david lean: oliver twist, 1948, dp: guy green
as the night deepened, so deepened to me the interest of the scene; for not only did the general character of the crowd materially alter (its gentler features retiring in the gradual withdrawal of the more orderly portion of the people, and its harsher ones coming out into bolder relief, as the late hour brought forth every species of infamy from its den,) but the rays of the gas-lamps, feeble at first in their struggle with the dying day, had now at length gained ascendancy, and threw over every thing a fitful and garish lustre. all was dark yet splendid-as that ebony to which has been likened the style of tertullian.
the wild effects of the light enchained me to an examination of individual faces; and although the rapidity with which the world of light flitted before the window, prevented me from casting more than a glance upon each visage, still it seemed that, in my then peculiar mental state, i could frequently read, even in that brief interval of a glance, the history of long years.
from poe's the man in the crowd, 1840
(i remember reading this in film school for the quality of cinematic perception found within, as pointed out by steve anker)