{"id":2868,"date":"2020-06-19T08:18:11","date_gmt":"2020-06-19T15:18:11","guid":{"rendered":"https:\/\/ryansmoviecorner.com\/home\/?p=2868"},"modified":"2020-06-19T08:18:11","modified_gmt":"2020-06-19T15:18:11","slug":"30-most-excellent-shots","status":"publish","type":"post","link":"https:\/\/ryansmoviecorner.com\/home\/30-most-excellent-shots\/","title":{"rendered":"The 30 Most Excellent Shots in Film History"},"content":{"rendered":"

There are many reasons why I love movies. While many elements make a great film, one of the most important to me is the cinematography. I\u2019ve talked about how great cinematography is in film<\/u><\/strong><\/a>, but let\u2019s dive a little deeper and explore individual shots in a film.<\/p>\n

A single shot in a film can define the whole film and stand out above those around it. I\u2019ve compiled a list of thirty of my all-time favorite shots. It was hard to choose only thirty because there are so many beautiful images captured on film.<\/p>\n

They say a picture is worth a thousand words, but I promise to restrain myself.<\/p>\n

 <\/p>\n

The Wizard of Oz<\/em> (1939)<\/h2>\n
\"wizard
MGM<\/figcaption><\/figure>\n

It was hard to pick only one shot from this film because there is so much beauty in it. I\u2019ve always loved this shot with the characters about to reach The Land of Oz, though. You can feel their optimism emanating from the screen.<\/p>\n

A Matter of Life and Death<\/em> (1946)<\/h2>\n
\"matter
The Archers<\/figcaption><\/figure>\n

The entire scene is full of wonder, from its set design to the beautiful score. Peter (David Niven<\/strong><\/span><\/a>) and his guiding angel, Conductor 71 (Marius Goring<\/strong><\/span><\/a>), on the escalating staircase to heaven is always a joy to watch!<\/p>\n

Black Narcissus<\/em> (1947)<\/h2>\n
\"black
The Archers<\/figcaption><\/figure>\n

All the set designs and backgrounds in this film are ahead of their time. This shot of the bell ringing near the towering edge always gets to me. I keep having to remind myself that this is a matte painting and not actually in the Himalayan wilderness.<\/p>\n

Rope<\/em> (1948)<\/h2>\n
\"rope
Warner Bros.<\/figcaption><\/figure>\n

The hardest part of picking one shot from this film is the exact frame since there are several actual cuts in the film. Rope<\/em> plays out like an onstage performance. The ending shot of Rupert Cadell (Jimmy Stewart<\/span><\/strong><\/a>) firing a gun into the air is an effective climax, with the beautiful city lights in the distance.<\/p>\n

The Third Man<\/em> (1949)<\/h2>\n
\"the
London Film Productions<\/figcaption><\/figure>\n

This is one of my favorite climaxes in film. Harry Lime (Orson Welles<\/span><\/strong><\/a>) running away from the authorities in the sewers of Vienna. This frame always speaks to me. I love how everything is lit, from the textures of the brick walls to the outline of Lime\u2019s silhouette.<\/p>\n

The Searchers <\/em>(1956)<\/h2>\n
\"the
Warner Bros.<\/figcaption><\/figure>\n

This shot truly belongs on any \u201cbest shots\u201d list ever made. I love the ambiguity of it. Ethan Edwards (John Wayne<\/strong><\/span><\/a>) accomplishes his mission and reunites a family. After they all go into the house, Ethan stands by himself, barely lit and with a colorful background behind him. It’s a good alternative to \u201criding into the sunset.\u201d It almost seems as though Ethan is watching the sunset himself.<\/p>\n

The Seventh Seal<\/em> (1957)<\/h2>\n
\"the
Janus Films<\/figcaption><\/figure>\n

A lot of these shots are the ending shots to a film, and this one always astounds me. The characters head into the afterlife, with the grim reaper leading the way while the followers perform the \u201cdance of death.\u201d I also love the horizon, which director Ingmar Bergman<\/strong><\/span><\/a> saw one day and recorded this shot spontaneously. I never mind the slight smudge in the upper left-hand corner.<\/p>\n

2001: A Space Odyssey<\/em> (1968)<\/h2>\n
\"2001
MGM<\/figcaption><\/figure>\n

Again, it was hard picking only one shot from this film. The opening sequence of \u201cthe evolution of man\u201d is chock full of amazing cinematography. I landed on this shot of the apes going, well, ape over the appearance of the monolith. I can still hear the haunting score.<\/p>\n

A Clockwork Orange<\/em> (1971)<\/h2>\n
\"a
Warner Bros.<\/figcaption><\/figure>\n

Stanley Kubrick<\/strong><\/span><\/a> always knows how to capture an image, as he did with 2001: A Space Odyssey<\/em>. This shot of The Droogs approaching a homeless man is somewhat haunting, yet mesmerizing. Their long shadows symbolize a dominating presence as if The Droogs create darkness wherever they go.<\/p>\n

Barry Lyndon<\/em> (1975)<\/h2>\n
\"barry
Warner Bros.<\/figcaption><\/figure>\n

I swear, I won\u2019t make this list mainly about Kubrick, but it was hard to omit his other films. The opening shot of Barry Lyndon<\/em> got me hooked. It looks as though it came straight from an 18th<\/sup>-century painting.<\/p>\n

Star Wars: A New Hope <\/em>(1977)<\/h2>\n
\"star
20th Century Fox<\/figcaption><\/figure>\n

You can\u2019t go wrong with the two sunsets scene in A New Hope<\/em>. It sets the mood for the scene regarding Luke Skywalker\u2019s feelings of loneliness and depression. I\u2019m sure at least some of you can hear John Williams<\/strong><\/span><\/a>\u2019 score in the back in your minds when you are looking at this shot.<\/p>\n

Manhattan <\/em>(1979)<\/h2>\n
\"manhattan
United Artists<\/figcaption><\/figure>\n

This shot always amazes me. I remember seeing it somewhere online and I knew that I had to see this movie. It is an absolute wonder! I read that Woody Allen<\/strong><\/span><\/a> had a bench put there so that he could get that shot. I hope it still exists because I’d like to have someone take a picture of me with the same framing someday.<\/p>\n

Star Wars: The Empire Strikes Back<\/em> (1980)<\/h2>\n
\"the
20th Century Fox<\/figcaption><\/figure>\n

\u201cThe force is with you, young Skywalker, but you are not a Jedi yet.\u201d This sets the stage for one of the most memorable duels in cinematic history: Luke Skywalker vs. Darth Vader. I love the framing of this shot, as well as the lighting. It gives the sense that Luke might be going down a dark path while confronting Vader.<\/p>\n

E.T. The Extra-Terrestrial<\/em> (1982)<\/h2>\n
\"e.t.
Universal Pictures<\/figcaption><\/figure>\n

Steven Spielberg<\/strong><\/span><\/a> is the man who made me love movies. From Indiana Jones<\/em> to E.T.<\/em>, he knows how to delight an audience. This has to be one of the most iconic shots of all time. Spielberg clearly agrees since he made it the logo of his production company, Amblin. Such a beautiful shot!<\/p>\n

Once Upon a Time in America<\/em> (1984)<\/h2>\n
\"once
Warner Bros.<\/figcaption><\/figure>\n

This shot has a lot of meaning to it. It establishes the setting of that portion of the film. The kids walking in the foreground seem as if they don\u2019t have a care in the world. It makes me want to visit New York one of these days.<\/p>\n

Batman<\/em> (1989)<\/h2>\n
\"batman
Warner Bros.<\/figcaption><\/figure>\n

I love how this shot foreshadows the legacy of Batman. The way The Batwing stays still for a few seconds with the moon backlighting it hints at the Bat-Signal. It could be because I\u2019m a Batman fanatic<\/u><\/strong><\/a>, but this shot always makes me smile.<\/p>\n

Dances with Wolves<\/em> (1990)<\/h2>\n
\"dances
Orion Pictures<\/figcaption><\/figure>\n

I\u2019m not entirely sure if visual effects played a role in this shot. Usually, I can tell if a shot uses CGI or not, but it\u2019s still hard to tell here. Real bison appear later in the scene when the Sioux tribe gets closer to them, so maybe it\u2019s real. One way or another, this is a truly breathtaking shot.<\/p>\n

Schindler\u2019s List<\/em> (1993)<\/h2>\n
\"schindler's
Universal Pictures<\/figcaption><\/figure>\n

There is a lot of beauty in this film despite the gloomy and horrific events that occur. The girl in the red coat has long been the subject of ambiguous symbolism in film. I especially love this shot of her in the background. It is astounding in so many ways!<\/p>\n

Forrest Gump<\/em> (1994)<\/h2>\n
\"forrest
Paramount Pictures<\/figcaption><\/figure>\n

It was hard to pick one shot in Forrest Gump<\/em>. I chose the scene near the end when Forrest walks away, only to turn back to the sound of a group of birds flying to his favorite tree. Not only does it have a beautiful sound, but it is set during a magnificent sunset. I am a sucker for those.<\/p>\n

Pulp Fiction<\/em> (1994)<\/h2>\n
\"pulp
Miramax<\/figcaption><\/figure>\n

Perhaps it\u2019s the introduction of Vincent and Mia together that I love about this shot. I also love how the logo of the restaurant they pull up to is visible on the windshield. It could be from a film major\u2019s standpoint, but I often wonder what it took to get this shot right. If I ever meet Quentin Tarantino<\/strong><\/span><\/a>, I\u2019ll have to ask him.<\/p>\n

The Shawshank Redemption<\/em> (1994)<\/h2>\n
\"shawshank
Castle Rock Entertainment<\/figcaption><\/figure>\n

I almost picked the moment when Andy Dufresne (Tim Robbins<\/strong><\/span><\/a>) raises his arms triumphantly in the stormy air. That is a great shot, but I feel that the ending shot to this film deserves more praise. I love the moment in general, but the beautiful blue ocean is what makes this stand out over the rest of the film. To set the proper mood, the film used drab colors before this shot. The bright ocean represents freedom.<\/p>\n

Apollo 13<\/em> (1995)<\/h2>\n
\"apollo
Universal Pictures<\/figcaption><\/figure>\n

This shot is what made me want to make this list. I love how the silhouettes celebrate the return of the astronauts. I also love the positioning of the players, with the gap off-center to show the remains of the spacecraft about to touch down on the water.<\/p>\n

Eyes Wide Shut<\/em> (1999)<\/h2>\n
\"eyes
Warner Bros.<\/figcaption><\/figure>\n

This film has many great shots. The colors and cinematography give the feeling that the film is a dream. I especially love the eerie scene where Bill (Tom Cruise<\/strong><\/span><\/a>) finds himself surrounded by the other masked figures who decide that Bill is an outsider who shouldn\u2019t be there. You just know Stanley Kubrick is a true perfectionist by how precisely the extras are placed.<\/p>\n

The Lord of the Rings: The Fellowship of the Ring<\/em> (2001)<\/h2>\n
\"lord
New Line Cinema<\/figcaption><\/figure>\n

CGI is more prominent than anything in this shot, but it is so remarkable. This moment always makes my heart pound with excitement. What I love about this moment in the film is that the statues make you curious about what\u2019s on the other side of the gate, yet they could be warning people not to pass. A truly marvelous, yet ambiguous moment.<\/p>\n

Minority Report<\/em> (2002)<\/h2>\n
\"minority
DreamWorks Pictures\/20th Century Fox<\/figcaption><\/figure>\n

Beautiful and haunting visuals make up the entirety of Minority Report<\/em>. There are so many great CGI and so many remarkable set pieces in this futuristic masterpiece. Yet this simple shot of Agatha telling John to turn away, with their heads together, always speaks to me the most.<\/p>\n

Road to Perdition<\/em> (2002)<\/h2>\n
\"road
DreamWorks Pictures\/20th Century Fox<\/figcaption><\/figure>\n

Despite the depressing mood set in Road to Perdition<\/em>, there is so much to love about this film. The visuals are among the most outstanding elements. This shot, though grimly showing and foreshadowing death, is mind-blowing. It looks as if it could be a famous painting.<\/p>\n

There Will Be Blood<\/em> (2007)<\/h2>\n
\"there
Paramount Vantage\/Miramax<\/figcaption><\/figure>\n

The scene of the oil rig catching fire always makes me cringe. I always wonder how the filmmakers captured this moment without anybody getting hurt (at least I don\u2019t know of any serious accidents occurring in the film\u2019s production). I also love how the spewing fire outlines the figures in the foreground.<\/p>\n

Inception<\/em> (2010)<\/h2>\n
\"inception\"
Warner Bros.<\/figcaption><\/figure>\n

This must be one of my favorite shots in all of cinema. The shifting gravity is mind-blowing! This shot takes place in the subconscious of someone\u2019s mind and is not meant to represent a physical reality, so the filmmakers could have fun with it. I love films like this!<\/p>\n

Nebraska<\/em> (2013)<\/h2>\n
\"nebraska\"
Paramount Vantage<\/figcaption><\/figure>\n

I read that director Alexander Payne<\/strong><\/span><\/a> had to fight with Paramount Pictures over this film. Payne wanted it to be in black and white, which I think worked on many levels. It brings out the bleakness in the film\u2019s setting in the American Midwest. I love this shot of the two main characters switching seats and driving into the sunset. It was the perfect ending.<\/p>\n

La La Land<\/em> (2016)<\/h2>\n
\"la
Summit Entertainment<\/figcaption><\/figure>\n

Musicals are not usually my thing, but La La Land <\/em>still amazes me. One of the things I love about it is the long takes and camera work to keep the actors and dancers in the frame. There is so much beauty in the scene where Sebastian and Mia dance with the Hollywood sunset behind them. Again, I love sunsets!<\/p>\n

Happy watching!<\/p>\n","protected":false},"excerpt":{"rendered":"

There are many reasons why I love movies. While many elements make a great film, one of the most important to me is the cinematography. I\u2019ve talked about how great Read more<\/a><\/p>\n","protected":false},"author":2,"featured_media":2922,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[5],"tags":[177,201,200],"class_list":["post-2868","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-lists","tag-film-list","tag-shot-list","tag-shots","list-style-post"],"yoast_head":"\nThe 30 Most Excellent Shots in Film History - Ryan's Movie Corner<\/title>\n<meta name=\"description\" content=\"A single shot in a film can define the whole film and stand out above those around it. 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The Hays Code of the 1930s, which governed morality in American films, started to fade away. By the late 1960s, the industry abandoned the code entirely. I believe that this decade shaped modern cinema\u2019s approach to storytelling. 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