By Horatio Clare
We watched Shane. Tom and McQ commented often and in gusts of admiration and amusement about the shots, the arrangements, the decisions and the vagaries which attended the making of the film. They knew exactly what the director and camera operator were saying at the end of the day when they accidentally got the shot of the deer standing by the lake with the mountain framed between its antlers — they did imaginative impressions of them. The sound, the set-ups, the visual sub-text of the film, the actors’ biographies, their knowledge of the other work and even the families of people named in the titles: it was quite wonderful to listen to them. Sometimes I chimed in. We were comfortable now, old and new friends watching a movie, what could be easier? We were all interested and interesting.
Shane is sublime. The makers of Mission Impossible Seven were a little like cartoonists watching Rembrandt paint: artistically thrilled, effortlessly outclassed, but delightedly in the same game, leading members of the great tribe of film makers…
TO BE CONTINUED — NEXT WEEK: ROLL CREDITS!
