Hot Fuzz - Movement

Movement is often given very little consideration by filmgoers and critics as a medium of communication. Often times, a film might have more complex choreography than a ballet. Movement seems to get pushed aside as a side effect of the film (Giannetti 96).

There are several ways Wright used the camera to emphasize motion. At the beginning of the film when we are introduced to Sgt. Angel, there are close up, mid-length, and long-shots. Some shots move laterally with the movement and some move in on Angel. There’s quick shot of Angel driving and the camera is placed in the car. The whole sequence is cut quickly and shows the pace of his training as an officer. The camera’s movements in that particular sequence are filmed at normal speed and, for the most part, are choppy, more than likely handheld.

There is a minimal amount of movement in the beginning of the film. During Sgt. Angel’s first day in Sandford he goes out for a jog. Earlier in the film it was established the Angel is an accomplished runner, holding the Met record for the 100m dash. The camera moves with Angel as he runs through the village of Sandford. It’s clear from the way Angel is running and the camera work that he is jogging and not running. The shots include a close-up of his feet, a few trailing shots, and reverse shots. All the mid-shots once Angel gets into the village square appear to be handheld and create a slight bobbing that simulates running.

In the scene where Angel chases the shoplifter in the grocery store, initially the shot is handheld as the come running out of the store running left to right across the screen. The shot is not very stable and is choppy. The horizontal nature of the running creates a sense of speed. Subsequent shots are shot from low and in front of the actors. We can see Angel and the shoplifter in the same frame. As the scene plows on a wide range of shots are used, most of which are very choppy and emphasize the speed of the chase.

Like many other aspects of a film, movement isn’t just something that happens. The director has numerous ways to show motion. Movement goes from “what” happens to “how” things happen.