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Chapter 69: Reactions to the Screening
🕑 Added 2024-10-03 15:07:45 +0000 UTCHalfway through the film, Roger Ebert had developed a clear impression of "The Rock." Aside from maintaining a fast-paced and thrilling atmosphere, the film had distinct characteristics that "Speed" lacked—an elaborate and intricate use of cinematography and color!
Few films manage to elevate cinematography to such a luxurious level, achieving an aesthetic height that surpasses mere scene composition and narrative.
Generally speaking, filmmakers tend to hold back on their use of visual language, fearing that it might overshadow the performances and storytelling, often yielding to these elements in the end.
However, Roger Ebert believed that every shot and scene in "The Rock" resembled a textbook example of visually striking imagery akin to advertisements and music videos.
From the very beginning, the slow-motion high-speed shots, the extreme close-ups, and the intensely backlit rain scenes were almost like a lavish luxury goods commercial—yet they were also full of tension, with Ed Harris's anger and military presence vividly conveyed through the visuals alone.
No one dares to expand such glamorous commercial visuals into an entire film!
Even if someone did, in Roger Ebert's memory, it would have been a failure.
Even if he wasn't fond of this type of film, Ebert had to admit that "The Rock" was far from being a failure.
If Duke Rosenberg's "Speed" was just a modest test, then "The Rock" was a brilliant showcase!
"Every close-up and medium shot is visually stunning."
This short, chubby film critic wore a calm expression, yet inside he was filled with admiration. "Duke Rosenberg's unabashed use of visual language can surprisingly shape the story and characters with such tension. This is truly impressive; he has made significant progress in both narrative ability and visual application compared to 'Speed.'"
Suddenly, the air was filled with deafening explosions, and orange-red flames leaped across the screen, their vivid colors almost blinding against the slow-motion backdrop, gradually transforming into a striking mushroom cloud that seemed bright enough to pierce the eyes.
As the camera panned higher, the entire Devil's Island and the San Francisco Bay seemed to tremble in the wake of the explosions...
The blasts interrupted Roger Ebert's thoughts. Watching the screen and hearing the continuous cheers from the audience behind him, he frowned, feeling his earlier appreciation for the film beginning to fade.
Film is a refined art, and this vulgar spectacle was hard to enjoy. How many explosions had there been in the movie already?
Roger Ebert couldn't remember, but he was certain that if Duke Rosenberg could rein in his destructive impulses, maintaining the improvement in visual language and narrative ability, he might become a master of both visuals and storytelling in the future; otherwise...
Finally, Ebert slowly shook his head. In truth, the two films reflected the director's qualities well. Duke Rosenberg's excessive desire for destruction completely overshadowed his artistic pursuits.
"Playing with explosions and visuals seems to be his instinct, his only source of excitement!"
As a professional who had seen both "Speed" and "The Rock," Roger Ebert quickly reached this conclusion.
In contrast, Kenneth Turan, sitting nearby, focused more on the film's production techniques.
He could see that Duke Rosenberg had put effort into the lighting throughout the film, using artificial lighting in nearly every scene to enhance and deepen the colors, effectively supporting the film's heavy tone.
The opening scene where General Hummer visits the cemetery, with heavy rain and deep blue tones, coupled with a profound voiceover, clearly established the film's theme.
In the mid-section chase scene between Gus and Mason, another approach to cinematography was evident. In this segment, no shot lasted more than five seconds; nearly all the shots were between two to three seconds, with a variety of angles employed. Except for bird's eye shots, the camera followed, paralleled, and even shot from the front of Gus and Mason's cars, creating a visually overwhelming and highly exciting experience.
Unlike Hollywood chase scenes, which often rely on post-production enhancements, Duke Rosenberg's chase scenes were clearly shot live, with the engine sounds crisp and the metallic distortions of crashes felt intensely real!
"The chase scene in 'The Rock' completely surpasses that of 'Speed!'"
Kenneth Turan noted this in his notebook.
Jossman and his review team from the Emperor Entertainment Group concentrated on the film's selling points, with no concern over whether it was vulgar or refined. Their sole criterion for evaluating the film was whether it would generate profits.
"This is a thoroughly excellent film; its entertainment value and thrilling moments are on par with 'Speed.'"
As he watched the film, Jossman jotted down his immediate impressions.
"There isn't a single minute that allows for a bathroom break, a drink, or a snack. From the beginning of the film, your eyes are glued to the screen, unable to let go of each scene."
"It's incredibly engaging; for tension, there are the crazy chase scenes; for thought, there's the theme of whether the nation should treat individuals who sacrifice for it with due respect; for entertainment, there are humorous dialogues that feel real; and for beauty, there are Gus's fiancée and Mason's daughter—two stunning women..."
As "The Rock" approached its conclusion, Jossman summarized, "This is the best male-oriented film I've seen this year. The whole film exudes masculinity and has a deep atmosphere, with no female lead—it's a true men's film. About every 10 to 15 minutes, there's a climactic action scene, and while the scale of the action is large, it never loses control. The scenes are long but not tedious, with diverse stylistic expressions and accurate technical execution..."
Since the film had not yet included the ending credits, its conclusion felt somewhat abrupt. Many audience members took a moment to process the experience, only realizing the film had ended when the screen went dark and the lights above brightened.
Suddenly, applause erupted like a hurricane sweeping through Louisiana, so enthusiastic it seemed it might lift the ceiling off the cinema, accompanied by cheers from many.
"I'll definitely watch it again when it's officially released!"
Among the audience, Warner Brothers' observers were diligently recording the most genuine reactions and comments.
"I've been glued to the screen and only now feel tired, but it's a satisfying exhaustion."
"The cast was well chosen; Christopher Lee's portrayal of Mason is both handsome and cool. I don't think that scandal-ridden Sean Connery could pull this off."
As the audience buzzed with discussions, they each submitted their feedback forms to the Warner staff at the exit.
"A+!"
"A+!"
"A!"
"…"
These prominent ratings lifted the spirits of Warner's staff; if the film received overwhelming acclaim from viewers, it would likely perform exceptionally well at the box office, resulting in generous bonuses for everyone involved in the project.
While the staff continued to collect and tally the surveys at the exit, many film critics and media reporters had already entered a nearby hotel banquet hall. Several lead actors from the cast went upstairs to be interviewed by journalists, while Duke, accompanied by Robin Grand, mingled among the critics in the banquet hall.
With a few top critics present, this could be considered one of the film industry's elite junkets.
Essentially, this was merely a public relations party. "The Rock" was a typical commercial production; neither Duke nor Warner Brothers would be foolish enough to seek the opinions of critics regarding a summer blockbuster nor would they naïvely ask critics about the film's market prospects and box office potential.
Everyone understood that professional film critics exist separately from mainstream audiences. To highlight their artistic sophistication and unique tastes, critics often oppose what the public enjoys and praise what the public dislikes.
Even the most foolish film companies in Hollywood wouldn't consult a group of critics entirely detached from the mainstream audience's tastes to gauge the market outlook for a summer release.
Duke was well aware of this, and Warner, with its deep roots, knew it too. Consulting critics was merely for sound bites and promotional hype. For market predictions, one needed highly specialized professional expertise that critics clearly lacked.
The critics' influence is most pronounced during award seasons when films aim for various accolades.
"Duke Rosenberg..."
When Duke approached a middle-aged man with a receding hairline and glasses, the man extended his hand. Duke quickly shook it, displaying an appropriate smile. "Duke, just call me Duke."
"Alright then, Duke. You can call me Kenneth."
Both were native Angelenos of Jewish descent, and Kenneth Turan's impression of Duke seemed favorable enough, leading to a fair exchange of words. "There are some issues with the narrative details and logical structure of the film, but I see your progress. Compared to your last film, there are noticeable improvements in your use of visual language, color application, and emotional conflict, among other aspects."
"Thank you!"
Kenneth's goodwill was evident, and Duke's words were sincere.
"Hey, Duke."
Charles Roven and a bespectacled middle-aged man approached Duke, introducing him, "This is Mr. Roger Ebert..."
