The Perks of Being a Wallflower - Stephen Chbosky

When?

The Hobbit: An Unexpected Journey Trailer #1

what another year, why do you tease me?

Magnolia - Wise Up - Aimee Mann

Frame Analysis
Chunking Express
Frame Shot 0:47:39.00

In a film where two similar synchronous stories overlap the
distinction between characters often becomes blurred. As is the case
between Hong Kong officers 223 (Takeshi Kaneshiro), and 663 (Tony
Leung Chiu-Wai) both officers overcoming lost loves through a myriad
of unusual actions. The second and most prominent story in the film
details the actions of officer 663 and his previous love through the
only flashback scene in the entire film. Here we encounter the source
of 663’s desire as the beautiful airline hostess (Valerie Chow) whom
he had seduced, fallen in love with, and was subsequently left by.

In this frame as opposed to most of Chunking Express that is filled
with vivid bouncy colors, and action scenes blurred with quick motion
and short cut lengths, the flashback scene of 663 takes the form of a
slowly drawn out slightly faded memory.  The colors have all muted
into soft blues and pinks as opposed to the expressive and excessive
bright yellows and reds that dominate most of the film. The frame
itself shot from behind the main character (663) as if like a memory
he is looking back on himself from an outside point of view. The
interesting depth of field used in this frame extends from the action
of the scene, where initially the main character (663) and the
airplane are in focus, until his lover enters the doorway. At this
point the depth of field shifts to the middle-background leaving 663
mostly blurred and her only partially blurred while most of the
background is clearly visible. This action, which adds and illuminates
the fading memory aspect of how 663 is beginning to loose hope for the
return of his lost love also reveals how he sees himself as a vague,
mostly darkened entity lost amidst the beauty he once knew.

As a memory for officer 663 this frame express not only the escape 663
desires from his repetitive daily life without the object of his
affection, but also the notion of escape itself; as the center of his
attention in the frame is a small plastic airplane circling around his
love. This plane is contrasted by the picture of a sailing ship on the
wall; another romanticized form of travel, or potential escape for
663. Partially seen in this frame pined to the wall on the right are
what latter appear to be postcards and postage stamps yet more
offerings to this idea of travel. Of course this is all solidified by
the actuality that she, 663’s love interest is in fact an airline
hostess who is partially dressed in her airline hostess uniform during
this scene.

The angles of people and objects in frame 0:47:39 add an element of
interest, as nothing appears to be forced, however simultaneously they
don’t seem to be quite natural either. The slight tilt of the camera
coinciding with the direction of the plane, the point of the ship, and
the weight of woman leaning against the doorframe creates an aura of
significant weight to the scene either in content of plot, or
metaphorically for how 663 views his past. Perhaps the intention of
the director was not only to distort the past, but also to signify the
unstable relationship between the two characters by filming the scene
at a slight angle.

Physically the angles in frame 0:47:39 create astonishing beauty; the
juxtaposition of the V shapes in-between the airplane and the bent arm
of the airline hostess create a delicate symmetry between his desire
for her, and his desire for escape. The filmed shot from which through
the doorway to the window to the sky we see the airplane pass instills
yet again the idea that escape is a possibility for officer 663.
Furthermore, the line drawn from the camera angle as behind 663 on the
right, past the woman on the left, through the kitchen window framed
by a V shaped curtain, a fridge and a plant instill the idea that
nothing is actually centered in the frame, or that no one thing is of
any more importance than any other object.

The organic feeling portrayed in this frame lays in opposition as
noted before to most of the film, as Hong Kong often becomes a cold
electric place for officer 663, with most of his time spent roaming
around beneath neon signs deciding what to do with his life, and what
to eat. In this frame delicately lighted and slightly pink flesh tones
are reflected in the entire room. The cold white kitchen is given life
by a large plant growing in the window, which becomes a symbol of love
and growth as we don’t experience this sensation again until 663 meets
his next love interest Fay (Fay Wong) in a market filled with plants.

Ultimately, this frame represents two sides of officer 663. One; how
he wishes his life could be; bathed in beauty, the object of someone
else’s affection. The other, how he feels separated from his desires
whether they are love, escape, or acceptance.

I was recently reminded of an old film class assignment I did, so I thought I would share it. The scene in question starts about halfway through this clip.