Detail and depth are excellent with deep blacks and appropriate levels of contrast, particularly during
any scenes in the submarine.
Not exact matches
It's also a natural deep water port and houses the largest naval fleet
in the world, as well as the only major
submarine and ship building yards
in the U.S.. On top of that, it's becoming a center for the biotech industry and has a growing startup
scene.
Several months ago the
scene in question was acted, not, as might be supposed,
in the interior of a
submarine, but
in a quiet corner of a motion picture studio [see illustration].
The
scene changes over time, starting out with underground raves
in abandoned warehouses or old docked
submarines, and morphing into parties at gigantic nightclubs with a velvet - rope policy at the door.
From a darkly - lit battle
in Berlin to a climactic one featuring a well - placed
submarine, these
scenes can be a bit messy and lack the cohesiveness of some of the chases from earlier installments.
To provide that true underwater feeling, MacDonald filmed some
scenes onboard an old Soviet
submarine that is moored
in the River Medway
in Kent (UK).
There are a number of other memorable
scenes too, the conversation featuring Peck speaking through a
submarine's loudspeaker to one of it's crew member's who is out
in a contaminated zone has a surreal humour to it's choice of shots (the film is fleetingly humorous on occasion), yet it is still quite moving.
Sixteen deleted
scenes are more of the same equivocal garbage — faint hopes that there might be something genuinely disturbing
in this batch of outcasts are
submarined within the first minute.
The period setting is sketched
in broad strokes (fittingly, the only real - life filmmaker name - checked here is Norman Taurog, director of Elvis vehicles and Dean Martin and Jerry Lewis movies), giving the Coens a chance to play with dated and outmoded film techniques: wipes, bird's - eye - view matte paintings, painted backdrops, unconvincing model
submarines, and,
in the movie's most perverse act of homage, a very long driving
scene of questionable urgency.
«Visitors will cheer the triumphal christening of a new ship
in the large painting She's Off, but Benton carefully balances this exuberance with quiet
scenes of life below deck like Slumber Deep, where sailors rest deep inside the USS Dorado
submarine, which was later lost
in action.