Découpage

Sequence 11

Boat: Raul in the sea and Taciana in the background

392 – Boat: MS of Raul and Taciana /
393 – Detail of Olga’s hand /
394 – CU of Olga with her back turned on the prow /
395 – Horizon line /
396 – CU of Olga with her back turned and turning around /
397 – Detail of the empty bucket from top /
398 – MS of Olga facing forward turning to the left to the sea /
399 – Horizon line: a barrel in the far distance /
400 – MS of Olga that stares, turns and points at the barrel /
401 – CU of Raul and Taciana that look at the sea. Raul looks at the bottom of the boat /
402 – Detail of the empty bucket from top /
403 – Horizon line: a barrel in the far distance /
404 – MS of Raul and Taciana. Raul stands up and walks towards the sea /
405 – MS of Olga that speaks /
406 – MS of Raul and MS of Taciana that look at Olga /
407 – Detail of Taciana’s hands /
408 – MS of Raul and MS of Taciana /
409 – LS of boat. Raul throws himself into the sea /
410 – Detail on Taciana’s hair from top.
411 – Water with bubbles /
412 – CU of Taciana from bottom /
413 – Sea /
414 – CU of Taciana with her back turned, on board, turning around /
415 – Detail of the boat’s bottom with water entering /
416 – CU of Taciana that turns herself again to the sea and comes back to the initial position /
417 – CU of Olga on the prow with her back turned. Taciana comes closer to her but is thrown to the ground. Olga turns and grows desperate.
418 – CUP of Olga from bottom in tears /
419 – CU of Olga’s face from bottom /
420 – CU of Olga’s face facing forward /
421 – Oscillating sea horizon
Fusion

With the fusion, we come back to the boat with Raul and Taciana in CU [392], as well as with them with their backs turned in CU there opening the seq. 9 [314]. The detail of Olga’s hand [393] precedes the CU of her back on the prow [394] in a position already noticed (see [80]). Olga returns in CU [396] with her back turned in the same position, turns and wipes her mouth, as Raul had done [315], to express his thirst. In contrast, the detail of the empty bucket ([397], see [78]). Again Olga [398] looking at the sea and the horizon line with the barrel [399]: Olga [400] points at the barrel seen on the sea. The counter-frame of Raul and Taciana looking at the sea follows [401] and Raul looking at the bucket as if he understood the following detail ([402], see [397]). The horizon line with the barrel in the background ([403], see [399]) is the other objective of their both staring, replacing the useless object (empty bucket). Raul throws himself into the sea [404] despite Taciana’s efforts and before Olga’s indifference [405], who is looked severely at by the other woman [406]. The detail of Taciana’s hand underlines the complaisance [407]. The bubbles in the sea [411] decree Raul’s death and in counter-frame there is the CU of Taciana [412] with the water reflection on the skin and hair to the wind. Only Taciana feels Raul’s death. The detail of the boats hull with infiltrating water [415] impels Taciana to react: gets into frame in the shot [417] behind Olga, puts one hand on the shoulder, as she had done with Raul [79], provoking the reaction of Olga who throws her to the bottom of the boat and turns to the cam, growing desperate. Three shots of her crying ([418], [419] and [420]) seen from bottom and facing forward. For Pereira de Mello, Olga’s cry is measured by the expressions of eyes and faces in Chaplin’s and Griffith’s movies, the coldness and aristocracy also present in the tragedy. The gestures are always repressed and the tragedy is that they are this way when in despair. Olga looks ahead as in the protoimage (see [11]). The sequence closes with the oscillating horizon line [421], with a darker photography, that for the first time closes a seq. of the boat, usually concluded by the detail of part of the body and by the LS of the sea or of the boat’s border. The horizon oscillation is the first sign of turbulence in the sea. Fusion.