Speaking of the Navy’s flight team called “The Blue Angels”, they have premiered a nonfiction IMAX film that hopes to cater more than their usual audience. This can be elaborated in two aspects.
To begin with, the aspect of the technology that has been utilized: From the information presented on Cineworld’s website, ‘The Blue Angels’, ‘was made using Sony’s Venice 2 IMAX digital equipment with a special emphasis on sound throughout the movie’.
Also, I am saying that, by far, this is ‘amusement’ ‘fake’ which is yet another of self-centered children whose sole focus is on new developments and technological advances instead of portraying the characters and stories behind the Blue Angels people.
There are a great number of heroic low-angle shots which shave off the heads of the actors along with over-the-shoulder shots done using the Steadicam as the actors maneuver through the long hallways while the camera zooms out and in. These are the cameras during the slow motion scenes touching the aircraft walking towards the airplanes and the ‘big brothers’ scenes of putting glasses on the ‘power walks’ which are from time to time in Hollywood.
To put it bluntly, the course of events related to ‘The Blue Angels’ adverts and invocations of the military raise no real surprise. As a Gonzalez and Parsons defined it in context, ‘The American Dream’. This is exactly how one could view the ‘Top Gun’ movie in question. Remember that when one of the producers is Glen Powell, co-star in Top Gun: Maverick they are exactly fighting the same fables marketed by the blue angels – self-promotion. The movie’s aim was made clear when Pauline Kael referred to the first Topgun movie as a mere recruiting poster for the military complex – especially in context to the ‘top gun’ type of formations.
And how about the flying? And the shooting? As far as I can see, it is pure technical brilliance. So shot without any diversion, much less romantic but spectacular (I assume nearly everyone did not expect such a thing). When I was still little I remember watching the blue angels fly and No clue how planes zooming at 300mph could be so close together, I witnessed it then and I am witnessing it now while watching the Imax shots backstage of various aircraft.
(I mean, how can we never catch a glimpse of those cameras in the shots? Was that the deleted scene or was there such a scene at all? Or those cameras are so well hidden from the sight and the crew so cunning?)
There are also narratives that are relatively structured, and in this case, it is the Blue Angels as well, and this part proffers to Paul Crowder’s contribution as a co-editor of the film. He probably pays the utmost degree of attention to the figure of the Commanding Officer and Flight Leader aka “Boss”, who happens to be a former Angel member and now serves as the Deputy Commander of Carrier Air Wing (CVW) 5 Captain Brian Kesselring who observes: “My feeling is, you should never feel too comfortable in the suit.”
He is under the impression that Brian Kesselring is the only soldier present in the movie, which is not quite the case as some members of the squadron also appear on screen.
There’s one section where I have to touch on how the family and marriage dynamic of the pilots – most of whom are on the job away from home for around three hundred days in a calendar does not touch on issues like affairs or even divorces and so has a strong family structure on the missing side. Which the Navy would not have had in any case. And the production order was such a multi-prays that they are lucky to get in touch with the Blue Angels and witness the endorsement of their very first woman pilot Amanda Lee.
But it is not the case that: it is the planes that become the most interesting stars at the conclusion of this production and yes it is true that even though the filmmakers are quick to let you know that there’s more to the story than human beings it is widely known that the intention of the film is to showcase the aerial light works which is indeed what the spectators want to watch and the film does not lose sight of this aspect.
It’s certainly correct that the extended shots are seldom, if ever, seen. This raises the question, Does it at all? It’s one thing to seek out as an IMAX director/producer but even the thought of being responsible for a watching experience with range surround sound systems seems dreadfully intimidating. How about if you allow the audience to see something like ” scissors cross ” or ” delta breakout ” or ” loop break cross ” from one of the waiting fliers while the viewers are waiting long enough to actually feel the G forces?
Apart from this, I must emphasize the fact that the picture is exceptionally vivid Jessica Young, Lance Benson and Michael Fitzmaurice was the one who took it and the jet performed numerous dives, climbs, and rolls so this factor alone completely enhances the experience gained from the scenery. There is also a very strong feeling that the pilots used to experience where at what point they received the call. It has the feeling of being of a rare and exclusive series 260 which has recently been joined since 1946.
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