A camera is to film what a paintbrush is to a canvas. It is through the lens that the story is written, the narrative pulse is dictated by the shots, the sequences and the way they finally fit into the final montage. All the elements of the cinematographic language must be perfectly aligned in order for the director's voice to reach the audience. In Oran Na h E Ala (2022), director Steve Exeter uses all the tools that cinematography provides to create a film that is both a tribute to the seventh art and a way to reimagine a classic.
This thirteen-minute shot captures the essence of the original work that inspired it. From the opening credits to the moment, the curtain falls before our eyes, surrendering to the visual power of the production. As in Michael Powell and Emetic Pressburger's The Red Shoes (1948), the use of color plays a vital role to the point that it becomes a character. The obsession and passion of the central character is expressed by a colorful palette of colors that change between warm and cold tones depending on the mood.
Moira Shearer (Shannon Davidson) puts her heart and soul into dance, ballet is the meaning of her life. As she relentlessly rehearses, filmmakers Michael Powell (Alastair Thomson Mills) and Emetic Press burger (Alec Westwood) pressure her to star in their next film. Moira just wants to be a dancer and feels that movies will be a distraction. It is at this point that the screenplay, written by the director himself, begins to delve into Shearer's psyche. Oran Na h E Ala feeds on the every beat of its lead actor, the structure of the story rests all its weight on the character of Moira, making her the main key that gives the narrative mobility.
Shannon Davidson gives a strong and powerful performance. Body language connects us to the character and their emotions. As these close-ups embrace her face, we can see her fears, frustrations and anxieties, her gaze telling us what words cannot. Davidson is clearly in control of her histrionic registers, allowing her character to move freely and organically.
Many filmmakers were raised on Powell and Press burger's classics, some turning to the references to find creative solutions to production dilemmas, and others reverencing a film that has stood the test of time and adding it to their list of favorites. From Gene Kelly's choreography in Singing in the Rain (1952), to Jake La Mott dancing in the ring of Martin Scorsese's Raging Bull (1980), and even Darren Aronofsky's Black Swan (2010), there are countless films that have gone out drinking the fountain In the case of Exeter, it is more than evident that this is a personal matter, and in his second short he tries to honor this pillar of cinema.
Oran Na h E Ala is the perfect companion to The Red Shoes, which tackles a chapter in Moira Shearer's life with creative freedom and biographical pretense. It's not that this short film is a strict biopic, but rather the fiction is drawn with a chronicling nuance that illuminates the story of one of the key moments in the history of cinema. The director shows maturity and decisiveness in the production, the details of each shot are perfectly balanced.
Thomas Dob bi e's cinematography is one of the highlights of this short film, his camera always finding the perfect angle to get the most out of every shot. In the first part, she bombards us with beautiful close-ups, and as the film climaxes, the lens pulls us into the depths of Moira's soul with movements that alternate between subtle and sudden with absolute precision. Garry Maddison's editing and coloring work plays a vital role in making sense of the images captured through Dob bi e's lens.
Another piece that completes the audiovisual world of Oran Na h E Ala is the original score by Mike Lu key and Ark ADI T RO it SK y. Lu key delivers "Song of the Swan" in a superb performance by Shannon Davidson and plays a vital role in providing insight into the central character. While T RO it SK y signs off on the composition of the ballet sequence, which draws us into the dream part of the film, when Moira's character reaches catharsis.
Oran Na h E Ala is a dazzling work that very well combines elements of the cinematographic language and brings out the best in its staging and technical processing.
You must be logged in to post a comment.