one of those shots that shows the director making ‘a great shot,’ and I think that great shots should conceal themselves a little bit. movies that get in and out in under 90 minutes. So much is packed into what, in the end, feels like so little time: Tom Cruise at his megalomaniacal best as a TV evangelist; a full collection of P.T. Unlike Fanny and Alexander, Best of Youth, or Dekalog, Sátántangó was always envisioned as one film, which should give you some idea of Tarr’s style: meditative, accumulative, uncompromising. You decided to cut Hamlet, the greatest drama in the English language, in order to make it “shorter,” “more cinematic,” and “not four hours long”? And remember that Hattie McDaniel was the first African-American actor to win an Oscar, and think how far — or not so far — we’ve come*. There were tears on set when the shot was finally captured, Tarkovsky having finally agreed to cinematographer Sven … Lord of the Rings: The Return of the King (2003)Okay, so maybe the third installation of Peter Jackson’s remarkable adaptation of J.R.R. Director Prachya PinkaewCinematography Nattawut Kittikhun, Watch the long take from The Protector (2005). But that, by its nature, had to show it, because it told the plot. As a result, each take used up to a whole roll of film and lasts up to 10 minutes. While Stanley Kubrick was never shy about letting his movies breathe, Barry Lyndon has the honor of being his longest work: At 203 minutes, it’s longer than both 2001: A Space Odyssey and Eyes Wide Shut. Switching between a ground sweep and a soaring crane shot as a machine-gun toting baddie makes his way from a top window, the cut finally comes with a blazing whip-pan punctuated by an explosion. Uploaded by rider96 on 12/01/21 03:39pm - A subtitle by magico. Its depictions of ancient religion and ambiguity about politics got this film censored for years. There were tears on set when the shot was finally captured, Tarkovsky having finally agreed to cinematographer Sven Nyqvist’s request for a safety camera, after the first take was ruined by a film-jam. Pure adrenalin, pure class. But while the separate parts do have some differences — part one focuses on Stacy Martin’s Young Joe and is slightly less dark; part two concentrates on Charlotte Gainsbourg’s older Joe and is, uh, really dark — they really do make one large, disturbing whole and, in that way, are consummate von Trier. Director Michelangelo AntonioniCinematography Luciano Tovoli, Filming the climax of The Passenger (1975), Few pleasures in home cinema are greater than listening to Jack Nicholson’s sotto voce growl on the DVD commentary track of The Passenger, not least his description of the film’s monumental penultimate shot, through the barred window of a hotel custom-built to be pulled apart and repositioned as the camera makes its impossible move. As the film progresses, the eponymous ark takes on a double meaning: the museum and its treasures, of course, but also the content and confines of Sokurov’s frame. One shot. M ore than three decades after his passing, the films of Andrei Tarkovsky retain their ability to startle and astonish, as if they were transmissions from another universe. Unlike his better-known movies, Solaris and Stalker, Andrei Rublev is historical (not science fiction). Employing a series of fades with all the properties of a sigh to join his luxurious long-take visual pattern, the rhythm of the film feels like a series of breaths drawn, held and exhaled. Matthew Thrift Updated: 11 January 2018. "1917," with its high-octane action, large cast and ever-changing mis-en-scene, opted to stitch together takes up to nine minutes long -- and yes, though marketed as a … One shot. However, considering the long running time and the quality of the end product one can probably read David Brin's post-apocalyptic novel … Andrei Rublev is arguably the most accessible of Soviet director Andrei Tarkovsky’s films. It’s what people talk about when they talk about Touch of Evil (1958). Fanny and Alexander (1982)You know a movie’s long when even the short version tops three hours. What it’s saying is: ‘There’s a large reception being held in this house, but there is a drama here which no one is aware of, and at the core of that drama is this tiny object, this key.’”, Director Max OphülsCinematography Philippe Agostini and Christian Matras, Director Max Ophüls on the set of Le Plaisir (1952), In this trio of tales adapted from Guy de Maupassant, the extraordinary crane shot which scales the outside of a Normandy brothel at the beginning of the second episode would merit inclusion alone. Gone With the Wind (1939)You may cringe with the outdated attitudes toward race in this epic romance, which, adjusted for inflation, still has the biggest box office intake of all time, but boy, does the story still hold up. Gandhi (1982)An epic biopic in the youth-to-death mode, Richard Attenborough’s Gandhi is still one of the best entries in the genre that’s today easily dismissed as “Oscar bait.” Ben Kingsley’s performance rightly made him a star, and there’s real power in the film’s depiction of the nonviolence movement. Don’t let Touch of Evil’s sleaze and dazzle distract you... Touch of class: five dazzling 1950s posters for Touch of Evil, The Lady from Shanghai: Welles at his most mischievous. To celebrate the rerelease of Orson Welles’s Touch of Evil, which opens with one of cinema’s most famous and most suspenseful extended takes, Matthew Thrift goes long on 16 more amazing sequence shots. Not only that, he’s also going to shoot it in 70mm, fill the screen with an orgy of visual splendor, and bring in super-famous people like Robin Williams to play even the smallest parts. He set up the whole picture with that one tracking shot.” It’s apt that Altman’s movie about movies should open with a tracking shot about tracking shots, taking its cue from Welles, as announced, setting character and plot in perpetual motion. Unlike his better-known movies, Solaris and Stalker, Andrei Rublev is historical (not science fiction). Sátántangó isn’t an easy sit, but Susan Sontag once said she’d be glad to watch it every year of her life. The bold choice to shoot in black and white fits the somberness of the mission: To present, in unflinching terms, the devastation of the Holocaust, the brutality of the Nazi regime (as embodied in a terrifying Ralph Fiennes, in his first major role), and the work of one uneasy hero, Oskar Schindler (Liam Neeson), who built a factory employing Polish-Jews as a way to capitalize off the war and, in the process, saved over a thousand lives, keeping those workers on his payroll long after there was any monetary reason to do so. We know the killer will be at this party, and we’ll recognise him by his twitch. But it’s worth it to see the full vision of Stanley Kramer, which encompassed the many ways in which we can be driven mad in pursuit of a large sum of money. What’s that, Mel Gibson and Laurence Olivier? It’s what people talk about when they talk about sequence shots. Titanic (1997)James Cameron’s epic disaster-romance about the doomed ocean liner was the biggest movie ever made for its day: Theaters were packed with teenage girls who’d come out to see it for the 17th time and the lavish spectacle, not to mention Jack and Rose’s steamy first love, was worth every penny. One of the great shots in cinema. An old man scratching his shoulder, a boy is throwing stones. There’s something to be said for movies that get in and out in under 90 minutes, but there’s also a distinct pleasure in watching those movies whose run times sprawl out beyond three hours — especially if you happen to, say, be quarantined at home for extended periods time. Some of these long movies inflate the familiar three-act structure to epic proportions, while others use their expanded lengths to stretch out and wander into unexpected places. To be fair, only Part One features a rampaging Uma Thurman, but you should still watch both. Both are highlights of the Swedish master, but it’s worth seeking out the complete item. There's no greater statement of a director's prowess than a long shot in a single take. Andrei Rublev (1966) is Tarkovsky's longest film, at 205 minutes, and is a Biopic of medieval Russian icon painter Andrei Rublev, focusing on his role in creating the Russian Christian identity. While the obvious choice when it comes to Hitchcock and the sequence shot would be to head directly for Rope (1948), it’d be a shame to ignore the magnificent crane shot that marks the climax of Young and Innocent. It’s a shot of unparalleled beauty and wonder. Or the previous year’s Gravity? Promising Young Woman (2020) WEBSCR x264. Tarr matched the length of his film with the length of his takes, which often reach ten minutes without interruption. Experimental films. ©2021 British Film Institute. The opera contains writings by Christopher Knowles, Samuel M. Johnson and Lucinda Childs. Malcolm X (1992)There may be no more natural subject for the great filmmaker Spike Lee than Malcolm X, and there’s certainly no better muse than Denzel Washington; their meeting in Lee’s 202-minute adaptation of The Autobiography of Malcolm X is pure dynamite. Who’s Been Lie Lie Lying? Director Martin ScorseseCinematography Michael Ballhaus, “I like doing that kind of thing,” said Scorsese of perhaps his most iconic sequence, Ray Liotta’s entrance with Lorraine Bracco through the back of the Copacabana club in GoodFellas. The Wolf of Wall Street (2013)This tale of real-life gonzo stockbroker, Jordan Belfort features Leonardo DiCaprio literally having sex on piles of money, and living on a rotating regime of Quaaludes, Adderall, Xanax, pot, cocaine, and morphine. The story follows a small group of survivors in an unknown nuclear war-torn land, as the world is coming to an end. Propaganda as cinephile fever-dream, in I Am Cuba it’s almost impossible to pick a single sequence shot from the sheer number of awe-inspiring visual miracles Mikhail Kalatozov pulls off. What would Welles have made of the virtuosic ostentation of this year’s Birdman? Andrei Rublev (1966)Andrei Tarkovsky is arguably the patron saint of long films, and at 205 minutes, Andrei Rublev — his reflection on medieval Russia and the role of the Christian artist — is his longest film. Director Hou Hsiao-HsienCinematography Pin Bing Lee, Watch the opening shot from Flowers of Shanghai (1998). 6.9/10. Sergio Leone’s gangster opus spanned 229 minutes in its original European cut — the director initially wanted to release it in two three-hour parts — then got reduced to 139 minutes by its American distributors with the predictable effects of arbitrarily disemboweling 90 minutes of a film. It has been strongly associated with the 20th century. Its depictions of ancient religion and ambiguity about politics got this film censored for years. Avengers: Endgame (2019)How do you wrap up a 20-plus installment superhero saga that climaxed with the instantaneous disappearance of half the living beings in the universe? Director Alfred HitchcockCinematography Bernard Knowles, Setting up the crane shot in Young and Innocent (1937). While most cinematic films have a broad theatrical release in multiple locations through normal distribution channels, some of the longest films are experimental in nature or created for art gallery installations, having never been simultaneously released to multiple screens or intended for mainstream audiences. Tour our gallery of Ingmar Bergman movies. The answer to the movie’s titular battle prospect is obviously Kong, The 100 Best Movies on Amazon Prime Right Now, The True Events That Inspired Regina King’s. The protagonists weaving through the wreckage barely pause – even for the bloody carnage that serves as the shot’s brutal punchline – and neither does Godard’s indifferent camera, save for a double take of kinship with a comically aloof llama. Well, we’ve sifted through the backend of cinema history, from the silent era all the way up to the present, and collected and ranked the 95 best-reviewed movies that run three hours or longer (and have a Tomatometer score) to vanquish those pesky waking moments. A 13-minute unbroken take (albeit one with a few hidden cuts, granted) is all but an hors d’oeuvre to the formal chutzpah to come, from a master craftsman who rarely brought anything but his A-game. War film is a film genre concerned with warfare, typically about naval, air, or land battles, with combat scenes central to the drama. With the 1998 reconstruction of Touch of Evil back on the big screen as part of BFI Southbank’s comprehensive Welles retrospective, we took a look at some other virtuoso long takes in cinema, whether Welles would approve or not. Jennifer Lopez Plays Little Mermaid, Big Snowman in Her ‘In the Morning’ Video. The girl is leaving. Under Godard’s laconically satirical gaze, we roam past emblems of capitalist might and western civilisation, French society in microcosm, broken down and gridlocked bumper to bumper. “It had to be done in one sweeping shot,” continues Scorsese, “because it’s his seduction of her and it’s also the lifestyle seducing him.”, Director Robert AltmanCinematography Jean Lépine. Once Upon a Time in America (1984)Length: It doesn’t make it easy. Speaking of whom… There are few filmmakers who demonstrate such masterful command over the extremities of cinematic style quite like Brian De Palma. Here’s what we know about that historic night. Hitchcock’s camera starts in the hotel lobby, moves up and across the adjacent ballroom, over the dancing crowd and into the bandstand, settling on a tight close-up of a blackfaced drummer, locking onto his eyes as they furiously begin to twitch. There’s a lyricism to the dextrously sinuous prowl of Jancsó’s camera that serves as counterpoint to the film’s impassive detachment to its numerous killings, the first gunshot we hear a brutal jolt from the elegant means by which it’s captured. The Godfather, Part II (1974)Not only is The Godfather: Part II the rare sequel that’s better than the original, it also holds the distinction of being longer, as well. Kathryn Bigelow opens Strange Days with a sensational coup de cinema, a three-minute robbery-gone-wrong shot from the first-person vantage point of one of the crooks. A long running voting poll that sees films compete for points at the end of the week. If you prefer your action set-pieces conducted mano-a-mano, you can quite literally get your kicks from the barnstorming central sequence of Prachya Pinkaew’s The Protector. But I prefer the ones that don’t, that conceal themselves.”. The Deer Hunter (1978)Michael Cimino’s Vietnam War masterpiece boasts landmark performances from three of Hollywood’s most notable performers of the last half-century — Robert De Niro, Christopher Walken, and Meryl Streep — as well as the final role of John Cazale, who had one of the most unfortunately abbreviated acting careers we’ve ever seen. “The pictures they make these days are all MTV: cut, cut, cut. (Which, to be fare, is hardly Forrest Gump.) Watch Malcolm X and you’ll be impressed that it only took Lee this long to cover the life of such a dynamic figure; Malcolm’s life certainly stymied plenty of writers, including such lions as James Baldwin, before Lee managed to wrangle it onscreen. Sátántangó (1994)There are long movies, and then there’s Sátántangó, Bela Tarr’s legendary seven-hour adaptation of the novel of the same name by the Hungarian writer László Krasznahorkai. The opening, post-credits shot (a tracking shot of Alexander, Little Man, and Otto talking and walking) lasts nine minutes and twenty-six seconds, the longest single take in all of Tarkovsky's work. Gandalf would be so proud. Touch of Evil is back in cinemas now, including an extended run at BFI Southbank. The girl hears an ambulance. The one cited as one of the great opening shots in cinema. It is also his longest. Whether you prefer this version to its predecessors … well, that is the question. Scaling the side of buildings and surveilling the scene in a non-descript alleyway, To’s camera marks each of the characters – cop and crook alike – creating a superior sense of spatial awareness through multiple sub-scenes (all within the one shot) before the bullets start to fly. The reduced release flopped; the original is one of the spaghetti-western auteur’s masterworks, an epic of the American dream. Bathed in controversy for its graphic lesbian sex scenes and the actresses’ subsequent complaints of horrid working conditions under director Abdellatif Kechiche, the film is nonetheless remarkable for realism that unfolds in unhurried but always-fascinating fashion and for the fact that after 179 minutes, you find yourself still wanting to know more. Magnolia (1999)Almost a companion piece to Altman’s Short Cuts, Paul Thomas Anderson’s 1999 collection of interlocking stories in Los Angeles has an urgent longing; these are stories of people who are trying their best and failing, and begging for forgiveness. Meanwhile, his L.A. home was the target of a burglary while he was in the hospital. One of Godard’s most famous sequences, the eight-minute tracking shot alongside a traffic jam outside Paris is as pregnant with symbolism and mischievous dark humour as anything in the director’s work. But it’s the opening tale which contains one of cinema’s greatest shots: a spinning marvel through a party, as a man (“as graceless as a terrier among greyhounds”) dances to the point of collapse, the mask he wears concealing his advanced years. Later this year sees the arrival of Sebastian Schipper’s Berlin Silver Bear-winning Victoria (2015) – one shot, 134 minutes – putting paid to Welles’ notion that, “You can never make those kinds of shots in Europe – you can get an operator who can do it, but never a grip like an American one.”. The most famous comes early, as the camera takes in a rooftop beauty pageant before floating downwards to follow a bikini-clad girl into a swimming pool, both she and the camera submerging underwater. You\'ll receive the next newsletter in your inbox. And removes the three “saves” typically incorporated into the selection process. Debunked or not, it’s a must-watch. “In a certain manner,” said Angelopoulos of his propensity for the long take, “each shot is a living thing, with a breath of its own, that consists of inhaling and exhaling. In case you were thinking she’d make a great replacement Sam Jones. Andrei Tarkovsky is arguably the patron saint of long films, and at 205 minutes, Andrei Rublev — his reflection on medieval Russia and the role of the Christian artist — is his longest film It’s a seductive vision, steadily undermined as the masterful film continues, Hou’s camera alone evincing an exquisite melancholy of peerless delicacy. Whatever they’re aware of is your failure as a director.”. Sounds like you could go for a movie – a really loooong movie. Tony Jaa wants his elephants back. We wouldn’t necessarily suggest marathoning these films back-to-back, but watching them one at a time is an experience worth clearing your schedule for. Kenneth Branagh has no time for your mess. Not knowing who took them, he fights everyone. Still one shot. At 183 minutes and with a level of intensity that, on a scale of one-to-ten, ranks somewhere in the triple digits, the movie is not what you’d call easygoing, but you’ll certainly end up with a new appreciation for the possibilities of roulette, not to mention the toll of ’Nam. It’s also a beautiful one, and, at 186 minutes, is one of the few movies based on Victorian literature that truly feels novelistic. As if those three films weren’t enough, Dekalog basically represents ten more masterworks, each based on one of the Ten Commandments. Yet even more astounding is the later funeral procession, captured in a seemingly impossible single take. Maybe we’re too engrossed by then to notice? Cleopatra (1963)The sets! Gravity (Alfonso Cuarón, 2013, 17m)The long shot that opens Cuarón’s space survival tale earned … With a 182-minute “time heist” through the history of the Marvel Cinematic Universe, of course. It is Tarkovsky's longest and most violent film, and was only available in heavily cut versions until the Criterion Collection DVD release in 1999, which restored the film to … The stars! Tess (1979)An adaptation of Thomas Hardy’s Tess of the d’Urbervilles, which you possibly read in high school, Roman Polanski’s film is dedicated to his late wife Sharon Tate — who was murdered by the Manson Family — which makes it a predictably heavy affair*. After all, if you think about it like a TV series, 312 minutes is a bargain — that’s like one episode of Game of Thrones. He’s never one to shy away from brazen displays of ostentatious technique – much like his leading man here, Nicolas Cage – and the razzle-dazzle showmanship that opens his underrated thriller Snake Eyes serves to eclipse not only its Vegas fight-night bombast, but also the similarly elaborate steadicam number that opened his Bonfire of the Vanities adaptation eight years earlier. In other words, the films I like best are the ones least like the sort of films I’m accused of making.”, Of course, the bravura stylistic flourish of the sequence shot didn’t start with Welles, and it won’t finish with Birdman. As Hitchcock told Truffaut: “That sweeping movement of the camera is making a statement. The story of an Irish adventurer’s social rise in the 18th century, Barry Lyndon doesn’t have the wide appeal of Dr. Strangelove or A Clockwork Orange, but for the patient viewer, its rewards are just as rich. Director Brian De PalmaCinematography Stephen H. Burum. One of his lesser known titles, made after the magisterial The Travelling Players (1975), The Hunters exists in multiple time periods between 1949 and 1976, and features a temporal-law shattering shot that crosses eras without a cut, as a man walks from the beach into town, from 1949 to 1963. Registered charity 287780. Nevertheless, it shares the same essential qualities as those later films in that it relies more on mood and atmosphere … Two decades later, parts of the film may seem cheesy or overwrought (especially the soaring Celine Dion ballads), but goddamn it if you won’t be entertained and even shed a tear when the fiddler literally goes down with the ship. While they were originally made for television, the parts of Dekalog certainly feel cinematic in nature; whether you consider them TV or film, which is becoming an increasingly less-meaningful description, they are all unapologetically art. It's a data used to compare films from their editing style : how often do they cut, how long do the shots last. The film follows three men – the Scientist (Nikolai Grinko), the Writer (Anatoliy Solonitsyn), and the Stalker (Alexander Kaidanovsky) — as they travel through a mysterious and … All rights reserved. His longest film. 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