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Ray Pride

By Ray Pride Pride@moviecitynews.com

Photographs lie. Even great photographs. Especially great photographs.



Tom Junod’s “Falling Man,” from Esquire: “Photographs lie. Even great photographs. Especially great photographs. The Falling Man in Richard Drew’s picture fell in the manner suggested by the photograph for only a fraction of a second, and then kept falling. The photograph functioned as a study of doomed verticality, a fantasia of straight lines, with a human being slivered at the center, like a spike. In truth, however, the Falling Man fell with neither the precision of an arrow nor the grace of an Olympic diver. He fell like everyone else, like all the other jumpers — trying to hold on to the life he was leaving, which is to say that he fell desperately, inelegantly. In Drew’s famous photograph, his humanity is in accord with the lines of the buildings. In the rest of the sequence — the eleven outtakes — his humanity stands apart. He is not augmented by aesthetics; he is merely human, and his humanity, startled and in some cases horizontal, obliterates everything else in the frame.”

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What about replacing Mr. Spacey with another actor? Mr. Plummer, perhaps.
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~ Publicizing Sir Ridley’s Deadline Dash

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