The King of Comedy

How this film uses it

Rupert lives half in fantasy. In his basement he talks to cutouts of stars, and the film cuts between his imagined talk with Jerry and the real one. By the end, you cannot tell if his fame is real or another daydream.

Where to see it

Rupert's basement: he talks to life-size cutouts, and the film cuts between the real talk and his imagined version.

How this film uses it

Every scene is Rupert getting closer to the show. He pushes at the staff, at Jerry, and finally takes Jerry hostage. The ransom is a spot on that night's broadcast, the one thing he has always wanted.

Where to see it

The kidnapping: Rupert and Masha take Langford to a Manhattan townhouse, and Rupert's price is the opening slot on the show.

How this film uses it

Scorsese wanted a rawer look inspired by early silent cinema, with more static shots and fewer close-ups. He cites Edwin S. Porter's Life of an American Fireman as an influence. Awkward scenes play out in full, without the camera helping you escape them.

Where to see it

The hostage scene in the townhouse: Rupert and Masha hold Langford, tied with tape, in a plain, still-camera setup.

How this film uses it

Rupert turns up uninvited at Langford's country home with his date Rita. Jerry loses his temper and rejects his act, and the scene does not cut away. You feel the embarrassment long before Rupert does.

Where to see it

Langford's country house: Rupert arrives uninvited, Langford angrily dismisses his act, and Rita talks him into leaving.