Match Cuts

     Tamara and I have been enjoying the current season of The Lincoln Lawyer.  (The TV series; I have yet to see the film, with a different cast.)  Taken from the novels starring criminal defense attorney Mickey Haller by mystery writer Michael Connelly, not only are the stories first-rate, they're brilliantly shot and edited.  One of the best parts is the use of "match cuts," in which scene-to-scene transitions go from one similar thing to another.

     The simplest is a sky shot: characters are conversing, the camera tilts up to the sky, there's a quick dissolve to another image of the sky and the camera tilts back down on a new scene.  A little trickier is the not-quite-match: famously, in Lawrence of Arabia, the camera goes in close on a lit match (a literal match, and there's your double pun) and as Lawrence blows out the flame, the film cuts to sunrise on the desert horizon.  It's easy to overdo,* but the best match cuts are as smooth as silk.  In an example from the TV series, a group of attorneys around a conference table in their office discussing trial strategy cuts to them at the Defense table in court, using those strategies -- a leap that covers days if not weeks, and keeps the story moving.

     Scenes in the series are carefully composed and lit, and often lushly shot, moving to a more documentary style when the action happens in a prison or low-rent lawyer's office.  The visual style is as deft and inevitable-seeming as a dancer's movements.

     One of the most interesting things to me is that while Connelly's plots are intriguingly twisty and his storytelling is more than adequate, he's not a bowl-you-over prose stylist.  He was a newspaper reporter and he writes like a reporter, without fuss or flourish.  The TV series is very much on their own hook with the cinematography and editing; trying to show Mickey Haller's world, they have picked up a visual style that suits their protagonist and his Los Angeles like a well-tailored suit.
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* There's a version in which dialog carries across the cut, one character's sentence finished or answered by another, often to dramatic effect.  Occasionally, a film or TV show will cut back and forth between two parallel scenes multiple times to build tension, but it's difficult to pull off without being too obvious.  The animated spy comedy Archer frequently plays carried dialog for laughs.