Goodfellas (1990) is one Scorsese film that made it big with both the audience and the critics. Its worm’s eye view of the underworld places it apart from all the films in the genre that still cling to the top level of the hierarchy.
Check this sequence in the film that takes place at a party club called Copacabana. The scene just shows Henry reaching his table with his girlfriend starting from the entrance. Though it’s a scene that is quite light on the minds and introduces us to the vital characters of the plot, the execution of the scene is so solemn and so thought over. The whole scene is captured in a single uninterrupted shot. The camera snakes in and out of thin paths, narrowly avoids collisions and tries to squeeze out into the destination. The way to the table is also too serpentine and access to it seems like a Herculean task, very much like the underworld that the film depicts.
Take a look:
Michael Ballhaus employs the camera like his eyes. Instead of using it as a tool for documentation, he gives it life and makes it an invisible character in the film. He makes it look at events, he makes it empathize and he transfers it onto the viewers. This effect is more pronounced in his earlier collaborations with German wunderkind Rainer Werner Fassbinder, whose setups not only imposed physical restrictions on the movement of the camera, but also evoked a sense of claustrophobia that often reflected the characters’ own. The same period gave rise to his characteristic Ballhaus shot (or the 360 degree shot), again, testifying his opinion on the medium.
Though a lot of films off late have used the long snaky shot to gain unwarranted appreciation, none of them gels with the film as effectively as the Copacabana shot.
P.S: Sorry for another Scorsese scene. But what to do, he is one of the best scene composers alive!