- The Observer,
- Sunday February 6 2000
In Boyar's Plot by Eisenstein the moment when the film changes from black and white to colour is very important. The change and contrast in language, from black and white to colour, reflects the move from the past to the future.
I also love the moment in Abel Gance's Napoleon when it goes from one screen to three screens for similar sorts of reasons. Again there is a huge dynamic change and contrast from a single vision to multiple visions.
Finally I think that the moment in Resnais' Last Year In Marienbad, when the organ music begins, introduces the most intelligent piece of filmmaking ever.
