This is *beautiful* and I don't even know where to start, so this is going to be a little incoherent.
So I first watched this fashes last night, who said that this song is like the undercurrent of the Fraser/Victoria relationship, than again with adrienne2.
The polar bears were just the utterly perfect choice. They're these beautiful white, pristine looking animals, but they are *carnivores* and even more than that, as adrienne2 pointed out, they are the type of carnivores that can't live in packs. As other people mentioned, that image of the bear loping, muzzle covered in blood is incredibly startling and effective, because we *forget.*
Victoria is that kind of carnivore, and in a way so is Fraser, that he could love her the way he loved her because they are the same *kind* the same *breed* but, of course, Fraser is the polar bear behind the glass at 1:19. You show that even earlier at 0:29 with Faser looking out from inside the revolving glass doors and then the reveal of Victoria on the other side of the revolving glass doors and then the polar bear eating , outside of the building.
I love all of the images of Fraser as restrained, first at the beginning, lying on a hospital gurney with a neck brace, then the repeated images of him behind the glass doors, and 1:48 at the confessional, behind the lattice window, the snow globe, Fraser's very closed in *life* that you illustrate with the snow falling over him as he lies on his bed that Victoria just shatters just because she *can.* I liked the ice floes crashing put next to the snow globe shattering, this relationship that is so animal, such a force of nature.
There's 2:04, when he is reaching out as if to touch her and then pulling back, later with his own finger near his mouth and she still has a hold over him as strong as those walls he put up around himself, made him want to be the kind of carnivore she is, but there's too much humanity in him for that.
I love how you use parallel and continuous motions, like matching up the grace of the bear swimming with the slow kiss at 1:27. The way they approach each other. The playful bounce at 1:45 with the bear covered in fresh blood and Victoria's just *playing* with him. The turn of Victoria's head at 2:24 to match the polar bear standing upright. The polar bear advancing on the other and Victoria shoving Fraser a 2:54 and the way they are with each other. At 0:24 when Victoria crashes over him to the bed and 1:21 when she is lying on top of him and 1:52 when Victoria is grabbing him and pushing him. The fighting bears near the end and the lunging in for a kiss, just the way they *move* -- people don't normally interact like that, on that utterly primitive level.
I love how you stop the vid when Fraser is about to run after her, after you show her shooting him, and he *know* what she is and he's running after her anyway because it is just in his nature, because he has to try, to think that there could be some humanity in her like there is in him, but there *isn't* and she lopes away, beautiful and pristine and a killer.
![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
timeasmymeasure
no subject
Date: 2005-11-15 04:38 am (UTC)::flails::
This is *beautiful* and I don't even know where to start, so this is going to be a little incoherent.
So I first watched this
The polar bears were just the utterly perfect choice. They're these beautiful white, pristine looking animals, but they are *carnivores* and even more than that, as
Victoria is that kind of carnivore, and in a way so is Fraser, that he could love her the way he loved her because they are the same *kind* the same *breed* but, of course, Fraser is the polar bear behind the glass at 1:19. You show that even earlier at 0:29 with Faser looking out from inside the revolving glass doors and then the reveal of Victoria on the other side of the revolving glass doors and then the polar bear eating , outside of the building.
I love all of the images of Fraser as restrained, first at the beginning, lying on a hospital gurney with a neck brace, then the repeated images of him behind the glass doors, and 1:48 at the confessional, behind the lattice window, the snow globe, Fraser's very closed in *life* that you illustrate with the snow falling over him as he lies on his bed that Victoria just shatters just because she *can.* I liked the ice floes crashing put next to the snow globe shattering, this relationship that is so animal, such a force of nature.
There's 2:04, when he is reaching out as if to touch her and then pulling back, later with his own finger near his mouth and she still has a hold over him as strong as those walls he put up around himself, made him want to be the kind of carnivore she is, but there's too much humanity in him for that.
I love how you use parallel and continuous motions, like matching up the grace of the bear swimming with the slow kiss at 1:27. The way they approach each other. The playful bounce at 1:45 with the bear covered in fresh blood and Victoria's just *playing* with him. The turn of Victoria's head at 2:24 to match the polar bear standing upright. The polar bear advancing on the other and Victoria shoving Fraser a 2:54 and the way they are with each other. At 0:24 when Victoria crashes over him to the bed and 1:21 when she is lying on top of him and 1:52 when Victoria is grabbing him and pushing him. The fighting bears near the end and the lunging in for a kiss, just the way they *move* -- people don't normally interact like that, on that utterly primitive level.
I love how you stop the vid when Fraser is about to run after her, after you show her shooting him, and he *know* what she is and he's running after her anyway because it is just in his nature, because he has to try, to think that there could be some humanity in her like there is in him, but there *isn't* and she lopes away, beautiful and pristine and a killer.