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There is something perfect about this shot. It delights me aesthetically to no end, and, for once, I can’t really say much more.
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Car Textures.
I’m always quite fascinated with this shot. A not unflattering, but certainly not flattering shot, bringing us uncomfortably close to our heroine (who in any case Hooper had not been making any efforts to idealize in our eyes beforehand anyway, previously having her portrayed, for instance, as the Bride of Frankenstein, or inappropriately naked), her nose practically jutting into the frame as she has her head turned, toadying, ingratiatingly (rather childishly making direct eye contact when she should be playing coquette), straight toward her new beau.
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![“Hooperian sense of movement and lens science…”
“[a pan left]… a striking vectorial perspective of subject proximity and lens parallax…”](http://24.media.tumblr.com/tumblr_lyy793uusw1r93t4bo1_500.png)
“Hooperian sense of movement and lens science…”
“[a pan left]… a striking vectorial perspective of subject proximity and lens parallax…”
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“He strikes a heroic, stupid pose. Susan is left immobile in the foreground of the shot, cutting a striking silhouetted figure of feminine beauty, feminine piteousness, and, being perfectly frank, gender-ambivalent cowardice.”
![“[A shot] arch to the point of hilarity.” [1]](http://24.media.tumblr.com/tumblr_lylrycDqFS1r93t4bo1_500.jpg)
