annundriel (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
annundriel) wrote2008-11-06 12:32 am
annundriel) wrote2008-11-06 12:32 am
Entry tags:
Call of the Wild
Continuing somewhat from yesterday's Due South post, more rambling.
I remember another small bit of dialogue that connected with RayK's little identity crisis:
Except RayK's never wanted to be Stanley Kowalski.
I just wanted to get that connection out there.
Otherwise, Tuesday night at dinner Mom and I were talking and I realized something that I hadn't before. Nothing big, but potentially interesting in terms of blocking.
There are two interesting triangles in "Call of the Wild," at least that I noticed. And it wasn't until I was talking with my mother that I noticed the first one.
1) The scene outside of RayV's hospital room with Frannie. When Frannie exits her brother's room, Fraser attempts to apologize for his earlier cluelessness regarding his feelings for her. He mutters and stumbles and is just bad at expressing that sort of emotion. At least with women. (He's certainly fine telling the Rays that he loves them. Well, at least he'll readily answer RayK's "I love you" with an "And I you." But he easily calls them both friend.) Finally, RayK interrupts with, "Frannie, he likes you."
But what I'm interested in is the blocking. Frannie's on the left-hand side of the screen, Fraser on the right. They're both in the foreground. But in the background between them, you can see Ray sitting.
2) This is the one that I noticed while watching and wondered about at the time. Fraser and Ray sitting at the campfire in the camp after Forbisher leaves. RayK's looking for some sort of reassurance that he's not going to be left behind by Fraser and Vecchio and Fraser starts talking about his father's partnership with Forbisher. He tells Ray that, "No matter how far apart they were they always knew that they were partners." Ray's not sure what Fraser's saying, and they're interrupted by Thatcher. And, oh, how I want to know what else could have been said in that conversation.
But Fraser has his moment with Thatcher and it's a triangle once again. Thatcher on the left, Fraser on the right. Both of them in the foreground with Ray in the background between them at the campfire.
So both scenes have the same basic triangle and involve the same basic ideas. Feelings and goodbyes and moving on from some sort of potentially romantic relationship. And both times you have Ray situated between them in the background. On purpose? By chance? And what does it mean, if anything? Who knows. But it is there.
Of course, me be me, I like to give it meaning. And I like that meaning to be of a slashy nature.
I remember another small bit of dialogue that connected with RayK's little identity crisis:
WELSH: All right we've got to move. Huey and Dewey you run down the location the whole layout all right? Francesca pull everything on Muldoon any possible connection. Fraser, you run it from your end. All right we got six hours let's use them...Oh Ray,
KOWALSKI & VECCHIO: Yeah
WELSH: No I mean, oh I can see this is going to be confusing huh? Look you be Ray Vecchio 'cause you were Ray Vecchio to start with...
VECCHIO: (smug) Right.
KOWALSKI: And who am I?
WELSH: Good question. You can be Stanley Kowalski
VECCHIO: Stanley Kowalski?
WELSH: His father had a big thing for Marlon Brando.
KOWALSKI: So err I just err OK.
VECCHIO: Later Stanley... (to Welsh) Sir.
Except RayK's never wanted to be Stanley Kowalski.
I just wanted to get that connection out there.
Otherwise, Tuesday night at dinner Mom and I were talking and I realized something that I hadn't before. Nothing big, but potentially interesting in terms of blocking.
There are two interesting triangles in "Call of the Wild," at least that I noticed. And it wasn't until I was talking with my mother that I noticed the first one.
1) The scene outside of RayV's hospital room with Frannie. When Frannie exits her brother's room, Fraser attempts to apologize for his earlier cluelessness regarding his feelings for her. He mutters and stumbles and is just bad at expressing that sort of emotion. At least with women. (He's certainly fine telling the Rays that he loves them. Well, at least he'll readily answer RayK's "I love you" with an "And I you." But he easily calls them both friend.) Finally, RayK interrupts with, "Frannie, he likes you."
But what I'm interested in is the blocking. Frannie's on the left-hand side of the screen, Fraser on the right. They're both in the foreground. But in the background between them, you can see Ray sitting.
2) This is the one that I noticed while watching and wondered about at the time. Fraser and Ray sitting at the campfire in the camp after Forbisher leaves. RayK's looking for some sort of reassurance that he's not going to be left behind by Fraser and Vecchio and Fraser starts talking about his father's partnership with Forbisher. He tells Ray that, "No matter how far apart they were they always knew that they were partners." Ray's not sure what Fraser's saying, and they're interrupted by Thatcher. And, oh, how I want to know what else could have been said in that conversation.
But Fraser has his moment with Thatcher and it's a triangle once again. Thatcher on the left, Fraser on the right. Both of them in the foreground with Ray in the background between them at the campfire.
So both scenes have the same basic triangle and involve the same basic ideas. Feelings and goodbyes and moving on from some sort of potentially romantic relationship. And both times you have Ray situated between them in the background. On purpose? By chance? And what does it mean, if anything? Who knows. But it is there.
Of course, me be me, I like to give it meaning. And I like that meaning to be of a slashy nature.