Lights…Camera…Angles!!

Action, too, of course, but let's talk cinematography! What makes a great film? The acting, check; writing, check; cinematography - double check. On the surface, we often overlook the cameraman and focus on the mise-en-scene, which is everything we see and hear on the screen, but what about the work from the guy- or gal who captured what's on the screen? Let's journey to the year 33 A.D. and review "The Book of Clarence."

The film is set in Jerusalem and follows Clarence, a cynical hustler, an atheist who owes a debt to Jedediah the Terrible. After several failed attempts at trying out new hustles, he looks to capitalize on the popularity of Jesus Christ by claiming to be the new Messiah. This film is a unique comedic drama; the first half is comedic, and the second becomes drama- unique and creative. With an innovative script, the cinematographer, Rob Hardy, had to be unique and creative in telling the story visually and keeping the audience engaged while highlighting this beautiful atmosphere. Hardy, the cinematographer, excelled in doing just that, and by challenging- yes, challenging traditional methods of cinematography.

In the first scene, Clarence and his best friend Elijah are in a chariot race against Mary Magdalene, one of their attempts to pay off their debt. This scene alone uses many techniques to give insight into status, captivate the audience, and set the tone of the atmosphere. Beautiful extreme wide shots showing the temple sitting on the hills, handheld mid shots of the riders to present the intensity of the ride, and rapid pans, or whip pans to heighten the intensity and distinguish the combative relationship between Clarence and Mary is a treat to watch, while the point of view medium close up shots from within the carriage, creates the illusion that we feel the horse's shoes hit the dirt underneath them- is a treat to experience.

A beggar who interrupts the race is presented within a high-angle mid-shot to show the status of the beggar. He looks up at Clarence and Elijah, who, although they have no money, are still displayed as superior to this homeless person.

The film predominantly uses three-point light with a 5000K daylight tone. However, during the meetings with the 12 disciples, low-key lighting is cleverly used to enhance tension between Clarence and his twin brother while adding warmth to the temple scenes. The color of the film invokes a sense of happiness in the viewer. This strategic use of lighting and camera angles by Rob Hardy effectively immerses the audience in the story.

Rob Hardy's task of setting up the world of both ancient and modern is brilliantly executed. In a scene where the characters get high in an ancient hookah bar, the camera movements are particularly captivating. The wide shot establishes the other floating guests,

while the mid shot and medium shot focus on the characters indulging in the drugs.

The use of arc shots and close-ups takes the audience on this high, bringing us into the moment and adding a dizzying effect- genius!

He also challenges the routine use of angles. Low angles, where the camera looks up to the subject, usually suggest power or threat. During the scene where Clarence is crucified, the camera opens up to what seems to be a static shot. We see a blood drop, a shadow, and Clarence walking into the frame carrying the cross while the camera vertically pans up to reveal him. Brilliant shot, may I add. They then cut to the close-up shot of Clarence to reveal the misery, bruises, and defeat from a low angle- this is usually shot at a high angle to show the weakness of Clarence, but this was a specific choice from Handy and was still just as powerful.

Another example is at the beginning of the film, after a beautiful wide-push shot of the village, the beggar steps into the frame and asks us, the audience, for coins for food, warmth, and shelter. The shot is at eye level, usually intended for equal status or a neutral perspective.

The writer describes the film as life, pain, fun, and adventure. The cinematographer's strategic visual depictions, expansive wide-angle shots, intentional close-ups, effortlessly creative pans, and arc shots mixed with a balanced mix of three-point lighting and low lighting excelled in telling the visual story even while challenging traditional methods. Acting check, writing check, cinematography- double check for this job well done.