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Crux Scenes in Movies
- Thread starter jonesygirl
- Start date
Why is all the writing backwards? I got a headache from looking at it...Was Bowie trying to be artsy or was the camera set up wrong?
J
Juan1234
Guest
Crux movie scene
Does anybody else ever imagine the cinematic details of how a really good movie scene might go, depicting a “realistic” female crucifixion? (And no, I don’t want to debate the definition of realistic in this context.)
I thought I’d just share some of the imaginings I’ve had, for your enjoyment, comment, criticism, etc. And please post your own!
We’re coming off of a huge and devastating orchestral swell of doom as the magistrate pronounced the sentence. Now there are only subtle, but ominous drums as the guards lead the woman up the dusty road to the place of execution. The drums have long pauses so we can hear the faint whip of the breeze and the chatter of the crowds on the road. Then the camera backs up from the woman’s face until the cross enters the frame from behind, still bearing the remains of the last victim’s corpse. The camera lingers here as the guards and the woman arrive at the site.
Next shot: two of the guards begin taking down the corpse and the crossbar. While they work, we cut back to the other soldier taking the titulus off of her, pulling it over her head. The crossbar comes hurtling down and abruptly thuds to the ground. The two soldiers turn their attention back to the woman.
The camera stays close and a little shaky, and the music takes a break to let us take in the immediacy of what’s about to happen, and they start untying her tunic. She’s whimpering, the guards don’t say much. After a few seconds of untying and fumbling, we hear the tear and watch it gape down her chest until her bare nipples are at the bottom of the frame, and a tear falls from her eye. Cut quickly to a wide shot mostly from the side, but a little behind, as they pull the garment the rest of the way down to fall at her ankles. We can tell she’s naked now, but it’s from a discrete angle, and there’s still a soldier behind her, so we don’t even get much of a look at her bottom.
Close-up: soldier’s hands pulling out rope. Close-up: soldier’s hand picking out nails from a small bucket. Close-up: her increasingly hopeless face, beginning to sob. While we’re close on her, we can tell the soldiers have grabbed her and are forcing her down. The music begins again, but softly, subtly, with mournful high strings.
Cut to a square-on shot from above showing her face, arms all the way out to her hands, and her bust down not quite to her navel, as they bind her wrists to the cross. Cut to the crowd, showing an interest. Then a shot from over the crowd’s heads, showing her from a little distance, almost square-on center, but just a little off, so that her slightly bent thigh maintains a little modesty. And since she’s lying on the ground, the perspective shows little. The music is still high and thin, but swelling.
Close-up: gripping the hammer. Close-up: taking a nail. As the tip of the nail reaches her tied wrist, the music reaches a climax and suddenly stops with the single boom of a low drum. Close-up: her terrified, tear-stained face as she gasps and turns to look. Then a shot of her hand and the nail poised to sink in, with her face in the background, and maybe some of her breast.
Hammer up.
Eyes clenched, face averted.
Hammer down.
Square-on close-up of her face as she screams, backing up quickly until we see almost down to her hips.
Close-up: hammer in the air, follow it without cutting as it swings down and strikes again.
Shot of the crowd as she screams and we hear another hammer-blow. The music creeps back in.
Long-ish shot from the other side, showing her hand with her face in the background as the hammer comes down three or four times and she screams and her head jerks all around.
We see the lead soldier as he gives an order, then go to a square-on shot showing from her face down to just below her nipples as the other two soldiers lift the beam, and her.
Wide shot from a diagonal over the heads of the crowd as they back her up against the stipes. And she struggles to get her feet under her. A soldier in the view, plus the distance, prevent us from seeing anything terribly erotic.
Back to the square-on shot as they tie ropes to the beam. Close-ups of the knots they’re tying, then a shot of the leader giving another order. Cut to a shot from behind, with the crowd in the background, as begin to hoist her. (In this shot we can see her the whole length of her body, though of course the stake is somewhat in the way.) As the ropes go taught, cut back to the tighter front shot showing her desperate face as she leaves the ground. Then back to the back shot to see them finish hoisting her a couple feet up, her feet dangling.
Then a shot on a soldier approaching with hammer and nail. Close-up as the nail is set to her foot while her foot is held in place by strong hands. When the hammer strikes, cut back to her face and reaction. Stay there for a little as they continue to pound below. Then cut to the crowd as they pound more. Finally cut back to the shot from behind as the hammer pounds for the last time. As soon as the hammer meets the nail, the music reaches a climax and falls abruptly silent, this time without a drum, and at that moment, we cut to show her square-on from head to toe, filling the frame, no crowd in the way, hanging on her cross, naked. Nothing hidden. And yet the shot feels more pathetic, lonely, and grieving than erotic. Suddenly seeing her vulva as she hangs there is more of an affront to the dignity of a character we love than anything else.
Ok - so that was sort of stream-of-consciousness - what do you think??
Does anybody else ever imagine the cinematic details of how a really good movie scene might go, depicting a “realistic” female crucifixion? (And no, I don’t want to debate the definition of realistic in this context.)
I thought I’d just share some of the imaginings I’ve had, for your enjoyment, comment, criticism, etc. And please post your own!We’re coming off of a huge and devastating orchestral swell of doom as the magistrate pronounced the sentence. Now there are only subtle, but ominous drums as the guards lead the woman up the dusty road to the place of execution. The drums have long pauses so we can hear the faint whip of the breeze and the chatter of the crowds on the road. Then the camera backs up from the woman’s face until the cross enters the frame from behind, still bearing the remains of the last victim’s corpse. The camera lingers here as the guards and the woman arrive at the site.
Next shot: two of the guards begin taking down the corpse and the crossbar. While they work, we cut back to the other soldier taking the titulus off of her, pulling it over her head. The crossbar comes hurtling down and abruptly thuds to the ground. The two soldiers turn their attention back to the woman.
The camera stays close and a little shaky, and the music takes a break to let us take in the immediacy of what’s about to happen, and they start untying her tunic. She’s whimpering, the guards don’t say much. After a few seconds of untying and fumbling, we hear the tear and watch it gape down her chest until her bare nipples are at the bottom of the frame, and a tear falls from her eye. Cut quickly to a wide shot mostly from the side, but a little behind, as they pull the garment the rest of the way down to fall at her ankles. We can tell she’s naked now, but it’s from a discrete angle, and there’s still a soldier behind her, so we don’t even get much of a look at her bottom.
Close-up: soldier’s hands pulling out rope. Close-up: soldier’s hand picking out nails from a small bucket. Close-up: her increasingly hopeless face, beginning to sob. While we’re close on her, we can tell the soldiers have grabbed her and are forcing her down. The music begins again, but softly, subtly, with mournful high strings.
Cut to a square-on shot from above showing her face, arms all the way out to her hands, and her bust down not quite to her navel, as they bind her wrists to the cross. Cut to the crowd, showing an interest. Then a shot from over the crowd’s heads, showing her from a little distance, almost square-on center, but just a little off, so that her slightly bent thigh maintains a little modesty. And since she’s lying on the ground, the perspective shows little. The music is still high and thin, but swelling.
Close-up: gripping the hammer. Close-up: taking a nail. As the tip of the nail reaches her tied wrist, the music reaches a climax and suddenly stops with the single boom of a low drum. Close-up: her terrified, tear-stained face as she gasps and turns to look. Then a shot of her hand and the nail poised to sink in, with her face in the background, and maybe some of her breast.
Hammer up.
Eyes clenched, face averted.
Hammer down.
Square-on close-up of her face as she screams, backing up quickly until we see almost down to her hips.
Close-up: hammer in the air, follow it without cutting as it swings down and strikes again.
Shot of the crowd as she screams and we hear another hammer-blow. The music creeps back in.
Long-ish shot from the other side, showing her hand with her face in the background as the hammer comes down three or four times and she screams and her head jerks all around.
We see the lead soldier as he gives an order, then go to a square-on shot showing from her face down to just below her nipples as the other two soldiers lift the beam, and her.
Wide shot from a diagonal over the heads of the crowd as they back her up against the stipes. And she struggles to get her feet under her. A soldier in the view, plus the distance, prevent us from seeing anything terribly erotic.
Back to the square-on shot as they tie ropes to the beam. Close-ups of the knots they’re tying, then a shot of the leader giving another order. Cut to a shot from behind, with the crowd in the background, as begin to hoist her. (In this shot we can see her the whole length of her body, though of course the stake is somewhat in the way.) As the ropes go taught, cut back to the tighter front shot showing her desperate face as she leaves the ground. Then back to the back shot to see them finish hoisting her a couple feet up, her feet dangling.
Then a shot on a soldier approaching with hammer and nail. Close-up as the nail is set to her foot while her foot is held in place by strong hands. When the hammer strikes, cut back to her face and reaction. Stay there for a little as they continue to pound below. Then cut to the crowd as they pound more. Finally cut back to the shot from behind as the hammer pounds for the last time. As soon as the hammer meets the nail, the music reaches a climax and falls abruptly silent, this time without a drum, and at that moment, we cut to show her square-on from head to toe, filling the frame, no crowd in the way, hanging on her cross, naked. Nothing hidden. And yet the shot feels more pathetic, lonely, and grieving than erotic. Suddenly seeing her vulva as she hangs there is more of an affront to the dignity of a character we love than anything else.
Ok - so that was sort of stream-of-consciousness - what do you think??
Last edited by a moderator:
Does anybody else ever imagine the cinematic details of how a really good movie scene might go, depicting a “realistic” female crucifixion? (And no, I don’t want to debate the definition of realistic in this context.)
We’re coming off of a huge and devastating orchestral swell of doom as the magistrate pronounced the sentence. Now there are only subtle, but ominous drums as the guards lead the woman up the dusty road to the place of execution. The drums have long pauses so we can hear the faint whip of the breeze and the chatter of the crowds on the road. Then the camera backs up from the woman’s face until the cross enters the frame from behind, still bearing the remains of the last victim’s corpse. The camera lingers here as the guards and the woman arrive at the site.
Next shot: two of the guards begin taking down the corpse and the crossbar. While they work, we cut back to the other soldier taking the titulus off of her, pulling it over her head. The crossbar comes hurtling down and abruptly thuds to the ground. The two soldiers turn their attention back to the woman.
The camera stays close and a little shaky, and the music takes a break to let us take in the immediacy of what’s about to happen, and they start untying her tunic. She’s whimpering, the guards don’t say much. After a few seconds of untying and fumbling, we hear the tear and watch it gape down her chest until her bear nipples are at the bottom of the frame, and a tear falls from her eye. Cut quickly to a wide shot mostly from the side, but a little behind, as they pull the garment the rest of the way down to fall at her ankles. We can tell she’s naked now, but it’s from a discrete angle, and there’s still a soldier behind her, so we don’t even get much of a look at her bottom.
Close-up: soldier’s hands pulling out rope. Close-up: soldier’s hand picking out nails from a small bucket. Close-up: her increasingly hopeless face, beginning to sob. While we’re close on her, we can tell the soldiers have grabbed her and are forcing her down. The music begins again, but softly, subtly, with mournful high strings.
Cut to a square-on shot from above showing her face, arms all the way out to her hands, and her bust down not quite to her navel, as they bind her wrists to the cross. Cut to the crowd, showing an interest. Then a shot from over the crowd’s heads, showing her from a little distance, almost square-on center, but just a little off, so that her slightly bent thigh maintains a little modesty. And since she’s lying on the ground, the perspective shows little. The music is still high and thin, but swelling.
Close-up: gripping the hammer. Close-up: taking a nail. As the tip of the nail reaches her tied wrist, the music reaches a climax and suddenly stops with the single boom of a low drum. Close-up: her terrified, tear-stained face as she gasps and turns to look. Then a shot of her hand and the nail poised to sink in, with her face in the background, and maybe some of her breast.
Hammer up.
Eyes clenched, face averted.
Hammer down.
Square-on close-up of her face as she screams, backing up quickly until we see almost down to her hips.
Close-up: hammer in the air, follow it without cutting as it swings down and strikes again.
Shot of the crowd as she screams and we hear another hammer-blow. The music creeps back in.
Long-ish shot from the other side, showing her hand with her face in the background as the hammer comes down three or four times and she screams and her head jerks all around.
We see the lead soldier as he gives an order, then go to a square-on shot showing from her face down to just below her nipples as the other two soldiers lift the beam, and her.
Wide shot from a diagonal over the heads of the crowd as they back her up against the stipes. And she struggles to get her feet under her. A soldier in the view, plus the distance, prevent us from seeing anything terribly erotic.
Back to the square-on shot as they tie ropes to the beam. Close-ups of the knots they’re tying, then a shot of the leader giving another order. Cut to a shot from behind, with the crowd in the background, as begin to hoist her. (In this shot we can see her the whole length of her body, though of course the stake is somewhat in the way.) As the ropes go taught, cut back to the tighter front shot showing her desperate face as she leaves the ground. Then back to the back shot to see them finish hoisting her a couple feet up, her feet dangling.
Then a shot on a soldier approaching with hammer and nail. Close-up as the nail is set to her foot while her foot is held in place by strong hands. When the hammer strikes, cut back to her face and reaction. Stay there for a little as they continue to pound below. Then cut to the crowd as they pound more. Finally cut back to the shot from behind as the hammer pounds for the last time. As soon as the hammer meets the nail, the music reaches a climax and falls abruptly silent, this time without a drum, and at that moment, we cut to show her square-on from head to toe, filling the frame, no crowd in the way, hanging on her cross, naked. Nothing hidden. And yet the shot feels more pathetic, lonely, and grieving than erotic. Suddenly seeing her vulva as she hangs there is more of an affront to the dignity of a character we love than anything else.
Ok - so that was sort of stream-of-consciousness - what do you think??
Beautiful and very erotic. You should start a new career as a film director.
Very nice, original post. I really liked it!!
Crux-Emperor Baracus X
Rectidolor
Anyone willing to audition the role of Cruxee ??
J
Juan1234
Guest
A new career??
Anyone willing to audition the role of Cruxee ??
How much will I be paid and where’s the fine print?
Does anybody else ever imagine the cinematic details of how a really good movie scene might go, depicting a “realistic” female crucifixion? (And no, I don’t want to debate the definition of realistic in this context.)
We’re coming off of a huge and devastating orchestral swell of doom as the magistrate pronounced the sentence. Now there are only subtle, but ominous drums as the guards lead the woman up the dusty road to the place of execution. The drums have long pauses so we can hear the faint whip of the breeze and the chatter of the crowds on the road. Then the camera backs up from the woman’s face until the cross enters the frame from behind, still bearing the remains of the last victim’s corpse. The camera lingers here as the guards and the woman arrive at the site.
Next shot: two of the guards begin taking down the corpse and the crossbar. While they work, we cut back to the other soldier taking the titulus off of her, pulling it over her head. The crossbar comes hurtling down and abruptly thuds to the ground. The two soldiers turn their attention back to the woman.
The camera stays close and a little shaky, and the music takes a break to let us take in the immediacy of what’s about to happen, and they start untying her tunic. She’s whimpering, the guards don’t say much. After a few seconds of untying and fumbling, we hear the tear and watch it gape down her chest until her bear nipples are at the bottom of the frame, and a tear falls from her eye. Cut quickly to a wide shot mostly from the side, but a little behind, as they pull the garment the rest of the way down to fall at her ankles. We can tell she’s naked now, but it’s from a discrete angle, and there’s still a soldier behind her, so we don’t even get much of a look at her bottom.
Close-up: soldier’s hands pulling out rope. Close-up: soldier’s hand picking out nails from a small bucket. Close-up: her increasingly hopeless face, beginning to sob. While we’re close on her, we can tell the soldiers have grabbed her and are forcing her down. The music begins again, but softly, subtly, with mournful high strings.
Cut to a square-on shot from above showing her face, arms all the way out to her hands, and her bust down not quite to her navel, as they bind her wrists to the cross. Cut to the crowd, showing an interest. Then a shot from over the crowd’s heads, showing her from a little distance, almost square-on center, but just a little off, so that her slightly bent thigh maintains a little modesty. And since she’s lying on the ground, the perspective shows little. The music is still high and thin, but swelling.
Close-up: gripping the hammer. Close-up: taking a nail. As the tip of the nail reaches her tied wrist, the music reaches a climax and suddenly stops with the single boom of a low drum. Close-up: her terrified, tear-stained face as she gasps and turns to look. Then a shot of her hand and the nail poised to sink in, with her face in the background, and maybe some of her breast.
Hammer up.
Eyes clenched, face averted.
Hammer down.
Square-on close-up of her face as she screams, backing up quickly until we see almost down to her hips.
Close-up: hammer in the air, follow it without cutting as it swings down and strikes again.
Shot of the crowd as she screams and we hear another hammer-blow. The music creeps back in.
Long-ish shot from the other side, showing her hand with her face in the background as the hammer comes down three or four times and she screams and her head jerks all around.
We see the lead soldier as he gives an order, then go to a square-on shot showing from her face down to just below her nipples as the other two soldiers lift the beam, and her.
Wide shot from a diagonal over the heads of the crowd as they back her up against the stipes. And she struggles to get her feet under her. A soldier in the view, plus the distance, prevent us from seeing anything terribly erotic.
Back to the square-on shot as they tie ropes to the beam. Close-ups of the knots they’re tying, then a shot of the leader giving another order. Cut to a shot from behind, with the crowd in the background, as begin to hoist her. (In this shot we can see her the whole length of her body, though of course the stake is somewhat in the way.) As the ropes go taught, cut back to the tighter front shot showing her desperate face as she leaves the ground. Then back to the back shot to see them finish hoisting her a couple feet up, her feet dangling.
Then a shot on a soldier approaching with hammer and nail. Close-up as the nail is set to her foot while her foot is held in place by strong hands. When the hammer strikes, cut back to her face and reaction. Stay there for a little as they continue to pound below. Then cut to the crowd as they pound more. Finally cut back to the shot from behind as the hammer pounds for the last time. As soon as the hammer meets the nail, the music reaches a climax and falls abruptly silent, this time without a drum, and at that moment, we cut to show her square-on from head to toe, filling the frame, no crowd in the way, hanging on her cross, naked. Nothing hidden. And yet the shot feels more pathetic, lonely, and grieving than erotic. Suddenly seeing her vulva as she hangs there is more of an affront to the dignity of a character we love than anything else.
Ok - so that was sort of stream-of-consciousness - what do you think??
Juan, either you’re a filmmaker, a film student, or an autodidact in narrative strategies for film or television.
J
Juan1234
Guest
No, just a pervert with a troubled conscience.Juan, either you’re a filmmaker, a film student, or an autodidact in narrative strategies for film or television.
J
Juan1234
Guest
Seriously, shooting a scene like this would have its ethical risks. You’d have to be really sure to have the right people involved. As a serious question (albeit a hypothetical one), would any of the women on this site feel comfortable playing the lead roll in a scene like this one ever? Under what conditions?
But it’s a movie. Fake blood, just acting, right? There’s nudity, of course. But I can do that. Most actresses do at some point in their careers. Think of it as something like acting for an episode of Spartacus. Although, they never did nudity for the crux scenes in that series, did they?
J
Juan1234
Guest
That’s right... As a guy, it’s hard for me to imagine an actress being comfortable getting naked and lying on a cross for a bunch of guys to pretend to abuse her and nail her to it. Of course I could see a starving actress going through with it for the money, looking for her big break. That kind of thing has happened countless times. But being COMFORTABLE with it...? I’ll just have to take your word for it!
Crux-Emperor Baracus X
Rectidolor
You'll be paid in Sestercii and the fine print is in Latin. I think the nails and blood are fake.... Full nudity is required.