Posted in Oscars

An Epic Oscars Argument For The English Patient

   February 20, 2018  Leave a comment


TEP39
Reading Almásy words from his book, his constant mentioning of a woman “K” – and Katherine has to assume that is her. Kristin Scott Thomas is exception in these quiet, subtle moments. Ralph Fiennes compared her present on screen to that of Marlene Dietrich. I’d also offer vague comparisons to a certain Greta Garbo here.

TEP40
“Am I the K in your book? I feel I must be.” – Kristin Scott Thomas actually told Anthony Minghella before he officially cast her that she is the K in his film,

TEP41
Though Almásy hides from the inevitable romance, Katherine returns to him.

TEP42
Katherine slaps him (a fury of attraction), and they passionately embrace. Again, the stunning, layered production design only invites the heat. Almost feels like they are partly outdoors.

TEP43
After officially consummating their affair, Katherine joins Almásy in the bath. That checkered background again.

TEP44
Almásy foolishly tells Katherine that when she goes she must forget him, thus breaking the current joy of romance.

TEP45
Later, Almásy and Katherine pull a cracker – it’s Christmas. To get away from a gathering, he asks her to swoon, and that he will catch her. Notice again the division between the squares.

TEP46
With little hesitation, surrounded by feasting military, swoon she does.

TEP47
Katherine, in white, heads inside, where the waiting Almásy can be seen through the grid window frame.

TEP48
Almásy’s fascination with grooves on a woman’s body continues to the erotic, subtle nature of the film.

TEP49
The framing of Katherine’s naked back imitates the lines of the desert hills from Almásy’s comparison.

TEP50
A subtle hand hold as the couple re-emerge into the world – and the light.

TEP51
Hana briefly watching Kip as her attraction for him grows.

TEP52
The only shot in the film that directly depicts the action of war battle.

TEP53
Caravaggio’s flashback, moments before he is discovered.

TEP54
As he attempts to sneak away he is spotted and held at gunpoint. Everyone but Caravaggio drop to the ground.

TEP55
Aerial shot of the now imprisoned Caravaggio through bars – similar shot of Hana’s view as she looks down at Almásy in bed at the monastery.

TEP56
From inside the room, Caavaggio lit from the sun seeping through the ceiling window.

TEP57
The Muslim nurse in white symbolically comes down the stairs…

TEP58
…and she is ordered to do the horrific deed – cutting off Caravaggio’s thumbs.

TEP59
As we return to the monastery, Caravaggio revealing his wounds to Almásy, to whom he holds responsible.

TEP60
An outdoor cinema as Katherine waits for Almásy.

TEP61
The look on her face is a sorrow deeper than the movie’s impact.

TEP62
When Almásy arrives, Katherine calls off the affair, it is too dangerous. As she leaves she bangs her head on the pole, it just makes the goodbye even more painful. For us and them.

TEP63
Almásy joins the party later, clearly drunk. The scene establishing shots in The English Patient are consistently impressive.

TEP64
Mirrored from earlier, Almásy watches Katherine through the grid window.

TEP65
Almásy again corners her, but it is the reluctance that prevails over the passion – their encounter this time is not so open as she turns her back on him.

TEP66
Hana discovers small flames outside the monastery.

TEP67
They lead her away and across the grounds…

TEP68
…and into a room…

TEP69
…where Kip is waiting for her.

TEP70
They both ride Kip’s motorcycle to the church.

PLEASE CONTINUE >>>

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Author: Robin Write

I make sure it's known the company's in business. I'd see that it had a certain panache. That's what I'm good at. Not the work, not the work... the presentation.
Ida Filmotomy 10 Years

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