By Michael Sheridan, Anthony Galvin
Richard Harris was once an immense who oozed air of secrecy on reveal; offscreen, despite the fact that, he used to be stricken and hooked on each excitement existence may perhaps supply. Coming from a repressed Irish Catholic heritage, he was once pressured via a teenage ailment to desert his cherished rugby, yet no longer his macho appetites. researching theater kept him. He had came upon his calling. regardless of marrying the daughter of a peer, he by no means attempted to slot in. He used to be continuously a hell-raiser to the middle, in addition to mythical neighbors Richard Burton and Peter O'Toole. yet he was once extra; he used to be a proficient poet and singer. He used to be an clever kinfolk guy who took nice curiosity in his craft, and was once a Renaissance guy of the movie global. whenever his excesses threatened to kill his profession, and himself, he rose magnificently from the ashes, first with an Oscar-winning functionality as Bull McCabe within the box, then within the Harry Potter franchise.
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The scene is organized through ellipses, as medium shots of the girl’s head and shoulders on the bike, Gus’s head and shoulders in the car, the girl’s legs and bike wheel, and Gus’s car wheel are intercut ever more rapidly to suggest her pursuit. Increasingly tighter shots of the girl’s mother in the window watching her daughter’s race for life occasionally interrupt the chase, until the mother screams and closes her eyes. The last shot shows the girl sprawled on the concrete with her mangled bike beside her, the victim of a moment of impact the viewer is led to imagine but never actually sees.
Fuller knew full well the limitations inherent in depicting war on celluloid but was determined to convey the details of a footsoldier’s life and the emotions of war as accurately as possible. As presented in the film, war is not noble or glorious but simply fatigue interrupted by death. Fuller’s approach to the combat film genre was very much a personal one, and he often drew the characters and situations in his war pictures directly from who he knew and what he saw during his time as a soldier.
Increasingly tighter shots of the girl’s mother in the window watching her daughter’s race for life occasionally interrupt the chase, until the mother screams and closes her eyes. The last shot shows the girl sprawled on the concrete with her mangled bike beside her, the victim of a moment of impact the viewer is led to imagine but never actually sees. The rhythm and pacing of the editing in the scene, as well as the need for viewers to link the shots together mentally, heighten our visceral response and multiply our horror.
A Man Called Harris: The Life of Richard Harris by Michael Sheridan, Anthony Galvin