Tracking ‘Touch’

The continuous takes in Adolescence were possible thanks to digital technology. A couple of much older examples come to mind, from when movies were shot on 10-minute reels of film.

Hitchcock’s Rope is a rather modest example, because it was filmed on a single interior set. The exterior tracking shot that starts Welles’ Touch of Evil is much more impressive.

My only problem with this movie is the casting of Charlton Heston. Richardo Montalban was the obviously better choice for the role.

The Wonder Years — Not

Do we really need yet another British murder mystery? Yes, if it’s Adolescence.

The Netflix mini-series is both compelling and confounding. Is Adolescence a police procedural? A serious sociological and psychological study? A reality show? A soap opera? Yes to all.

Something quite remarkable is that each of the four episodes was recorded in one continuous take. If there are any cuts at all, they were very deftly hidden.

This isn’t a gimmick. Once you start watching, the seamless flow of motion makes the verisimilitude* all the more effective, and the acting all the more impressive.

The logistical planning, coordination and practice must have been daunting. The second episode is a tour de force of what I suppose can be called “synchronized cinematography.”

https://www.netflix.com/tudum/videos/adolescence-inside-episode-2

* Sorry about that. It won’t happen again, and I promise to never use any form of “juxtapose.” 😉