:30:01
which is there were no telephones,
:30:03
and probably mail was only
delivered maybe to the harbour,
:30:07
and everyone went down
to meet the mail boat,
:30:09
so therefore you had to
go yourself and announce it.
:30:13
And out of that comes
this terribly moving moment
:30:18
of Peter Manson and his daughter
:30:21
verbally announcing
the day and time of his funeral.
:30:26
Hovan, hovan, hovan eerie
:30:31
Scorsese and I have always loved
this funeral sequence,
:30:34
the editing of some
very beautiful shots
:30:39
and then the combination, obviously,
:30:41
of the music and the images
is so important.
:30:44
The beautiful idea that
the coffin is carried on oars
:30:47
which, for those of us
who are not islanders, is stunning.
:30:52
And then this moment
when the oars are raised
:30:55
just sends chills through you.
:30:57
Again, beautiful up-angle
across the waving vegetation,
:31:03
to be used again
:31:07
after another strong shot
of the boots marching on the...
:31:11
on the wooden causeway.
:31:13
The up-angle underneath the coffin
revealing Peter Manson,
:31:17
so movingly.
:31:19
Again, repetition
of the same shot here,
:31:22
probably because the editor felt
it would be stronger to have that
:31:26
and then cut to
this reverse shot of the men
:31:29
carrying the coffin.
:31:39
(Christie) There is a real sense
of the physicality
:31:42
of standing in the driving rain
at a funeral.
:31:44
In that sense it looks forward to
the importance of footage like this
:31:49
in Italian neorealism,
in the 1940s.
:31:54
That's exactly the kind of feel
:31:57
of working men
having to stand in the rain