Set Research Film No. 5: Operator
Operator; dir. Caroline Bartleet, 2016
Gorgeously and elegantly minimal, the single-focus Operator is perhaps the purest film that we have on offer; yet it deals (perhaps alongside Slap) with the issues that it presents in a brilliantly frank and realist manner. Both films are comparable as such in tone, but where Slap carries itself with traditional filmmaking modes and structures, Operator revels in its short runtime, utilising this aspect to the effect of brutalising its dramatic arc. Telling the brief yet crushing story of a London fire brigade call operator's occupation, we are brilliantly taken by the call, entirely from the visual perspective of the operator.
It would be foolish to let the visual simplicity imply a lack of technical accomplishment, however. Despite the singular focus and singular actress' performance, a plethora of techniques are used; a shifting crescendo of shots is utilised to subconsciously increase tension, with more 'enclosed frame' metaphors than you can shake a stick at, a stunningly considered and intricate script and a truly stunning performance from Kate Dickie as the wonderfully unenviable protagonist. This is short-format drama done right, with a storyline told captivatingly enough to allow such artistic methods of persuasion to flourish in the background. Operator won a BAFTA on release, and justifiably so; it lacks the pretension of many of its peers, the same pretension that might diminish the impact of its main narrative thread, whilst providing enough subtlety in storytelling to elevate it above just being a novel concept. Finally I must mention Operator's killing blow in terms of narrative resonance, that is in its cyclical storytelling; after surviving the trauma of the story and rescuing a woman (and her child) from a fire, a breath is taken. But then she takes another call, and the implication of this pitiable and intensive existence is just left to resonate.
This is an incredibly exciting film in reference to my own thoughts; it shows brilliantly that you can say something biting and pertinent within an artistic and almost abstract format, which is something I'd certainly love to display. It also highlights the non-necessity for budget or dozens of characters, displaying the format's ability for character study and singular emotional focus in a wonderfully integral light.
Gorgeously and elegantly minimal, the single-focus Operator is perhaps the purest film that we have on offer; yet it deals (perhaps alongside Slap) with the issues that it presents in a brilliantly frank and realist manner. Both films are comparable as such in tone, but where Slap carries itself with traditional filmmaking modes and structures, Operator revels in its short runtime, utilising this aspect to the effect of brutalising its dramatic arc. Telling the brief yet crushing story of a London fire brigade call operator's occupation, we are brilliantly taken by the call, entirely from the visual perspective of the operator.
It would be foolish to let the visual simplicity imply a lack of technical accomplishment, however. Despite the singular focus and singular actress' performance, a plethora of techniques are used; a shifting crescendo of shots is utilised to subconsciously increase tension, with more 'enclosed frame' metaphors than you can shake a stick at, a stunningly considered and intricate script and a truly stunning performance from Kate Dickie as the wonderfully unenviable protagonist. This is short-format drama done right, with a storyline told captivatingly enough to allow such artistic methods of persuasion to flourish in the background. Operator won a BAFTA on release, and justifiably so; it lacks the pretension of many of its peers, the same pretension that might diminish the impact of its main narrative thread, whilst providing enough subtlety in storytelling to elevate it above just being a novel concept. Finally I must mention Operator's killing blow in terms of narrative resonance, that is in its cyclical storytelling; after surviving the trauma of the story and rescuing a woman (and her child) from a fire, a breath is taken. But then she takes another call, and the implication of this pitiable and intensive existence is just left to resonate.
This is an incredibly exciting film in reference to my own thoughts; it shows brilliantly that you can say something biting and pertinent within an artistic and almost abstract format, which is something I'd certainly love to display. It also highlights the non-necessity for budget or dozens of characters, displaying the format's ability for character study and singular emotional focus in a wonderfully integral light.
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