(Coincidentally, both of these movies share another feature which is the contrary of the Hollywood standard - there's not any love interest in either.) Or perhaps not.
It is a fantastic thing which Schaffner had good facility with this sort of film since the mistakes from the film edge on the amazing - fluids, both water and blood, quite visibly dab the camera lens and totally ruin all suspension of disbelief. The guillotine scene is unintentionally hilarious, together with persistence and editing goofs which cause you to wonder whether the team was stoned both through filming and also in post production; along with the penultimate scene where Papillon dives to the sea and we could definitely observe the diver behind the float underneath him - so easily discernible he or she could practically be part of the story - those are truly debauched and unworthy. I really don't have the guts to experience everything. One entails the fantastic actor Anthony Zerbe at the use of the pioneer of this leper colony)
Anything; here I wish to speak about one little stretch of the lengthy film, and that is the final credits, which undermine not a whole two minutes. This arrangement almost makes me believe that Schaffner really planned lots of the mistakes so as to get them operate in concert with all the credits in the end for a sort of reflexitivity.
It's not clear to me exactly what the benefit is of owning a narrator celebration in as a uninvited guest similar to this, and placing the message in text onto the display would have been equally as intrusive and distracting. Maybe Schaffner believed the point was overly hard to get around with more scenes at a"series, do not tell" sort of way. Maybe more scenes could have made a lengthy movie much longer, and so a bit less commercially viable. In any situation, I believe that the persistent breaking from this suspension of disbelief, whether intentional or not, puts up the pictures that follow the credits at the conclusion in a fresh and different manner because watching the final credits becomes an significant part understanding this film.
I have often wondered what proportion of an audience really sits and watches the last credits without popping the disk out or departing the theater. It has to be quite low, and that is since a definitive end to the movie has already been revealed on the monitor. Nobody cares that the gaffer or the next assistant director is. But as we see the pictures of this abandoned prison - vacant buildings eroded by time and coated in unsupervised plant - that the enormity of this job which Papillon undertook, his quest for liberty, grows larger and larger in our heads. How many people could fit his zeal? The amount is likely smaller than the range people who sit during the final credits.
This is a movie filled with violence and action, which inevitably makes for picture scenes. However, Schaffner also has an eye for the kind of understated, nuanced scene a lesser director would not think about lining up. As an instance, at a scene revealing the lawn of this infamous prison that the camera begins on a little lizard sitting beneath the hot roof of this building. In a scene where the offenders first arrive on the island that a hog is displayed happily rolling in the sand at the bottom left of this display. And so Forth.
However, the last moments which I wish to draw attention to this are lots of people and critters and just demonstrate the several areas of the decrepit prison as background for the titles of everybody involved with the making of this movie whilst watching songs from Schaffner's habitual composer, Jerry Goldsmith, builds to crescendo. The ending effect upon us is, needless to say, contemplation of the character of the nature of period . Time, we're being told with these images and the audio in accompaniment, destroys everything. At times the power of a person will - Papillon's in this instance - may fight this, or stall off it, but in the long run the outcome is obviously a success for time. And let's not overlook that the cross breeding of this movie along with also the meta-film, that is, overall, among the most intriguing characteristics of Papillon.