Close Transitions

NOTE: This post is a contribution to the Close-Up Blog-a-thon at The House Next Door.

I’ve mentioned before that PT Anderson’s Boogie Nights is one of the few movies I can think of that can make me cheer at a close-up. You can feel the joy that Anderson has when he makes his films; the shots may be on the indulgent side of things, but you get the sense that he says, “Who cares? Let’s do it.”

While the film contains plenty of shots of people’s faces, I’m more enamored with the close-ups of objects; with a couple of split-second extremely close shots, I’m absolutely giddy. There’s something about it that almost heightens my senses.

It should also be mentioned that these shots wouldn’t be half as exhilarating as they are if it weren’t for the sound effects. Sure, the sausages look great in the frying pan, but what makes it pop? It’s the sharp crackling of the grease, almost like a swarm of locusts in its frequency. What makes the image so effective is the fact that I can not only hear the coffee filling to the top of the cup, but I can hear the foam, as well. When the bulbs of those old cameras flash, the sound is so full you can almost feel it. You hear the flash, the high-pitched whine that follows, and then you hear a hint of a burning sound—almost acidic. You gotta watch this thing with a good pair of headphones on.

Something I find interesting about many of the close-ups in Boogie Nights, is that they are used as transitions. Textbook filmmaking teaches you that you need a wide, establishing shot when transitioning to another place and time. Boogie Nights takes almost the opposite approach and gives us gorgeous, quick, tight shots of objects in the scene (my favorite part is when I can see powder and dirt on the object; it lets me know that the director is paying attention). Here are a few (one or two aren’t transitions, just plain ol’ close-ups):