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  • Sometimes the magic in cinema comes not just from incredible shots, but from

  • bringing two together to yield something more than the sum of their parts.

  • These are the top ten most memorable editing moments of all time.

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  • Kicking us off at number ten, the beginning of City Of God.

  • Bursting with energy, the very first shot is [FOREIGN] thrusts us into the rhythm,

  • the music, and the violence, the underbelly of Rio.

  • Jump cuts, repeated action, frenetic montage, and

  • a final bullet time, graphic match wipe sound like a recipe for disaster.

  • But in City of God, they don't just work, they electrify the screen.

  • >> Hey.

  • [SOUND] >> Next up at number nine,

  • the end of Bonnie and Clyde.

  • Arthur Penn's fateful finale showed us a death unlike any Hollywood had ever seen.

  • The pace accelerates to breakneck speed as a shifty Malcolm and

  • startled flock of birds bring us towards one last glance between mythic lovers,

  • before their slow-mo demise.

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  • >> Can't reach now.

  • >> I'm trying.

  • >> Come on, I got you, up.

  • >> Come along, Mrs. Todd Hill.

  • >> At number eight, Hitchcock's North by Northwest.

  • When most think of Hitchcock,

  • they think of a stiff British director, the master of suspense.

  • But even Hitchcock wasn't above a little double entendre.

  • And that's exactly what he used to skirt around censorship laws

  • in what amounts to one giant editorial dick joke,

  • but Hitchcock's got more to him than visual puns.

  • In addition to North by Northwest,

  • which has world class editing all the way through,

  • we'll be coming back to infer one of the most shocking sequences of all time.

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  • >> Michael Francis Rizzi, do you renounce Satan?

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  • [SOUND] >> I do renounce him.

  • >> Next up at number seven, The Godfather baptism sequence,

  • one of the most iconic intercut sequences in all of cinema.

  • Coppola's Godfather climax sees Michael Corleone securing his place of power by

  • orchestrating a series of gangland killings,

  • all intercut with his baptismal vow to renounce the powers of evil.

  • The effect of the juxtaposition is haunting.

  • Through the power of association,

  • we see Michael christened as the new Godfather in the blood of his enemies

  • whose corpses lie motionless in nomine patri et fili Spiritus Sancti, amen.

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  • At number six, the historic Odessa steps sequence of Battleship Potemkin.

  • There's hardly a more celebrated achievement in editing than

  • Eisenstein's Bolshevik propaganda piece.

  • Exemplifying his theory of montage-esque conflict, the concept of two discrete

  • shots giving rise to an idea bigger and different than their individual meanings.

  • Not only is Potemkin pretty much required watching for

  • film school 101 around the world,

  • but it's been ripped off, paid homage to, and parodied more times then we can count.

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  • [SOUND] Number

  • five, Psycho.

  • Nothing can prepare you for the shock of the shower scene,

  • the terror of the knife coming at you, the violence, the nudity.

  • Of course, none of it's actually there.

  • There is no actual threat, not a single stab on screen or

  • even a single frame of nudity.

  • It's all part of the editing that Hitchcock uses to evoke these effects

  • in one's mind.

  • In 78 cuts over 45 seconds, we only see blood washing down the drain,

  • which Hitchcock so

  • beautifully connects with Marion Crane's eye in a Final evocative resolve.

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  • Next up at number four, Un Chien Andalou.

  • When Luis Brunelle approached Salvador Dali with the story of a cloud slitting

  • the moon like a knife, Dali told him about his dream of a hand crawling with ants.

  • Thus became Un Chien Andalou, or The Andalusian Dog, a title that means

  • just about as much as anything else in the film, which is to say nothing at all.

  • But just because it lacks rationality doesn't mean it lacks impact.

  • The eye slitting sequence is shocking to this day.

  • The graphic match, the dream logic, and the growing dread of the inevitable slice

  • are created entirely through the strange juxtaposition,

  • which just goes to show the massive power of editing.

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  • Counting down to number three, the opening of Apocalypse Now.

  • Francis Ford Coppola's meditative masterpiece on the horror of war and

  • the human soul begins in striking fashion.

  • A series of mesmerizing super impositions connects the slow motion

  • memories of helicopters to a ceiling fan and a disoriented Captain Willard.

  • There is hardly a better example of the power and

  • beauty of montage in cinema than this sequence.

  • The ideas of each shot literally building one on top of the next,

  • punctuated by the base slices of helicopter blades and

  • orchestrated by the stern poetry of Jim Morrison.

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  • Next up at number two, the dawn of man cut from 2001: A Space Odyssey.

  • Spanning millions of years in a single cut, Stanley Kubrick's visual metaphor

  • works on so many levels, connecting the invention of tools to the advent of space

  • travel, the flight of a bone to our lift off to the moon.

  • It is this kind of non-verbal communication that makes editing such

  • an incredible medium,

  • communicating as Eisenstein prescribed through the clash of imagery.

  • There's hardly a more iconic match cut than this one from Kubrick's masterpiece,

  • but if we had to pick one, it would probably be number one,

  • Lawrence of Arabia.

  • >> Now drag on it, it's going to be fun.

  • It is recognized that you have a funny sense of fun.

  • >> David Lean's timeless desert epic captured imaginations and

  • inspired generations over three and

  • a half stunning hours in massive 70 millimeter wide screen.

  • But there's perhaps no single cut more cinematic than when Peter O'Toole

  • blows out a match and transports us to a magnificent desert sunrise.

  • Perhaps it is his smirk, or the deep harmonics of the puff of air, but

  • something about this cut carries weight, beauty, and the richness of theme.

  • Which is why we think it's most memorable moment in editing of all time.

  • So what do you think?

  • Were any of these moments less than memorable?

  • Did you find yourself especially missing any of the other classic editing

  • moments we left out?

  • Let us know in the comments below and subscribe to Cinefix for

  • more indie wire movie lists.

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Sometimes the magic in cinema comes not just from incredible shots, but from

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史上最有效的十大編輯時刻 (Top 10 Most Effective Editing Moments of All Time)

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    Pedroli Li 發佈於 2021 年 01 月 14 日
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