Stairs and the cinema are comfortable bedfellows. The humble staircase provides the perfect opportunity for dramatic entrances, exits and chases in some of film’s most iconic and infamous scenes.
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The Exorcist
Director William Friedkin omitted Regan’s “spider walk” scene from his original theatrical cut after deciding the presence of wires, which suspended contortionist Linda R. Hager in her arched position, rendered the scene technically ineffective. Years later, when a director’s cut was released and CGI technology was readily available, this disturbing scene was included.
Rocky
Would any discussion of scenes involving stairs be complete without including the Italian Stallion himself hammering his way up the 72 stone steps outside the Philadelphia Museum of Art? The scene has become something of a cultural icon with tourists re-enacting the walk daily while bored Philadelphians roll their eyes and go about their business.
Psycho
In what may be considered the most frightening scene in Hitchcock’s classic, private detective Arbogast slowly ascends the staircase within the Bates’ residence. Norman, dressed as mother, emerges from the bedroom in a chilling ceiling shot and butchers the unfortunate private eye.
The Shining
Jack isn’t happy that his meddling wife has decided to take a peek at his wonderfully varied and rich manuscript (all work and no play anyone?) so he decides to stalk the terrified woman, baseball bat in hand, through the Colorado Lounge and up the rear staircase.
Shelley Duvall’s terror may look and seem real because it kind of was. In trying to draw the performance he wanted from the actress, Stanley Kubrick drove Duvall into a state of near frenzy throughout the 1 year shoot.
Battleship Potemkin
The fact that directors from De Palma to Coppola have paid homage to the Odessa Steps sequence is testament to the enduring power of the scene and also the influence Sergei Eisentein had on the language of cinema. The sequence pioneered the now common cinematic practice of montage and its innovative editing techniques manipulated audience’s perceptions of time over the near 8 minute sequence.
- Follow writer Charles Graham-Dixon on Twitter at @CharlesGD.
