The Dynamic Frame: Camera Movement in Classical Hollywood

6.8 The Paradine Case

At first, the camera dollies back and to the right, booming downward to frame a two-shot. Then dolly grip Morris Rosen does something remarkable—he pushes the dolly in toward Anthony, allowing operator Eddie Fitzgerald to frame an over-the-shoulder composition looking toward Gay. Notice that Rosen has not simply pushed the dolly back to where it started. Repositioning the wheels midshot, he has changed the dolly’s orientation toward the action. The fact that the adjustment is so subtle is what makes it so revolutionary.

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