Not exact matches
Individual set pieces are amusing, but there are occasional lulls where
sequences go on just a hair too
long, such as when Fiona and Dom share a sensual
dance on a boat and another when they fantasize about each other while separated.
Appropriately, the
long takes in the musical
sequences aren't there so the audience can «see the
dancing,» as the old cliché goes, but to cast a spell: The unbroken camera movements, self - conscious as they may be, make the movie more dreamlike.
She is a true force here as she sweeps into the captivating first
sequence (a wonderful
long take) and has her first interaction with wide - eyed shopgirl Therese as the two
dance together through words and innuendo.
Soderbergh shot the major
dance sequences in
long takes, using only a few camera setups, just as he did the fight scenes of his recent action movie Haywire.
Their voices are unmodified and their
dance sequences — like all the musical numbers — are shot in
long takes rather than chopped and edited into fine shards of perfection.
The film was initially going to be much
longer and more elaborate, with at least ten more songs and several ballet - style
dance sequences.
Nighy and West are probably the biggest names here, and they're both excellent in parts a
long way from their usual type: the former is lovely and delicate as the shy, mild miner finding a new simmering rage at the government's treatment of his colleagues, while West gets to have flamboyant fun as the camp actor, particularly in an impressive
dance sequence.