: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
:32:00
that we get very strongly from
the Italian films of the late '40s.
:32:04
Here we have it, a very rare
and interesting example,
:32:07
in British cinema,
as early as 1937.
:32:16
(Day-Lewis) As the last, sad shot
of the funeral fades away,
:32:20
the audience is suddenly
transported to a different world.
:32:24
The sun gleams on the sea,
there are distant cries
:32:28
and the bleat of sheep
and rapid movements of tiny figures.
:32:31
It is the perfect contrast.
:32:37
(Whooping and bleating)
:32:40
(Whooping continues)
:32:45
Hardly have the audience seen
enough of the sheep-run sequence,
:32:48
but enough to see that every soul
on the island is busily engaged,
:32:52
when they are switched to
the meeting of the two lovers,
:32:54
a tranquil, glowing scene among
running waters and yellow iris.
:32:59
Another contrast,