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The longest take in the movie is the scene when Henry takes Karen to the Copacabana nightclub through he kitchen, and finally completing the labyrinth when they arrive inside the nightclub where a table is set just for them. By filming Henry and Karen’s entrance without a cut Scorsese reveals the power Henry has in that moment. Henry is moving in a clear, focused direction and he is in control; seemingly, the camera is doing its best just to keep up with Henry because it is Henry who is calling the shot and by maintaining an uninterrupted shot Scorsese is able to subtly communicate Henry’s prominence to the audience. The camera is on mid angle, making the focus on the couple and more or less nothing else. The framing is excellent in that the screen is subtly filled with the couple all the way from the car to the table. There is not too much color and this accentuates the main focus of the take. The overall effect this has on the scene is that the camerawork tells the story, not the dialogues that occur. It is thrilling to watch an auteur so well versed.
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