You don’t need to read this article to tell you that Slumdog Millionaire was an incredible film. The “Best Picture” Academy Award could tell you that. What really stuck out to me about this film were three things:
First, the way the story (which was one of the first truly unique storylines I’ve seen in a long, long time) was told was brilliant. Interlacing the ending scene with flashbacks that simultaneously tell the story of Jamal’s past as well as finish the end of the story was a complicated way to carry out the script. The execution, however, was perfect. Had we just watched Jamal succeed at Millionaire and tell us how he knew the answers, I would have been bored to tears. But living his experiences through flashback, especially given how powerful and tragic the experiences were, was entertaining and compelling.
Second, the visuals of the film – mainly the use of color and saturation – made this story mesmerizing. I can still picture the rusty brown of the Mombai slums, the vibrant blue of Shiva’s cameo and the triumphant yellow lighting of the final scene, where Jamal finally finds peace and love. Every scene corresponded to a powerful emotion, and each emotion was portrayed by strategic placement of color.
Finally, the movement and placement of the camera did a wonderful job of bringing the viewer into the story. Like we discussed in class, the camera frame represents what the director wants the viewer to see and feel; it puts us in the point of view of the character. Slumdog Millionaire mastered the use of chaotic chase scene camera movement to still, calm shots to tense, canted angles.
Like I mentioned before, this was one of the most original and powerful stories I’ve seen in a long time, maybe ever.
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