An interesting analysis of a brief sequence of shots in Mad Men

While waiting for the next season, we call mull this over:

No contemporary television show employs a quieter camera than Mad Men. Its disdain for the Law & Order version of cinematic realism that reached its apogee (or nadir) in Cloverfield is palpable: the camera frames scenes from multiple fixed positions and the shots are spliced together at a pace designed to have a soporific effect on anyone born after 1980. The framing and the pacing are a deliberate homage to the films of the period represented on the show. Though it may seem natural to direct a series set in the early 1960s in the same mode Douglas Sirk shot films in the 1960s, it is anything but.

Most films that aim to be realist depict the past in the dominant contemporary realist mode: Saving Private Ryan looks realistic to us because it panders to what we think looks realistic. Had Spielberg directed it in accordance with the realism regnant in 1942 the film would have looked dated. I point out the obvious here only to highlight the deliberateness of the decision to shoot Mad Men like a Sirk film (from the staid framing to the odd lighting and colors so saturated that even the most mundane act acquires the air of a particularly vivid dream). Mad Men is a show that depicts the seedy underbelly of the early 1960s in the style used in the early 1960s to hide its seedy underbelly. (It's not for nothing that it took two decades for critics to get that Sirk was being ironic.) The effect is unsettling: the visuals create the expectation that none of the unseemly stuff will appear on screen and then it does.

Repeatedly.

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