MovieChat Forums > Joe Versus the Volcano (1990) Discussion > Facial Lighting

Facial Lighting

posted 19 years ago by mtupper1
6 replies | jump to latest

I initially looked through the older posts to see if any discussion was posted regarding the flickering lights on character's visages, but my search produced a lot of references to the silent film "Metropolis". My question here is, what was the purpose of the lighting, and was this in the guise of older silent era films?

Another question I had was, why was there the recurring lighting bolt theme throughout the film? (Maybe to represent the misdirection od Joe's life/choices).

[–] mtupper1 19 years ago

anyone?

[–] Bear85 19 years ago

I hadn't noticed the flickering lights - I'll have to check it out.

One of the lighting things that I really liked in JVTV is the dreamy quality it gives Joe's date with DeeDee. The lighting in the restaurant (along with the song, of course) makes my heart want to swell and burst. Then, standing on the sidewalk with the street light above them, and the advert on the side of the building...it's great. Even more so, the use of artificial color on the Manhattan skyline as they're crossing on the ferry in the next shot. That may be my favorite shot in the movie.

I just remembered the restaurant scene with Angelica. There's an interesting shadow on Joe there, right? Or is that in the car scene where she recites her poem? (Sorry, I really DO have to watch this movie again soon!)

As for the recurring "bolt" shape: I think Joe actually refers to it in the movie. Very late in the film, he mentions (paraphrasing) "a long walk on a crooked path". My take on it is that it's just a detail that was included at various points in the movie to signify a change in direction in Joe's life. The path at the beginning leads to quitting his job. The crack on his wall leads to being hired by Graynamore. The lightning bolt leads to the "experience" (vision of God?) that he has during the moonrise. The path up the Big Woo leads to another abrupt change of status, of course. (You know, now that I read that back, it sounds way too astute for me to have come up with myself. I may have got it either from this board or something else I read about this movie.)

[–] AmericanPanascope 19 years ago

You're on track with the Metropolis reference as far as the opening scene goes. The lightning bolt shape is a reference to the German Expressionism style of early silent films. The artificial color you mentioned has to do with something called "film tinting", which was common practice in that era and particularly in that style.

"These pretzels are making me thirsty!"

[–] chertzy 19 years ago

By flickering lighting are you referring to the office scenes where the fluorescent lights are buzzing? If so, I think the whole point was to create a dismal mood - a sort of a lifeless environment.

[–] spikez202 19 years ago

I just saw this movie for the first time, and I too noticed the same exact thing.

I noticed it namely during the dinner scene with DeDe and the breakfast scene with Angelica.

I didn't really think much about silent film when I observed it, but more of 40's-50's classic cinema such as The Maltese Falcon. The entire movie has a 40's to 50's feel to it. Joe's car is circa 40/50's, as well as the limo, and Joe's TV and apartment. The office had a very vintage feel to it as it contained the typewriter in a time when computers were really starting to kick. From the very beginning of the film, I noticed the retro/neo 40/50's color the movie had with the song "Sixteen Tons" a song about the misery of coal mining, written in 1947 by U.S. country singer Merle Travis. Much of the soundtrack was also circa that time period.

I'd say there was definitely an homage to classic cinema in this film, and I found it to be surprisingly good. There was some wonderful artful moments and quirky and comedic dialogues that many movies lack today.

[–] andeparks 19 years ago

I always equated the lightning bolt thing to a Captain Marvel theme, especially because Carol Kane says, Shazam" at one point.

I just watched the film again on HBO, and I really love it. I had completely forgotten that Amanda Plummer has a weird little part. All of the character roles in this are wonderful.