Comments on: Action Scenes in 1990s Bond Films: A Modest Reply to David Bordwell

By: Matt

Matt — Tue, 05 Oct 2010 08:08:11 +0000

Your article constitutes an insightful addendum to Prof. Bordwell’s blog post. The parallels you draw to the critical theory of Robert Bresson are quite enlightening. Sound definitely forms an essential part of effective action cinema, particularly in the Bond universe. The economical use of sound design responds to the choreographic demands of the scene which basically translates as a barrage of physical attacks in a narrow, almost claustrophobic space. One could argue that director Roger Spottiswoode could have elected a different, wider camera angle to frame the action more intelligibly for general audiences. But, considering the restricted space of the scene, the catwalk, the fragmented close shots evoke an adequate atmosphere (and simultaneously relate the perception of the audience to the film’s narrative focus: Bond).
As you value succinctness, I apologize for the perhaps nonsensical, protracted response. But I find that Prof. Bordwell’s wonderful blog post (in which he sketches out the constituents of the action cinema I prefer)and your astute response warrant a longer text.

By: Colin Burnett

Colin Burnett — Tue, 21 Sep 2010 00:18:01 +0000

Leo, thank you for the thoughtful reply. Because we’re friends, I hope you’ll accept a brief, and somewhat cheeky, reply. (Readers: please don’t get the impression that I’m adverse to conversation. I simply value parsimony. Less is more, indeed.)

Leo: mute the volume while watching ANY action scene, and you’ll no doubt notice the fatal flaw in your “see it/feel it” position.

By: Leo Rubinkowski

Leo Rubinkowski — Mon, 20 Sep 2010 21:16:57 +0000

The demands of narrative intelligibility do support your counter-argument. As long as information about the progression of a fight (or action sequence, if a broader term is necessary) is clearly communicated by whatever mode, visual or aural, the audience won’t be left behind.

As important as that is, though, one of the unique delights of action cinema–and films with fight scenes, in particular–is, in my opinion, the visceral sensation one experiences in the viewing (and the listening).

A locomotive’s whistle may call up the iconography of an entire railroad station, but a fist heard smashing into someone’s face isn’t exactly cringe-inducing. See it; feel it (where film fighting is concerned).