Analysis Of Cinematography And Sound Effects Of The Movie 33
The movie’s cinematography is professionally made; the composition, camera positions, and visual techniques were effective in bringing out the mood. According to Sragow (2015), the sight of dozens of men with their helmet lights on, multiple vehicles with their headlights on, moving through mini-plateaus by the side of this labyrinthine road is scarily disorienting. Varese’s camera stays alert to textures as well as colors and shapes; the men sweat more as they come closer to the red-hot center of the earth. These emphasize the experience that is meant to reach the viewers.
The visual is also undeniably amazing as Theodore (2015) comments, “the visual is pretty nice, not many viewers realize in what space the miners were trapped. The film makes a fairly meticulous depiction, not just a simple pit hole, but more of a subterranean barrack. View of the underground settlement and outside desert are presented with fine cinematography. It's a refined look although still identifiable without being too glossy. ”
However, according to Gonzales (2015), the visual effects weren't mesmerizing, but the collapse of the mine is believable. It takes a while to get used to the dark cinematography inside the mines where you can't tell most of the characters apart from each other. Overall, the cinematography is well done however there are scenes that are a little bit disorienting even Salgado (2015) states that the editing, being mostly very good, it's evident that scenes in the last part that were cut from the final product, an issue that can leave some viewers confused. There's a little bit of shaky cam as well, not a big complaint, but it can get very disorienting at times. Corral (2015) also added that Caress's photography is played a lot in the dark, with the unsteady camera, making the film at times hard to enjoy.
On the other hand, the film is well-executed, with stunning wide visuals of the starkly beautiful Atacama Desert contrasted by the close, grim tunnels of the mine. The crane shots is well-executed, with wide shot of the desert and the mountain. In the beginning, there are also a drone shot of the mine field in the beautiful Atacama Desert. The mine interior is dark but not so dim as to obscure detail and obliterate features as happens in some movies set in dark places. The use of head lamps to show what the miners see is effective, and the constant grime and dirt of the place make it seem very real and also very miserable. The rescue scenes with machinery and drilling rigs and the scale and color of Camp Hope are believable.
Sound Effects
The movie’s sound effects on the other hand, are nicely coordinated with the scenes; It does not over-power the lines of the characters. The Latino upbeat music in the beginning of the film reinforced the mood of the feast. The sound effects during the collapse also simulates reality. However, some of the sound transitions are not smooth; the sound in the scene where they hallucinated transitioning to their current state is rough and quite confusing. Generally, the sound effects are neatly done and according to Valenti (2017), the soundtrack composed by James Horner is very good, for it mixes Chilean instruments with big orchestra compositions that fit the movie perfectly. Also, James (2016) wishes that he had taken more notice of the musical score often because the dramatic music is permeated with strains of Chilean instruments and rhythms, which is effective in reminding us of the place.
