5 Reasons Why Danny Boyle's Trance Fails To Entrance

5. €œPut It On The Tripod!€

Vincent Cassel Just as The Coolest Man To Ever Live, Dean Martin, sang €œA hat€™s not a hat till it€™s tilted,€ in the 1964 Rat Pack extravaganza Robin And The 7 Hoods, for Danny Boyle a shot€™s not a shot till it€™s skew-whiff. Traditionally in German Expressionism, the camera being tilted to one side at an oblique angle was commonly used to denote a character€™s madness, their sense of alienation, their paranoia, the fragility of their state of mind. It doesn€™t help that at times Trance appears to have been edited by a meth-head bonobo with a razor blade but obviously the ker-razy camera angles are a visual representation of hapless amnesiac Simon€™s (James McAvoy) fractured sense of reality. Right? Well, maybe. But Trance is so visually off-kilter, practically every shot so canted at an angle, that you could be forgiven for thinking that maybe Danny Boyle just has one leg significantly shorter than the other; maybe he genuinely sees the world at a slightly wonky angle. Either way, it€™d just be nice if maybe occasionally he€™d just stick the camera on a tripod and shoot a scene where the camera isn€™t yawing like a drunken sailor.
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