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¶ … Philadelphia Story
In his 1940 romantic comedy adaptation of Philip Barry's Broadway play, director George Cukor allows Katherine Hepburn, James Stewart and Cary Grant to light up the screen and carry the movie without confusing the audience with camera tricks and editing.
By using subtle camera techniques, Cukor introduces the main characters through action and relies on his star ensemble to paint the picture of their respective characters. The editing is fluid as well as the cinematography. Using such devices as off-screen dialogue, and cues, we follow Hepburn, a Philadelphia socialite as she attempts to marry another man, and avoid a tabloid hound.
Cinematically, this is typical of the movies Hollywood was making in the 1940s. This particular film went on to win a string of Oscars, including Best Picture, and Best Director. Cukor interplays the style of writing within his camera directions so as to allow for an enjoyable and easy viewing experience. He flashes forward and uses very little camera trickery, allowing his audience to stay with the story and become more involved with the characters.
The sound in the movie keeps everything together. The comedic dialogue paired with some screwball action and scenes carries the movie well. Dialogue is easy to hear, and there is a nice balance of and a microphone. Sound was crucial to this film. Gray's voice fluctuates with the intensity of his oration and with a few sound effects and subtle changes in light, the audience is allowed to absorb themselves and really dwell on the stark realities of Gray's monologues.
Unlike most war films, the cinematography is minimal here as a few changes in lighting and minor sound effects are added. Demme lets Gray dictate what the audience needs to concentrate on through fluctuating the tone of his voice. As we watch, we in turn create the pictures to go along with Gray's tales, and Demme aids us when necessary.
Swimming to Cambodia" is a film much like a documentary, yet feels like a conversation. Subtle editing and cinematography allow us to sit with Spalding Gray and experience through his words the pictures of an experience that nobody would ever wish to have to film.
Double Life
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