The Long Take and its Presence in Cinema
Michael Calandra
World Cinema
A scene with no cuts, no edits - only a consistently running camera focused on captivating a sequence. These types of shots are impressive and underrated, but when successfully executed can add a substantial amount of power to a film. “The Long Take”, also known as a “One Shot” examines this practice and forces an attention to the viewer that cannot be broken. With a continuous and unbroken clip, the long take allows the audience to feel more immersed and in-the-moment with the story. Highly choreographed actors and cinematography will be noted in all, making the shot much more difficult to pull off than the typical montage found in cinema. Creed(2015), Children of Men(2006), and Goodfellas(1990), all movies that spread across decades incorporate this this filmic approach and have been considered mind blowing by millions.
To begin with, Creed, a major motion picture and a triumphant spinoff of the world-renowned Rocky uses the long take in an intense fight setting. The use of this shot in a boxing ring makes the viewer anxious and pressured along with the athletes. The tension continues as we follow closely with the boxers in the match. I believe that this long take was the most difficult with regards to choreography, as the camera circles the quick moving actors while also avoiding contact. We understand Creeds pain and suffering but also understand his victory and in ourselves feel victorious with him. After all we were right next to him the entire time…
In Children of Men, the long take makes the viewer feel the discomfort the characters face as they crowd in a car for a substantial drive. Profound camera operation is noticed maneuvering through the vehicle, a talent found behind-the-scenes in a long take. I find this shot especially impressive as the actors shoot ping pong balls from mouth-to-mouth multiple times in a moving car without any cuts. There is an awareness of feeling trapped when the passengers encounter a flaming vehicle and multiple attackers, and stress arises for the characters and the audience as well. This feeling of being trapped in the car converges to a feeling of protection as the interior of the vehicle is the only safe place while being chased. Once the camera exits the car, we face disconnection and uneasiness while our fellow tormented passengers drive off.
The feeling we confront when viewing the long take club scene of Goodfellas is like no other. As opposed to the anxiety we front in the other two films, this sequence brings us power and authority as we travel with luxury through the club with the characters. We essentially perceive a sense of wealth and popularity with an inclusivity giving us a status with all access to skipping the line, talking to executives, and formal treatment from everyone. This was definitely shot with a purpose and was executed greatly.
In conclusion, the long take is a highly stylistic and effective use that a filmmaker can incorporate in his or her art. It keeps the audience focused while also making them feel more within a story, almost as if they are a part of it.
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