Along with its slyly dextrous dialogue, A
Public Ransom also strives for visual virtuosity: D’Stair takes care to frame his shots to
make expressive use of space and lighting;
wide angles that emphasise the sharp angles
and enclosed spaces that the characters are
trapped in, white hot key lights that slash
shadows across the filthy damp concretes
of downtown. A Public Ransom’s world is
one suffused with threat, and a morality that
is neither black nor white, but a deepening
shade of grey.
Of course, as with any micro-budgeted independent project, A Public Ransom is not
without flaws. While the nighttime shots of
Stephen - stranded, wandering, lost - are
well filmed, and the film is usually interesting to watch, there is a distinct sense of
indulgence at times; a seemingly endless
sequence close to the film’s end of Steven
walking and smoking, walking and smoking,
veers dangerously close to self-parody. Also,
there are a few too many scenes involving
Steven on the phone, chewing someone out
in his familiar passive aggressive manner.
Presumably this was a practical decision due
to budgetary concerns (the director/actor
could work the scene on his own, while still
developing the plot), but not only are these
scenes repetitive, but they become confus-
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