In the scene where we first meet the witch, however, the lighting seems too low and it’s difficult to see her face. The shot also seems too wide in contrast to a lot of the film’s closer shots. Everything else flows together very well, but this particular sequence needs a bit more light – perhaps by relying on the technique discussed above, by using more tinted lighting rather than trying to create too many shadows.
But a witch preparing
potions has discovered...
...That she lacks a
necessary ingredient.
Use of Audio
This film was also unique in the fact that, apart from the witch’s laughter, there was no dialogue. The story was told in both pictures and music, and the two blended together very nicely. In a movie that relies on the silent movie technique – music and visuals only – it is more imperative that the music stand well on its own, and it certainly does in the case of Good Night, Sleep Tight.
Use of Budget
Considering that this movie was shot on 16mm, had some rather tricky lighting, as well as time-consuming stop-motion animation, the final price tag of around $4,000 is quite impressive. My one issue with the film is the particular scene with the witch mixing potions that could perhaps stand to be re-shot with better lighting, but the film still is a great accomplishment. Of course, if this scene is re-shot, it would obviously increase the overall budget.
When she steals the
little boy’s ear...
...The teddy bear
tries to get it back.
Lasting Appeal
This film is a sort of dark fairy tale – along the line of A Series of Unfortunate Events, with the same sort of unreal, dreamlike quality. It’s visually beautiful, and the music is great to listen to. It might disturb a young child, but I’m willing to be that most microfilm buffs (or at least most Goth ones) would really love this movie.
Overall Comment
This is a really creative concept that has been put to film in a visually amazing way. It’s a real treat to watch, especially for the darkly inclined, but anyone could easily get into this innovative short film.
The
author of half a dozen screen plays, two novels, and a proficient
camera-woman in her own right, Monika
DeLeeuw-Taylor is Microfilmmaker's lead writing analyst and
one of our top film reviewers. When she's not writing a critique for
Microfilmmaker, she's writing screenplays for Viking Productions.
