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Profiles of Jonathan
Among his many gifts as a cinematographer, Matthew Libatique evidently has an appreciation for The One Profile (or are there two?).
The pictures below are on either side of the page, depending on which direction Jonathan's facing. If you're using 800x600 screen resolution, you'll need to scroll side-to-side when the orientation changes, to see the entire picture onscreen at once.
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Looking at the brooch as he's comparing it to the photograph his grandmother has just given him. The reflection of the glasses is often used as an advantage rather than a problem.
One story-related thing I like about this shot is that it establishes Jonathan as not just a "gatherer," but as a collector, as we see again when he's working on his catalog in the car. Here he has looseleaf binders, organized boxes (a foreshadowing of Lista's house?), a specific work area and a magnifying glass at hand. The brooch is probably something he knows especially well, since it's the first thing he collected (as far as we know), and the only thing he has from his grandfather. But it's still impressive that he takes one look at the photograph and immediately recognizes the resemblance enough to pick up the magnifying glass.
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A bit of a strange angle, as Jonathan's thinking about adding the lotion from the train's washroom to his collection. The angle not only makes Jonathan look a bit strange, which is rather fitting for the scene, but also emphasizes the cramped space.
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Keeping an eye on Sammy Davis Jr., Jr. in the back seat of the car early in the trip. Jonathan's moved beyond flattening himself against the opposite window, but he's still not too sure of her.
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Looking at the photograph just after Alex has asked him if he thinks Grandfather is "distressed."
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Watching the countryside - another somewhat distorted angle, as well as bright, almost "washed out" lighting.
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While Lista is reaching to take off his glasses. Through the entire episode, whether front, profile, or in-between, we see those slightly parted lips that usually evoke a feeling of innocence or vulnerability - and we really don't see them much in this movie. Not surprising that this scene has some echoes of Frodo in it.
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As he's being drawn to the river.
(Note: Some people find it strange that Jonathan would wander off while Lista is telling her story. In the book, there's a point where Alex stops translating for him, because the story is too difficult emotionally for him to continue, and Jonathan goes off on his own; this seems to be the movie's parallel to that. In the movie, there's also the connection to his earlier dream. When he gets to the river, it is just like what he had seen in his dream, giving a sense of mysticism to his being drawn to it.)
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Two more frames in the car following the trip to Trachimbrod. Another example of the glasses being put to good cinematography use, here making shadows on Jonathan's face in what's basically a black and white shot (a technique we've seen before - without glasses).
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Interesting how those shadows change through just a simple head movement.
This frame is a real "What is he thinking?" puzzle. He almost seems to be holding himself aloof - but from what? His own emotions?
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This page background is made from the windows on the front of the Lutsk train station.
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