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Using the special effects intelligently, Zemeckis stages a spectacular steam-train finale and neatly ties up the trilogy's loose ends. This sequence however shows a different side of George as he attempts to take on who he thinks is Marty and safe Lorraine, thus winning her heart. In this sequence, we see George McFly, a ‘nerdy wimp’ who is unable to stick up for himself. The inimitable Fox is again on cracking form as Marty McFly and Christopher Lloyd's romance with Mary Steenburgen is surprisingly touching. Back to the Future ‘You leave her alone’ sequence.
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And once more Gale and Zemeckis have come up with an ingenious plot and a clutch of in-jokes, including the casting of western favourites Dub Taylor, Harry Carey Jr and Pat Buttram as a trio of old timers in the saloon.
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As before, the plot revolves around the need to tinker with time and the problem of how to power the trusty DeLorean car so that Fox can get back to the present. Shot back-to-back with Part II, the film is set predominantly in the Old West and offers Michael J Fox the chance to indulge in all the sharpshooting situations that made Saturday matinée western serials such a treat for millions of children (including, one suspects, Zemeckis and screenwriter Bob Gale). To conclude I feel this scene is effective in helping keep the flow of the film and allows the audience to feel a mixture of emotions during the sequences due to the clever cinematography, editing and mise en scene.Director Robert Zemeckis's blockbusting trilogy went slightly off the rails with the second segment, but it got right back on track (literally) with this concluding instalment. The scene nicely sets up the following scene, where Marty plays at the Enchantment under the sea dance thus setting up the moment where Lorraine and George finally kiss. I feel that there was a good, strong emotional performance from Lea Thompson (Lorraine) and inspiring performance from Crispin Glover (George) during this sequence. To conclude I feel the performance of the characters was successful in conveying the message they were trying to promote, which was that the shy, weaker characters can come out on top and save the day.
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The scene itself breaks the ideology of George, and that he can actually stick up for himself and fight for the girl he loves, which isn’t so apparent in the other scenes of the movie where he lets biff control him and doesn’t devote any time in trying to ask out Lorraine. The use of bland, basic colours such as light yellow and light blue allows the focus of the scene to be precisely on the main characters. I feel a sigh of relief when George finally punches Biff as it allows the narrative to carry on flowing and resolves the issue of George and Lorraine’s distant relationship. The part where Biff grabs George’s arm and George clenches his fist is quite a saddening sequence to watch and quite a horrific one in many ways because the loud laughter from Biff and the eerie music makes the scene seem as if it is from a horror movie where the character sees something shocking or seems quite scared. This technique is interesting as it actually makes us fear for George whereas the angling of the shot makes it seem as if Biff should be feeling vulnerable however George doesn’t seem very threatening at the time of the film. The low angle shot of George saying ‘Hey you get your damn hands off her’ was used more as a shot of Biff’s point of view, whereas traditionally this shot is used when a character is in a vulnerable situation. The use of medium shots showed all the detail needed to make the viewer panic for their welfare. I firstly felt scared for Lorrain and George’s welfare. The ‘reefer addicts’ part of the sequence is interesting as it informs us of the time the film is set, as at the time black people had little to no civil rights.Īs I was watching the sequence, I went through a variation of emotions. Dean Cundey, the cinematographer of the Back to the Future franchise, tends to use older forms of technology and equipment, to produce the same effect to a sequence as special effects to this current day would. The use of props such as old cars adds to this. The stylistic elements such as the use of costume are very important as they add a realistic edge to the film, which is that it is set in the 1950s. This part of the film is vital as without it the narrative wouldn’t have progressed into George and Lorraine finally kissing for the first time, which inevitably saves Marty and his brother and sister. Back to the Future ‘You leave her alone’ sequence.