Netflix: The Bitter Tears of Petra Von Kant is almost entirely in one room and just a couple or three camera angles in that room. If I remember correctly there may be a couple of short scenes elsewhere.
Rope actually has several visible cuts, in the sense that the camera angle noticeably changes, and that’s not even counting the opening shot, which is set outside the apartment building. We hear a man yell and the camera approaches a window on the top floor, then cuts to the interior where the victim has just expired.
Timecode is impressive because it does the feature-length single-shot conceit while also using multiple locations with many scenes occurring in the van as they follow the heist crew from one area to another. The movie itself, though, is dumb dumb dumb.
Coincidentally enough, Farley Granger, star of “Rope” (as well as the infinitely better “Strangers on a Train”) died today:
http://www.variety.com/article/VR1118034555?refCatId=25&query=Farley+Granger
Ouch. Never saw the movie but I sort of wish you had mentioned them shooting horses in it =( I had to stop watching it.
They shoot extended sequences, don’t they?
Rouben Mamoulian’s name prompted me to offer Isn’t It Romantic from Love Me Tonight.
No, it’s not one take or one shot–just skillful editing that uses one song. Beginning in cynical Maurice Chevalier’s Paris tailor shop & ending with Jeanette McDonald on the balcony of a chateau.
These are all Hollywood films. There are lots of absolutely wonderful tracking shots that have been left out. Theo Angelopoulos, Tarkovsky, Herzog (wonderful shots in Fitzcarraldo, for instance), Visconti (Il Gattopardo), Polanski (Cul-de-sac), Satyajit Ray, Alain Resnais (Last year in Marienbad), Bela Tarr (Werkmeister Harmonies) etc. have all made wonderful tracking shots. Not entire films, though, but certainly long enough to qualify for such a list.
And don’t forget this beauty from Soy Cuba!