:34:02
I brought back from Foula
:34:04
two good
but sharply different sequences,
:34:07
one dramatic,
the other documentary.
:34:10
A casual observer, an unskilled
technician, a bad cutter,
:34:14
would have recommended
cutting the run to a minimum
:34:17
or losing it altogether.
:34:18
"No time for a lot of sheep,
they've seen sheep before."
:34:22
A cutter of genius,
like Derek Twist,
:34:25
conceives the idea
of combining the two sequences.
:34:28
(Dialogue) A hard man, you mean.
:34:30
Oh, no worse than you all are.
:34:32
You said yourself he won't hear
my name spoken since Robbie died.
:34:36
- You canna blame him for that.
- No?
:34:40
Will I speak to him?
:34:42
He'll never let us marry... now.
:34:45
(Christie)
One of the delightful details
:34:48
in Powell's book
about the making of the film
:34:50
is the fact that
many of the exterior sequences
:34:53
were shot to the accompaniment
of a wind-up gramophone,
:34:58
which Powell carried around with him,
usually playing Smetana's Moldau,
:35:02
and he asks us to imagine
that, just out of shot,
:35:05
is this figure prancing around,
carrying a battered gramophone,
:35:08
with an almost worn-out record.
:35:11
It's one of those little details
that gives you a different view
:35:14
of what you're seeing on the screen.
:35:17
Powell doesn't suggest this would've
been a better accompaniment
:35:20
than the wonderful music
that Bill Williamson put together
:35:24
at very short notice
and very economically for him.
:35:27
(Dialogue) Oh, Ruth, I'm sorry.
:35:39
(Horn)
:35:51
(Christie) A blast of smoke
from the chimney of the ship
:35:54
marks, perhaps ironically,
:35:57
the end of the lovemaking sequence
between Andrew and Ruth