Top 10: Extended Takes

The extended take is something that I always take great pleasure in watching in cinema. When I see one, the film immediately earns a bit more respect from me. Some see it as flashy and showy film making which it could be argued that it is, to a certain extent. I however, see it as one of the most fluid and natural forms of cinema. It is something in which all facets of film making are all in evidence, working in complete tandem at once. Great acting, cinematography, directing, set design, lighting, choreography (to name but a few) must all be at the top of their game if they expect to pull off something as difficult as an extended take. It is a means of wholly transporting you into its world, of seeing things through the characters eyes, and when it is pulled off, the results can be stunning. The best ones are those that most don't even realise actually is an extended take, so enveloping are they. For my choices here, I tried to cover a range of different films and shots, to cover a broad spectrum of films they have been used to fantastic effect in. Surprisingly, there were a lot of personal faves of mine that simply couldn't make the cut. So, in no particular order, here are my favourite extended shots of all time. Some spoilers follow.

"Children of Men"

To start things off here is one of the most recent and stunning extended takes in cinematic history. For his sci-fi classic, director Alfonso Cuoron filled "Children of Men" with plenty of extended take sequences; each one of them worthy of this list. However, I had to pick its climactic street battle, which stands out for me as one the most dynamic and all consuming action sequences I have ever seen. For those eagle eyed viewers, there actually is an invisible cut in this clip, but that makes it a no less impressive sequence.

"Children of Men" Street Battle (Extended Take)

"Goodfellas"

One of the most influential long takes; this stands as one of Martin Scorsese's iconic scenes, in a career full of them. What works especially well, is that it offers a very idolised view of the mafia. In it, Scorsese invites the audience to experience life through their eyes and it is presented very seductively. It is one of the films many strengths, by mixing quite romantic scenes as evidenced here, before the violence erupts and the bodies start piling up later on.

"The Secret In Their Eyes"

An absolutely cracking Argentinian thriller from last year, this quite deservedly won the Best Foreign Film Oscar. This scene occurs just past its mid point, when we're beginning to think our heroes will never catch the man responsible for the rape and brutal murder of an innocent woman. Cut to a crowded football match, where a breathtaking foot chase occurs; all the while with the camera following the action, through almost impossible means.

"Magnolia"

A far more quieter sequence now. Director PT Anderson favors the extended takes in most of his films (just one of the reasons why he is one of my favourite directors), and so choosing just one is quite difficult indeed. In the end "Magnolia" just barely pipped "Boogie Nights", through it's sheer emotional undercurrent. Although the shot is stunningly lit and photographed, Andersons using it to focus on our introduction to the TV studios where a bulk of the action is set with these characters, adds to the reasons something about it captivates me.

"Touch of Evil"

Only Orson Welles would be so audacious as to attempts something like this sequence back in 1958. With only a few seconds into his film, Welles has the audience on the edge of their seats. The fact that a shot like this would have been far more difficult back then only cements its positioning here; although where this from a film this year it would easily merit inclusion, so masterful is it.

"The Protector"

A incredible take on what could have been a very typical action scene. What makes it special is Muay Thai expert, Tony Jaa, becoming ever more tired as the fight goes on, yet no less a force to be reckoned with as he takes down an entire building of goons. The camera follows his every move. You can see the dedication of the shot in his performance, and the weeks of planning that must have gone into this warrents it's inclusion . It's also really kick ass.

"Shaun of the Dead"

I feel like I'm cheating here by including these, but I always saw it that they are meant to be taken together. For Edgar Wrights first film, he contrasts Shauns slow growing realisation that the world is being enveloped by zombies, with the fact that on first viewing, things aren't really that different from the way they were before. We might all be zombies already. This was the first sign that Wright was going to become a young force to be reckoned with in directing.

"Oldboy"

This shot very famously apes the side to side retro video games of the 90's. Of course the focus here is on brutal violence, as we see the full extent of what Oh Dae-su (Choi Min-sik) is capable of. Here we see the limits his madness is tested to, in a very original take on the action scene. A remake was bounded about Hollywood in the years after this film was released. After scenes like this, it is obvious that any improvements are futile. The film is near perfect, and would only be diluted by Western hands.

"Oldboy" Corridor Fight

"Hard Boiled"

Rumour has it, that John Woo decided to shoot part of his epic hospital shoot out in an uncut sequence was down more to time constraints, than a nessessary reason to include it in the story. It makes no difference and only adds to one of the greatest (and longest) shoot outs in cinema.

"Russian Ark"

Some may lament this films inclusion here, for the sheer fact that it blows all the other choices out of the water, so mind-bogglingly incredible is it. Of course the entire 90 minute film is one long and interrupted shot, a fact that is a huge testament to the astonishing film making on display. It really beggers belief that something like this was executed as flawlessly. It's only fair to point out that the film itself not exactly riveting viewing, but is still is a huge landmark in cinema history. There is simply no other like it. This clip is taken from near its climax.