Hopefully you enjoyed and/or agreed with my best of list yesterday. Now it's time to get into the real grit of awards, and to start, I want to highlight something that I find fascinating that awards don't concentrate enough on, the best scenes of the year. Sometimes, there can be just one scene that transcends a film from being good, to great. Other times it may just be a really great shot that wowed me when I was viewing the film.
I decided to go with eleven shots for this segment simply because top ten this and top ten that can get pretty redundant after awhile; so why not mix things up a bit? Some of these entries may be a bit surprising, but I like to think that even in lesser films, that there is something redeeming about them, which is the case with my 11 and 10 picks. They are by far the weakest films to appear on this list, but their two scenes really struck me as being quite good.
Some of these shots are screen captures from my DVD's, and their quality may not be that good.All of the shots, however, come from the scenes discussed.
Oh, and P.S., this post contains heavy spoilers for several of the films discussed. Don't read my comments if you have not already seen the film.
Let's get to it then.
11) The Book of Eli: Shadow Fight
10) Kick-Ass: Strobe Light
Unfortunately, this isn't the greatest photo in the world, but if you've seen Kick-Ass, then I'm sure you know this scene, and it's impact on the story. What I love about this shot is the amount of color going on, and how they are all highlighted, instead of washed away in the strobe lights blue color. It gives our eyes so much to focus on in only a matter of seconds. Notice too, how both deaths here are represented with red. Big Daddy, of course, on fire, and the goon wearing the red mask. Also too, the poise of Hit-Girl as she aims her shot, and the utter terror of Kick-Ass, not knowing what the hell is going on.
9) A Prophet: Happy One Year
Malik awakens, we assume it's the next day, until he sits up and we notice a considerable change in his appearance. His hair is longer, he looks poorly slept. Then appears Reyeb, speaking for the first time since Malik murdered him, singing him "Happy birthday" but instead singing "Happy One Year", for the first anniversary of his incarceration. Reyeb blows out the light, and is gone. It is such a simple scene, yet is a powerful set up for Malik's rise to power in the prison, and a great foreshadow for his onging visuals of Reyeb.
8) Winter's Bone: Showdown
Easily the scene with the most amount of tension on the list, and also the highlight of Winter's Bone. John Hawkes gives a pitch perfect performance as Teardrop, and this scene is his finest. Debra Granik is able to craft so much drama between Teardrop and the officer, and at this point in the film, we're not really sure what Teardrop is capable of doing. This shot in particular, when we see Teardrop holding the rifle, makes you lean just a little bit more forward in your seat, not sure what is going to happen next. When the officer leaves, but insists that Teardrop didn't stare him down, we know better.
7) Shutter Island: Execution
Scorsese's Shutter Island did not, unfortunately, live up to its steep expectations, but one of its lasting qualities was the effective cinematography throughout the film. This scene in particular, is its finest. The long take dolly shot lets the viewer settle into the shock of the executions, then settle in more as the horror continues long after it should be necessary. It's such a necessary and effective flashback for DiCaprio's character, to see this kind of horror through his eyes.
6) Black Swan: Transformation
One of the things that makes Black Swan so effective is how it borders the thin line between horror and thriller. As Nina slowly becomes intoxicated by her own inner Black Swan, she becomes more and more unstable. This scene, taking place immediately after Nina assumes she has murdered Lily, is her literal and figurative transformation to the dark side that Thomas wanted her so desperately to bring out. When it's finally over, and her feathers are fully exposed, it is only when we see from the audience's perspective that the figurative transformation was just a hallucination.
5) Inception: First Kick
Inception's opening action scene gives the audience that "What the hell is going on?" feel, but in the best way possible. The scene explains most, if not all of the concepts of Nolan's world, without explaining it to us, but instead showing us it in action. The collapse of the dream with the flood, pictured above, is my favorite shot of the year. If only the film decided to show us how this world worked, instead of telling us later on, the film would have been nearly flawless.
4) The Ghost Writer: "Beginnings"
As if The Ghost Writer wasn't gripping enough in the two hours prior to its final scene, its heightened finale makes for the most shocking ending of the year. As the Ghost (Ewan McGregor) realizes the secret and leaves the convention, manuscript in hand, we assume he is off to the tell the world of his revelation. As he leaves off screen for a taxi, we hear a car speed up, a thump, and then, the papers, flying everywhere, consuming the screen. An assumption that the Ghost has been murdered, so that his revelation is not known. Such a brilliant, and shocking, ending.
3) The Social Network: The Breakup
The opening scene to my number 1 film sets up the entire film perfectly on so many different levels. You have first, the dialogue, exchanged at such a rapid and crisp pace, that multiple viewings are required just to keep up with everything that is said. Second, are the lines about people who row crew and members of final clubs. Both of these groups are "targets", so to speak, of Mark's throughout the film. It could be stated that he plots to screw the Winklevoss' and Saverin due to this scene, and Erica's comments on both groups. Erica's final line, about Mark being an asshole only comes full circle at the end, when Marilyn, delivering the film's final line, states, "You're not an asshole Mark. You're just trying so hard to be." And like that, he's all alone.
2) 127 Hours: The Fall
While watching 127 Hours, we already know the "happy" ending that will be coming. Yet, director Danny Boyle does a terrific job of keeping us on the edge of our seat. The film's opening is the perfect example. We know that, eventually, Aron Ralston will fall into the cave, and the rock will pin his arm to the rock wall behind it, stumping his movement. When it does come, about fifteen minutes into the film, Boyle shoots it very calmly at first, giving the frame both Ralston and the rock below him, then jumps to rapid editing as Ralston falls, and the rock with him. Once he's down, the camera emphasizes the shock on Ralston's face, As he continues to stare at the rock, the title card appears on screen. Whoa.
1) Toy Story 3: "So long, Partner"
All too often do animated films try to bring in senses of emotion, and fail at really making audiences feel for the characters. Pixar, however, has been able to do it correctly. Who can forget the tear jerking "life" sequence from last year's Up? This year, Pixar truly outdid themselves for the finale to Toy Story 3. It's such a well crafted ending, and all trilogy endings should take note. Not only is this Andy's final goodbye to his toys, but also ours. These characters have touched our lives for the past fifteen years, and while the moment is indeed intended for those of us that have been here since the original Toy Story, it still packs quite the punch. Notice how, in the frame above, there's the passing of the torch, so to speak. Woody has always been Andy's number one toy, and so it should be no surprise that he's the final toy Andy gives to Bonnie. It shows us that there's something really tragic about being an adult, but at the same time, that we all will always have a little kid in us.
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