Best Shot Picks and Nathaniel's Choice from 'The Godfather'

by Nathaniel R

Our film title this week on Hit Me With Your Best Shot was in honor of the restoration of The Godfather (1972) for its 50th Anniversary. Here are the Best Shot choices from seven participants and my own towards the end of the post. Click on the images that follow to read the corresponding articles. I'll be "talking" inbetween the images about a film I've never written about before (!) as I select my own... 

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Claudio's Best Shot Pick: The Godfather (1972)

The next episode of our series, ‘Hit Me With Your Best Shot,’ arrives tomorrow night. It’s focused on The Godfather on the occasion of its new restoration. You still have time to participate. For now, as something of a preview, here’s Cláudio’s entry.

The Godfather is one of those canonized classics about which there is nothing new to say. Its themes and visual strategies have been overanalyzed ad nauseam across decades, from Coppola's Viscontian staging to Gordon Willis's shadowy cinematography. Choosing the best shot from such masterpiece and justifying that choice is thus a complicated exercise where one risks obsolescence, repetition, utter failure. Indeed, of this season's best shot challenges, this was the hardest...

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Hit Me With Your Best Shot: 'The Conversation'

by Nathaniel R

a wonderful 'establishing shot' not of a building but of a man (Gene Hackman), his targets (in photographs), and the tools of his trade.

Francis Ford Coppola's The Conversation (1974)  is nothing if not elusive. So many of the images in this paranoid mystery are obstructed. Coppola and the cinematographer Bill Butler are continually adjusting focus and searching for the subject and his targets. The protagonist, an 'unreliable narrator' type albeit without the narration, is Harry Caul (Gene Hackman, brilliant) and he's often hiding in the corner of frames, or with his back turned to us. The film begins with a full circle, as Harry is spying on a man and a woman as they walk around a city park. For what reason we do not yet know and might never know. Though we see his targets frequently, there are constant visual interruptions from trees and people and their own movements. We understand this to be Harry's view, figuratively if not literally, since people can't move like a crane shot or zoom in for a closeup...

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An Offer Elle Couldn't Refuse

by Jason Adams

Have you been keeping up with the movie about the making of The Godfather? It was announced last September that Jake Gyllenhaal will be playing the infamous producer Robert Evans while Oscar Isaac will be director Francis Ford Coppola in Francis and the Godfather, with Barry Levinson directing the thing. My ears, eyes, and everythings perked right up, and so I have been paying close attention ever since and now there's more casting news...

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Horror Costuming: Bram Stoker's Dracula

by Cláudio Alves

For the past few weeks, I've been exploring the greatness of costume design in the realm of horror cinema. None of the movies we discussed, not even those somewhat embraced in the awards circuit, got many golden laurels for their feats of costuming. That's, unfortunately, what usually happens to cinematic excellence that happens to manifest outside the boundaries of prestige drama. However, there are always a few exceptions that prove the rule. Such is the case of Francis Ford Coppola's 1992 adaptation of Bram Stoker's Dracula. The picture won three Academy Awards, including the prize for Best Costume Design.

The creations of the late Eiko Ishioka are some of the weirdest and most spellbinding costumes ever made for cinema and, as far as I'm concerned, she's the greatest recipient of my favorite Oscar. Michael has recently explored his first foray into the dark marvels of Dracula, and Jason has previously explored Eiko's Oscar win. Nonetheless, I couldn't let Halloween go by without revisiting this most wondrous of big-screen wardrobes. Join me on this deep dive into the nightmarish fantasy of Eiko Ishioka's Dracula…

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