*This post is part of Nathaniel’s Hit Me with YourBest Shot series and contains GRAPHIC IMAGES.
I’ve always thought Sam Mendes’ second feature doesn’t
get as much credit as it deserves. There is so much to admire, from
performances that transcend the characters they inhabit to a story that, while
never fully exploring its potential, manages to dig deeper than the machinations
of the crimes at its centre. But among all the film’s powers, legendary
cinematographer Conrad Hall’s Oscar-winning work takes the cake.
Choosing a favourite shot from such an abundance of
options isn’t easy. Hall’s somberly lit atmosphere captures the era beautifully.
His lens gives a poetic quality, however colourless, to the violence. It’s the
type of cinematography that attracts attention to itself, but when it seems so
fitting, so elegant, it isn’t something to complain about.
As is often the case when I participate in this
series, my favourite shot in the film is one that’s been etched in my memory
from previous screenings. It’s from an early sequence in the film. Michael Sullivan
Jr. has hidden in his father’s car to ride with him and Connor Rooney (Daniel
Craig) to a meeting. As his father (Tom Hanks) and Connor confront their
associate Finn McGovern (Ciaran Hinds) things get out of hand, Connor shoots
Finn and Sullivan Sr. is forced to gun down his guards. Michael witnesses the
proceedings through a hole in the wall.
