Tuesday, January 22, 2013


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The modestly budgeted Narc is a stylish thriller that is violently gritty and unsentimentally tough. Joe Carnahan’s film is a wised-up police drama with corruption and despair throughout. The story begins with an undercover narcotics officer, Nick Tellis, being taken off duty, after accidentally shooting a civilian. After being suspended, he gets reinstated to help another officer find who killed his partner. The effective cinematography and editing techniques grab the viewers and throw them through the events as the characters experience them. The action is presented vividly, leading up to what actually happened to the killed partner. The ending isn’t completely predictable.

The film opens with the action of a vigorous chase scene, as Nick Tellis pursues a suspect through backyards and over fences until the chase ends in a shooting. To convey the anxiety, during the chase between the detective and the druggie, a hand-held camera follows their every step. Both the camera and Nick look as if they might lose it, each seem out of control. “Camera movement without a Steadicam can disorient, confuse, or even sicken viewers” (Phillips ). Camera movement affects what and how the viewers see the action; it can be used in many ways. The other hand-held shots in the film are used to show action directly as well. The sights of Detroit during winter are shown grim, gray, and grainy with a terrain of mainly waste lots and littered streets covered with dirty snow. It’s the kind of place where one could imagine that no one except a criminal would willingly reside. The colors used in the film for these scenes are effective in enhancing the mood. It’s an urban wasteland and to work these cruel streets is a dreadful situation. This harsh and rough mood surrounds them as they handle the case. The viewer understands the pressure to resolving the case, and the surroundings of their situation.

The case for Henry has to do with justice and retribution. He is known for getting results, along with having a short temper and breaking rules. As Nick is discussing the offer to work the case, the captain warns him that Henry is a good officer, but sometimes unstable. During this scene, there are quick subjective cuts to the older man beating a prisoner. This flashback effectively brings Henry into the film. To keep viewers interested the story has a quick pace, presenting only relevant information to the action. With parallel editing “the film shifts back and forth between two or more subjects or lines of action” (Philips 14), allowing the story to keep viewers interested by explaining concurrent actions. Toward the end of the film parallel editing shows Nick utilizing an opportunity to be alone with the suspects while Henry is away. The cuts between Nick and Henry add to the suspense, as Nick seemingly tries to hit upon the truth in a limited amount of time. Three different versions of the way the officer was killed are shown. The way this is put together keeps the viewer involved. Its apparent that Nick’s life has become involved with the case, almost putting his family to the side. He needs to get the truth, so he can finish this case and move on with his life as he intended.

The film delivers a deep, complicated murder investigation similar to other popularized murder investigation films and television shows, but in an entirely new way. This very dark event slowly comes to light from different points of view. The best parts of the film are those that concentrate on character development rather than police work. The separate window into Nick’s family life makes the viewer care about what happens to him. In order to convey different aspects of the story, Joe Carnahan uses a full abundance of techniques, such as the hand-held shots, flashbacks, blurred focus, split-screen, and specific colors all in the same film. Using each technique to enhance the story in its own way. Other low budget films use these techniques in abundance, as well. A film produced with financial constraints is driven to utilize available techniques for how it is filmed and how the film is put together. Each low budget film has different resources and talents available to them. Carnahan’s use of available resources, talents and filming techniques is essential to its success.

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This film is a story about murder, abuse, and disloyalty. The camerawork is wary with the colors and locations drab and washed out. The camera constantly puts forward perplexing violence. The gripping aggression is behind the immorality some men do while trying to right wrongs. Again the effective cinematography and editing techniques is what grabs the viewer and creates their concern as to how the investigation about the murdered partner will end. This is a mean and unforgiving world that we live in and its injustice and sadness are terrible, but inevitable.

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