Beyond the bowl of popcorn

Citizen Kane: Is it the Greatest Film Ever Made?

2009-12-03T15:09:00.000-08:00

The first time I was introduced to the famous movie Citizen Kane was in our textbook, The Film Experience. The chapter about cinematography uses the first flash back to Kane's childhood as an example of reframing. The authors quote, "one extreme and memorable example of reframing is an early shot in Citizen Kane. Here, the camera pulls back from the boy in the yard to reframe the shot to include the mother and the men observing him from inside the window; it then continues backward to reframe the mother as she walks toward a table" (Corrigan and White 91). The ironic thing about this scene is it says a lot about the type of character Kane is in this film. Even though he is outside playing, he is still the center of attention and the same is true throughout the whole movie. In general, Citizen Kane is acclaimed as a visual master piece and after seeing it I would agree. Orson Welles uses cinematography, mise-en-scene, and editing in an innovative way in order to tell the story of Kane's life. He used film techniques like flashbacks to represent the complexity of Kane's life, crane shots to add to the search-like feeling in the film, deep-focus to represent the largeness of Xanadu or to fit as many people into the scene as possible, low lighting to place Thompson, the reporter, in the shadows, and a realistic newsreel to begin his film to display Kane's power and wealth. These are just a few examples of techniques that makes Citizen Kane stick to many . But is this what makes Citizen Kane the greatest movie ever made?

At this point in my film class I do not think I have enough knowledge of film to say that this is the greatest movie ever made. Firstly, I have not seen enough movies that critics have acclaimed in order to have some idea of comparison. Secondly, a scale of greatness is quite relative and not very helpful in my book. Perhaps this is my dislike of competition coming out, but in my opinion, a more effective tool for viewers to gain appreciation for atypical films like this one is knowledge about what makes a film acclaimed. For example knowing the history of film making as well as what all goes into making a film (mise-en-scene, cinematography, editing, genres, narratives) has helped me appreciate the older movies. This knowledge has also helped me see beyond the entertainment, beyond the bowl of popcorn, and helped me see what makes a movie sad, happy, scary, depressing, and or funny. If I have to rate it, I would say it is one of the top ten greatest movies, but not just for its technical aesthetics. In class we created a list of criteria for greatest films including: the structure of the story has a mix of coherency, complexity and at the same time is followable; the film form itself is beautiful and striking; there is some aspect of emotional depth/ impact; transitions are visually pleasurable; a great movie also takes risks without being distracting; a great movie demands a viewers involvement; there is some aspect of re-watchibility of the film; cultural relevance, but also some universality. All these things from a movie critics perspective makes up a great movie and although all of these things are characteristics of Citizen Kane, this criteria is not why I would rate it top ten.

Before I saw Citizen Kane I saw a documentary on the film about the history behind it and the political uproar it caused. For me the movie was brilliantly intriguing because of it's story behind the plot and its making. The fact that Kane is modeled after William Randolph Hearst, a powerful man who at some point in history controlled over 30 newspapers across America and owned an estate that today is considered the most expensive private homes in the U.S.A., makes it even more brilliant. Basically, the most powerful producer of Hollywood took on the most powerful man in the media and Orson Welles not only produced the movie he stared in it as Kane. During the time when this movie was first released Hearst was still alive and when he saw this he did everything in his power to put it back in the warehouse. Welles had to have known what he was coming up against when he decided to make this film and seemed willingly to take the risk. For example you can tell from the movie's portrayal of Hearst that Welles was deliberately attacking Hearst's love for money and material possessions. In the film Xanadu, Kane's estate, seems very similar to Hearst's mansion that he often called 'the ranch', which is still standing in California today. Even Kane's open love affair with Susan Alexander seemed to mirror Hearst's love affair with Marion Davies. I just love how honest and culturally relevant it is. From Welles meticulous creation of a realistic newsreel to the way Kane's story is told from "the peoples" point of view. Citizen Kane truly represents what would happen if Hearst were to have died when this film was released. With a person so powerful and well known as Hearst head lines on newsreels would be about his death and everyone would be wondering who he "really" was. The irony of it all is they would look to the media, the very source that has steered them wrong all along, to find out.

I would definitely recommend watching this movie, but I would also recommend you do some sort of research or watch the documentary about the movie so you go in with some knowledge of the movies history. Keep in mind a common theory that Citizen Kane became so big because of the political uproar that followed its original release. Just like everyone wants to read a banned book, everyone wanted to see Citizen Kane to see what all the controversy was about. It just so happened that Citizen Kane was also was the most aesthetically pleasing film critics laid their eyes on. If your like me, once you see this movie you will want to know everything about Hearst and the other powerful business men Welles modeled Kane after.

What is noir?

2009-11-22T19:09:00.001-08:00

After reading Paul Schrader's article, "Notes on Film Noir" and watching four different noir movies, I have come to the conclusion that I am not completely sure what noir is. A mantra someone in our class came up seem to sum noir up in one sentence: "If it looks like noir and it smells like noir it is not noir". The reason this mantra holds true is because noir is more a tone and a style then a specific theme or a genre. Some of these stylistics that Paul Schrader lists in his article include: majority of scenes lit for night, oblique and vertical lines, actors and setting often given equal lighting, compositional tension is preferred to physical action, Freudian attachment to water, romantic narration and a complicated order chronological order is common to add to create the feeling of hopelessness and lost time (235-236). Besides the stylistics and tone, Schrader also defines noir as a specific period of time between 1941-1958. The important thing to note here is that there is no agreed upon definition of film noir, so although Schrader seems to think that film noir is a style, not a theme, many people think otherwise.

Before I share my own definition of film noir I should clarify that film noir is a very broad style/ sub-genre. According to Schrader's article there are three phases of film noir and each one is quite different. For example a film noir from the first phase (1941-1946) is not going to look anything like a film noir from phase three (1949-1953). Keeping this in mind here is my definition of film noir: Overall film noir is a specific period of time that can be recreated but outside of the specific effects of the forties and fifties. In other words noir movies from the forties and fifties are genuine noir where as movies from outside of that period are more or less neo noir or nior-esque (for lack of a better word). When it comes to looking for characteristics of noir films an investigation or search of some type is usually present, whether it be to solve a case or explore ones inner self. During this investigation some type of crime is committed and at least one character dies during the duration of the movie. In general, noir films are shoot in the dark and instead of the protagonists being emphasized by filler lights the main characters lurk in the shadows. More often then not the protagonist works alone, separate from the local police force, as a private detective and is quite confident. In addition to the typical private detective, there is a femme fatale; a woman who plays the damsel in distress, but at the same time ends up being a trouble maker. In film noir the femme fatale and the protagonist usually becomes sexually involved or at least share a steamy, dramatic kiss. When it comes to props that are common within film noir money, alcohol, and a cigars are a must. General themes of film noir range from moral ambiguity, shifting alliances, corruption and selfish motives.

Another controversial question about film noir is whether it is mainly an American cinematic genre/sub-genre/style (whatever you want to call it). Based on Schrader's article it seems that film noir was originally overlooked by the American critics due to the fact that "they have been traditionally more interested in theme then style" (241). He also mentions that "film noir, with its emphasis on corruption and despair, was considered an aberration of the American character. The western, with its moralprimitivism, and the gangster film, with its Horatio Alger values, were considered more American than the film noir" (241). From my perspective film noir is not purely American genre due to the fact that it was mainly inspired by German film. Although today film noir is almost completely American, it is important to remember where film noir originated from. Some specific things Schrader points out as genuinely German are the oblique vertical lines as well as the typical noir lighting. The ironic thing about calling noir American is the fact that American Hollywood jumped on the band wagon late in the game. It was not until recently that American critics are taking an interest in film noir. In other words American culture was not interested during the genuine noir period from the forties to the fifties. I think the only reason noir is considered American by most is because of the recent trend of interest in this specific sub-genre.

Chinatown: My personal favorite

2009-11-19T14:21:00.000-08:00

Taking place in the 1930's, around the time of the historical water and land disputes in Los Angeles, Chinatown is a movie about a private investigator named Jake Gittes who is hired to investigate Hollis Mulwray, the chief engineer for the local water company. A women who claims to be Hollis' wife hires Gittes, but when Hollis' body is found dead in a near by reservoir Gittes becomes suspicious. Once the real Mrs. Mulwray comes forward Gittes makes it his goal to find out who killed Hollis and how the women who posed as Mrs. Mulwray is involved. As Gittes gets closer and closer to finding Mr. Mulwray's killer he digs up a lot of the past which continually makes the investigation more complicated. Like other film noirs, money is the motivator, the femme fatale (Mrs. Mulwray) is the trouble maker and corruption is the name of the game, but the only difference in Chinatown is the fact that it was made in the 1970's.

Not surprisingly this movie was one of my favorites out of all the noir movies we watched. Reason being this movie is in technicolor and made in way that reflects the movies of todays time period more then the period of film noir (1941-1958), even though it is supposed to take place during the 30's. I felt like this movie was definitely less linear then the other films thus making it less predictable. I will not spoil the ending, but the fact that the movie ends without the investigation being resolved makes Chinatown more realistic then the other four film noirs.

Sunset Boulevard: Insanity

2009-11-17T06:48:00.000-08:00

Norma Desmond, a forgotten silent-film movie star, lives in a vast mansion on Sunset Boulevard where she lives with her Butler Max (a man of few words). Fifty year old Desmond has gone off the deep end and has convinced herself that hollywood cannot go on with out her. She obsesses day in and day out on a script which will allow her to gain a comeback in the movie industry and in her spare time reads fan mail that her butler Max sends to her without her knowing. Mean while Joe Gilligis is on the run from his creditors who have threatened to take his car if he doesn't pay off his debt. In an attempt to get some money he tries to sell a script to paramount studio, but he gets shot down. Joe needs money fast and as fate has it Gilligis happens to pull into Norma Desmond's drive as a way to escape from his creditors during a vehicle pursuit. Once Desmond finds out that Gilligis is a writer she offers him a place to stay and endless amounts of money to look over her script. This is just what Gilligis needed, but as he learns of Desmond's state of insanity and depression things become more complicated. Gilligis quickly learns that Desmond gets what she wants, when she wants it just like any other overly dramatic legendary movie star, but the real question to ask is how far will she go to get her way?

Prepare yourself for pure insanity. Sunset Boulevard will make you scratch your head in disbelief and Norma Desmond's deathly stare will give you chills from head to toe. Although this movie is not as suspenseful as other film noirs, it has a unique ability to make the audience fear Desmond due to her uninhibited devilish demeanor. I for one did not think this movie was anything special, but with that being said it was nothing like I was expecting from a film noir. Perhaps if I watched the movie with a mindset that Sunset Boulevard is different then the other noir's then maybe I would have appreciated it more. I will say this much Desmond's character instilled fear in me more then any movie character I have seen in a long time.

Touch of Evil: hard to watch, but well worth it

2009-11-13T07:14:00.000-08:00

What starts off as a romantic honeymoon for newly weds Mike Vargas and his wife Susie quickly takes a turn for the worst when they witness a car explode as it was crossing the Mexican border into the U.S. Vargas, a Mexican narcotics official, gets involved with the case due to the suspicion that a native Mexican is to blame. Mean while Vargas encourages Susie to go back to the hotel to get some sleep, hoping not to get her involved, but little does he know she would have been safer at the scene of the crime. It turns out the case Mike is investigating involves Grande, a local drug lord, who is looking to protect his families name. Knowing Mike's weak spot, Grande plans to go after Susie to scare Vargas off the case. In addition to his wife being harassed by Grande's sons and simultaneously trying to solve the case, he is also up against Hank Quinlin, a crooked U.S. cop who plants evidence to sway the investigation in his favor. Between Grande, Quinlin, and Susie, Vargas has his hands full and sets out to bring justice where there is deceit.

In comparison to The Maltese Falcon, I liked this film noir better because of its in depth and more developed story line. Although it was confusing at times, it was not as distracting as the plot was in the prior movie. It challenged my thinking in a way that made me feel uncomfortable, but I think this was necessary for me to leave the movie understanding the point of the film; I think you are supposed to feel uncomfortable. This movie is meant to make you question the law and the supposed clarity between good and evil. I appreciate how blunt and direct the movie is about the overall effects of corruption. I would encourage you to give Touch of Evil a chance.

The Maltese Falcon; worth seeing, but nothing special

2009-11-11T10:57:00.000-08:00

Humphrey Bogart plays a corrupt, cynical detective in another film noir motion picture movie about two detectives, Sam Spade, played by Bogart, and Miles Archer who are not as legitimate as they may seem. Spade and Archer are hired by Miss. Wonderly to shadow a man by the name of Thrusby, who she claims ran off with her sister and won't allow her to go back home. Although it seems like her story is honest and sincere, Wonderly's, or should I say Brigid O'Shaughnessy's, lie is revealed when Sam's partner Miles is shot while supposedly tailing Thrusby. Once Thrusby is found killed a baffling case begins to take form and all evidence points to Spade as the murderer. As the bodies continue to pile up and new potential suspects are introduced, Brigid O'Shaughnessy admits the real reason she hired Spade and Archer. Watch and see why Brigid O'Shaughnessy, Joel Cairo, Kasper Gutman and Thrusby will do anything in their power to get their hands on the Maltese Falcon. There are no rules, money is mans best friend and everyone is corrupt.

In my opinion this movie was all over the place, although they did solve the mystery, or what was left of it, by the end of the movie I had trouble following what was happening in specific parts of the film. I understand that the point of this movie was to be baffled by the content, but I felt like I was baffled to a point where it distracted me from the movie itself. It was hard for me to enjoy, but I should admit that I am not as comfortable with these types of movies as I am with melodramas or comedies. Perhaps I feel this way because I am not used to watching crime films, especially film noir. Overall, I think Maltese Falcon is a creative representation of crime during the forties and presents a thoughtful explanation of how corruption could be helpful, but this movie was definitely not a favorite of mine.

Conventional Vs. Unconventional Narratives

2009-11-10T13:47:00.000-08:00

There are definite differences between conventional films like Casablanca versus alternative movies like Daughters of the Dust or Monsoon Wedding. When comparing Daughters of the Dust and Monsoon Wedding to Casablanca there is a completely different feel. A classical film narrative is usually "centered on one or more central characters who propel the plot with a cause-and-effect logic, develops plots with linear chronologies directed at certain goals, and employs an omniscient or a restricted narration that suggest some degree of realism" (Corrigan and White 248). Where as alternative film narratives "deviate from or challenge the linearity of the narrative, undermines the centrality of a main character, and questions the objective realism of classical narration" (Corrigan and White 249). The most basic difference is the lack of distinction of main characters and secondary characters in the two alternative movies versus the conventional Hollywood film. Monsoon Wedding and Daughters of the Dust do not focus on one specific character, but rather introduce a hand full of characters. It is not a coincidence that all the women from the Peazant family in Daughters of the Dust are wearing white or that Aditi, the bride in Monsoon Wedding, has just as much screen time as the other family members do. Both these movies give a balanced perspective of each character rather than narrowing in on one or two specific characters. In contradiction, Casablanca's two main characters, Rick and Ilsa, are obviously the focus of the movie. The next question is what makes this basic difference in narrative characters between the three films evident?

Returning to my first few blog entries about technical aspects of film, it is obvious that mise-en-scene and cinematography play a big role in determining who is a main character and who is a minor one. Specifically, the way the characters are filmed, the lighting, their make-up, their costumes and the way they are staged are all things that enhance or diminish the characters importance. For example Ilsa in Casablanca has a radiance about her that is created from her make-up, which acts as a character highlight of her beauty and in return is emphasized by a soft, highlighting lighting technique used to make her stand out. In addition to make-up and lighting, shallow focus and close-ups also play a role in making Rick and Ilsa main characters. In opposition though Monsoon Wedding is filmed very differently. The staging of the Verma family is most often in social blocking to display the importance of the family as a whole. And even when the camera is focusing on Aditi and her husband to-be Hemant Rai, the camera is not necessarily focusing on their faces. For example the scene where Aditi meets Rai at the diner the camera focuses on their hands to say more about their relationship rather than their faces. Similarly in Daughters of the Dust social blocking is common. A perfect example of this is the family meal where the characters hands are the only things in view and the food is the focus of the scene. Unlike Hollywood conventional filming, alternative films highlight things that may seem arbitrary, but have deeper metaphorical meaning. In other words, there is a reason the characters in Daughters of the Dust are shoot from the feet up rather than the other way around and through this process the audience is forced to question why.

After comparing these three films in depth it seems fair to say that Hollywood style movies are biased by the main characters point of views, where as alternative movies tend to give a more balanced and well rounded perspective from a group of people. When comparing which type of movie is more realistic to everyday life, alternative movies come out at the top. It is not realistic for someone to take sides or judge a persons actions knowing only one side of the story and this is exactly what classic Hollywood films do. Although I will admit I like to root for the heroine and hate the antagonist, real life is not black and white and no one is as linear as the Hollywood style makes people seem. It may be true that Hollywood convention is easier to watch and maybe even more entertaining to some, but it ignores a lot of characters that could effect the story being told. Granted all sides of a story can not be included in one film even when using the alternative style, but at least conventional movies make an attempt to shed light on the grey areas of the characters lives. I am not saying that Hollywood movies are not worth watching because personally I love the escape from reality that I receive from movies like Casablanca, but what I am saying is that there is something to be said and looked at in alternative style movies which challenge the norm of film.

Definition of Dysfunction: Monsoon Wedding

2009-11-06T12:27:00.000-08:00

Like most weddings in the Indian culture, Adita Verma's arranged marriage is a large family event with silk traditional saris for the women, an elaborate gown and adornments for the bride, an abundance of marigolds and cultural Indian music. A lot of planning has gone into this wedding and family are coming from around the world, but what starts off as a family celebration turns into an event that brings them closer then they have ever been. Each member of the Verma family has their own secrets, including Adita, and once these secrets are revealed they are changed forever. Monsoon Wedding is a funny yet realistic movie about how much it takes for a traditional Indian family to face individual trials together.

I really enjoyed this movie for its realistic portrayal of family and the chaos involved with planning an a traditional wedding. The fact that I was able to compare my dysfunctional family with the Verma's showed the producers ability to portray a unique Indian wedding, but also make it so all types of people would be able to relate. Monsoon Wedding will make you laugh, cry, and contemplate the secrets you hold back from your family.

Daughters of the Dust

2009-11-01T14:10:00.000-08:00

This movie is a feminine portrayal of the Gullah tribe, an African culture that lived off of the coast of Georgia and South Carolina. Daughter's of the Dust reveals the trials and tribulations that arise between three different generations of Gullah's during the 20th century as the community must decide to move to the mainlands or remain in isolation on the sea islands. When the matriarch of the Gullah's, Nana Peazant, makes the decision that she is going to remain on the island, the rest of her family tries to talk her into to coming with them. As secrets are revealed and relationships become more complicated the Gullah's African roots are revisited as change is upon them. Daughters of the Dust reveals the strengths of familial love and the power of tradition. Although it is at times hard to understand and somewhat convoluted with mystical imagery, it shows how societal change historically effected the Gullah tribe.

I would not recommend this movie to everyone, especially those who like movies that are easily interpreted. This is somewhat of a challenging movie to watch due to it's disjunctive style, thick African accents, and a subject matter that is hard to relate to. But at the same time all of these reason's make Daughters of the Dust a thought provoking movie worth seeing. I encourage you to give it a chance, you may be surprised.

Casablanca: A Hollywood Classic

2009-10-28T14:59:00.000-07:00

Containing some of Hollywood's most famous one-liners, "Heres looking at you kid"and "I think this is the beginning of a beautiful friendship", Casablanca is a love story and a drama that takes place in Morocco during the rise of World War II. Famous actor, Humphrey Bogart plays Rick, an American entrepreneur with a mysterious past who owns the popular hangout Rick's Cafe Americain in Casablanca. The regulars at this night club consist of French natives who are looking to flee the Nazi's and go to America. Many of the refugees seek Rick out for help, but he seems to be a strong believer of everyone for themselves. Things change though when a long lost lover resurfaces in Casablanca looking to escape the Nazi Regime. He is forced to decide between "love and virtue". This movie will sweep you off your feet as it tells the story of love and war musically accompanied by romantic oldies. It will leave you craving more.

This movie warms my heart. It is such a typical Hollywood love story, yet so well done. I love the old fashion, black and white feel that this movie has, especially its warm lighting on the characters faces. They look so wistful and young. In my opinion, classics like this movie create the best escape for the audience. You can't help but get lost in the eyes of Humphrey Bogart and Ingrid Bergman. The critics are right, Casablanca is definitely one of the best classics of all time.

Editing on Movement makes Bonnie and Clyde a Must See

2009-10-27T14:20:00.000-07:00

Like most gangster movies, Bonnie and Clyde is full of action, car chases, criminals, and machines guns, but this movie would not be nearly as entertaining without the editors magic. This films rhythmic editing is what sets the pace and determines how quickly or slowly cuts are made (Corrigan and White 139). In Bonnie and Clyde movement or stillness is the key editing tool to creating the action and general speed of the film. A perfect example of editing on movement is the police car chase, right after the Barrow Brothers rob a bank in a town right outside of Oklahoma. The pace changes from the silent, slower cuts of Clyde, Buck Barrow, and Bonnie robbing the bank, to a wild police chase. It begins when the alarm sounds in the bank and the scene cuts to a reaction shot of Buck's wife screaming for Buck to get into the car. As Bonnie and Clyde pile into the moving car the scene quickly cuts again to four police cars speeding around the corner and shoots being fired. The speed of the cuts build as the camera alternates from the police to the gang driving across dirt roads and wide open fields. Then, unexpectedly, the shot intercuts to a parallel action of interviews with the witnesses from the bank robbery (141). These four continuous intercuts creates the "stop-and-go" feel to this specific scene and changes the fast paced rhythm of the police chase to an intermittent, slower rhythm (141). After these crosscuts occur the police chase finally ends as the closest police car to the gangs car flips over and Bonnie, Clyde, C.W. Moss, Buck and his wife safely cross over the boarder into Oklahoma. Without the rhythmic editing in this scene the intensity of the chase would not be evident.

Throughout the police chase I found my heartbeat increase in speed as the cuts became quicker; especially as the police car gained on the criminals. I also felt that the banjo music added to the speed of the chase. The music got faster as cuts got faster and the music stopped when the movement stopped. I really found this effective, the only thing I felt was lacking from the this scene is variety of angles. It did get a little repetitive seeing the same angle of the police car a few times in a row, but we can't hold a movie made in the 1960's up to the standards of filming today.

Bonnie and Clyde: Intimate and Violent

2009-10-21T08:50:00.000-07:00

Based on a true story, this film is a particularly personal take on the legendary bank robbers, Bonnie Parker and Clyde Barrow. A love story gone astray, it portrays the criminal duo's addiction to each other as they live out a lifestyle consumed by crime and running from the law. This movie follows Boonie and Clyde as they drive across the Mid-West in the 1920's robbing banks as a means to earn money during the Depression. Both characters seem to be having the time of their life until Boonie comes to her senses and begins to want more from life then crime and more from Clyde then superficial love, but is it too late? An outstanding use of disjunctive editing, Boonie and Clyde makes robbing a bank look easy and exhilarating. I definitely recommend this classic for its representation of two contradicting view points: a humanistic and intimate portrayal of Boonie and Clyde; and the lawful and objective perspective of the duo. Enter into the west and decide for yourself who these infamous people really are: criminals, lovers, a poor couple in the midst of an economic crisis, a couple looking for some excitement or maybe all of the above.

Colors In Run Lola Run add to it's Disjunctive Style

2009-10-20T12:59:00.000-07:00

The first thing that caught my eye was Lola's red hair. It made a statement about Lola's want to stick out and abstain from the norm of society. I do not think it was an accident that Tom Tykwer, the director of the film, chose red to represent the things relating to Lola and yellow for the things relating to Manni. In general red resembles a stopping or being prevented to do something, so when something red appears within the movie it seems to be stopping Lola from getting to Manni. For example right from the beginning scene we see Lola with her red hair pick up a red phone and it is when Lola is on that phone that she learns the trouble Manni is in. Another reddish object that sticks out as something that definitely holds her back is the red ambulance. In opposition, the color yellow seems to reflect Manni's feelings toward robbing the grocery store. Whenever Manni is in the yellow phone booth he not only seems to be trapped by the harsh lines of the phone booth's outline, he also seems to be in a contemplative, cautious state. Even when Manni decides to rob the store in the first scenario, the doors to the store as well as the counters inside the store are yellow perhaps reflecting that Manni's still hesitant about the decision he made. It's this specific graphic editing which guides the audience's eyes toward important parts of the film.
These bright colors not only stood out to me, but they also made me feel uncomfortable at times. The fact that Lola, the main character, had red hair distracted me, but in a way that made me pay more attention to the film. It is not common to find a movie that stars a character with red hair, but its these colors that are visually powerful. Without these colors the phone, the wig, the phone booth, and the ambulance are just simply objects, but by editing and using vibrant colors the objects hold more of an impact.

Run Lola Run

2009-10-18T16:28:00.000-07:00

A high energy, fasted paced, movie about Lola, a girl with bright red hair who has a scream loud enough to break glass, and her boyfriend Manni's race against time to get $100,000 or die. Right from the beginning Manny calls Lola screaming, "You weren't there!!!". We quickly learn that Lola was supposed to pick Manni up from a "job" worth $100,000 that he was doing for a gangster named Ronnie, but when Lola did not show up he walked to the train. Everything goes smoothly until Manni leaves the $100,000 on the train and a homeless man helps himself to the money. Manni informs Lola he has to get that money to Ronnie in the next half hour or he will have his head. In desperation, Manni plans to steal the money so Lola has 20 minutes to get to Manni with the money before he robs a local grocery store. Watch to see if Lola can beat the clock and save her boyfriends life. Run, Lola, Run is an amusing and creative film. By the end of the movie you will be reevaluating your perspective on time and asking questions you have never thought to ask. Check it out, you won't regret it!

Cultural props stick out in Do the Right Thing

2009-10-13T13:45:00.000-07:00

Spike Lee successfully portrays the culture as well as the time period of Bed-Stuy neighborhood through his use of culture specific props. Since this movie takes place in the 80's music was a big part of Latino and African American culture as a means to express their want for freedom and equality. Lee emphasizes this part of history not only through the specific music that is played like the African American National Anthem and the beginning song "Fight the Power" but through the cultural significance of the boom box. The particular boom box I am speaking about is the one Radio Raheem carries in the movie. Although it is an instrumental prop as well as a cultural prop, it also holds a deeper meaning as the movie progresses making it a contextualized prop. We see this prop for the first time about fifteen minutes into the movie and before we even see Raheem's face we see a close up of the boom box. The characters talking to Raheem make a skittish comment about how big his boom box is and he walks off with the music blaring. This is a literal statement about the boom box itself, but I would like to theorize that this boom box represents the friction between the African Americans, Italians, Caucasians, and Koreans in this movie. The extra-large size of this boom box acts as a metaphor for how significant prejudices are within this neighborhood. There are a few more times where we see Radio Raheem, but all these scenes lead up to a breaking point in the movie dealing with the boom box itself. When Sal destroys Radio Raheem's boom box after him and Buggin' Out come to fight to get their "people" on the wall all hell breaks lose. If you were uncomfortable watching this movie before this scene makes it almost unbearable. I felt the tension between Sal and the others. It is the boom box that builds this tension up. Like I said before be aware this is a hard movie to watch, but it has an important story to tell.

"Do The Right Thing": A controversial film

2009-10-07T08:10:00.000-07:00

One of Spike Lee's most controversial films, Do the Right Thing takes place on a scolding summer day in Bed-Stuy, a predominantly black and Latino neighborhood in Brooklyn. The movie begins with the national black anthem, Lift Your Voice and Sing playing in the background, setting the stage for the ongoing issues of prejudices that arise in the Bed-Stuy neighborhood between the Italians, the blacks, the Caucasians, the Koreans, the young and the old. It reads like a case-study of Mookie, the main young black boy, and others from the Bed-Stuy neighborhood. Mookie is only one of his friends who has a job and works at Sal's pizzeria as the only African American delivery boy. Issues begin to arise when a friend of Mookies, Buggin' Out, decides to boycott Sal's pizzeria when Sal refuses to add pictures of famous African Americans to his shrine of Italians. This issue begins a pattern of multiple prejudice instances and like most small arguments it snowballs into something much bigger. Be aware though, this movie is hard to watch because of its dense and somewhat offensive content, but it brings up a lot of questions that I think are necessary to address. That being said, this was not my favorite movie because I felt like the acting was mediocre and at times corny, but I would encourage you to watch and see for yourself.

The Wedding Scene: This Setting is a Genius Way to Introduce the Corleone Family

2009-10-06T20:40:00.000-07:00

In general the setting in a movie creates a specific atmosphere and in return creates connotations about the scene. In the few beginning scenes of The Godfather Mario Puzo, the producer, seems to use the setting to introduce the characters to the audience as well as contrast one setting from another. For example the setting of the outdoor wedding created a feeling of joy, comfort, tradition and family for me, but this atmosphere changed quickly when the scene transitioned into Don Vito Corleone's office. In opposition Corleone's office connoted feelings of danger and privacy. The setting went from a bright scene crowded with people to a dark room with only a few people perhaps foreshadowing the privacy of the Corleone family in relation to their "family business". Puzo strategically places the wedding scene in the midst of the office scenes as a way to compare and contrast the two settings. Separate from connotations, the wedding scene literally shows the audience who is part of the immediate family based on who is in the professional pictures and who is wearing a boutonniere. By introducing the audience to the characters in this way we see the importance of family in the wedding setting and the importance of their mafia involvement in the office setting and its because of these subtle hints that the audience feels like we understand who is "in" and who is "out" without even being told.

Personally I have never been into mob type movies, which some would categorize The Godfather under, but overall I felt this movie was well written. It challenged my prior stereotype of shoot,em up movies (as I call them) and opened my eyes to the character development that takes place in this film. I was impressed by how Puzo showed Michael's slow progression from a secluded family member to the new Godfather. The only qualm i have about this film is that it is quite long and sometimes resembles a television series based on the immense amount of detail that is included in this three hour movie. It is somewhat predictable that there is going to be a sequel since the movie ends with a new beginning as Michael as the Godfather. Overall though, I was presently surprised by the film and found myself on the edge of my seat my the end of the movie.

The God Father-"An Offer You Can't Refuse"

2009-09-29T20:12:00.000-07:00

As the famous line goes, this highly acclaimed classic, The Godfather is truly an offer you can't refuse. This movie is about the Corleone family, a family deeply involved with organized crime in the city of New York during the 1940's. Don Vito Corleone is the head of the family and after Don refuses to support Sollozzo, a rival mob member, in his plan to sell drugs on the streets of New York, Sollozzo makes an attempt on Don's life. With Don Vito in the hospital Michael, the youngest son, steps up and takes action to gain vengeance on the family who attempted to kill his father. The irony of it all is Michael is the child who wanted nothing to do with his fathers business out of his three siblings. As the story unfolds we watch Michael transform from a young romantic, fresh out of the military, into a mafia leader resembling his father. Although this movie is quite long and in some parts slow paced, you will feel like you know the Corleone family as if you were a new addition. You gain access to all that goes on behind the doors of their million dollar mansions and all their undercover operations. This film is riveting, addictive, and will leave you wanting more of the Corleone family.

Overall I liked this film mainly for the connections I was able to make with the characters due to the detail the film goes into about their lives and relationships. I felt strongly for Connie, Don Vito's only daughter, whose relationship with her husband takes a turn for the worst only a few months into her marriage. I also feel for Michael. I feel the pressure he is experiencing from his family to be involved in their family business as well as the pressure from society to not be involved. It is this connection that holds your attention throughout the whole film and leaves you wondering what will happen next. Another aspect of the film that I was intrigued by was the way this movie was filmed and the placement of everything on the set. I felt like the placement of props, the placement of people and the lighting made me feel like I was lingering in the shadows, emphasizing the secrecy of all their operations and conversations. I loved feeling like I was not supposed to be hearing what they were saying, it forced me to experience the danger that was lurking around each corner.

Apocalypse Now: Both presentative and textual

2009-09-27T09:12:00.000-07:00

Even though many scenes in Apocalypse Now are filmed with deep focus, allowing the audience to feel present as if they are actually in Cambodia amongst the jungles or small little villages, this film keeps it's audience distanced as well. There are many scenes that the director of this film, Francis Ford Coppola, present things for what they are, but he also adds images and music that make the scene textual or hard to relate to. The fact that this movie takes place during Vietnam portrays the tradition of presence in general. War is emotional and occurring all the time, but Coppola wants his audience to focus on the psyche of the soldiers instead and in order to do this he uses textuality.

A scene that displays both traditions is the helicopter attack towards the beginning of the movie. This scene starts off with six soldiers abroad a helicopter that is headed to attack a little Viet Cong village in order clear an entrance onto the Nung River. The beginning of the scene shows a realistic close up of the soldiers boarding the helicopter followed by a zoomed out image of eight or nine helicopters flying towards the camera with a breathtaking sunset behind them. If it were not for the mystical music that accompanies this scene I would say it portrays the tradition of presence, but this music decreases the intensity of the coming attack, thus portraying the tradition of textuality. The next image is more personal and again more realistic showing all the soldier's preparing for the attack. The audience is given a chance to connect emotionally to the soldiers, but just when we begin to feel connected to them, Lieutenant Bill Kilgore turns on Ride of the Valkyries by Wagner and the image becomes textual again. The explosions and sudden destruction of the small village does not match up with the classical music playing in the background, but this contradiction is exactly what Coppola wants his audience to focus on.

I personally had trouble with the textuality that Coppola used within this film, but it does create a deeper meaning to the movie in general. It also challenges the audience to interpret the movie on an analytical basis, so If you are tired of movies that tell you how to think, this will be refreshing.

Apocalypse Now is not for everyone

2009-09-23T08:10:00.001-07:00

Apocalypse Now is a powerful film that takes place in the Jungles of Cambodia during the Vietnam War. The movie is written from the perspective of Captain Willard, played by Martin Sheen, who is a soldier sent on a secret mission to assassinate a decorated American soldier Colonel Kurtz who "went off the deep end" and is living in Cambodia with a group of followers who worship him. Willard is sent to Cambodia on a boat with four other soldiers to terminate Kurtz and his whole operation, but before he reaches his top secret location Willard experiences the horror and madness of Vietnam. Similar to most war movies there are explosions and danger around every corner, but a difference in this movie in comparison to others is it's ability to portray the psychological effects of war. Like I mentioned in the title of this entry, this movie is not for everyone and if you are looking for a historical account of Vietnam, you are not going to find it here. In my opinion this movie was hard to relate to. Personally I thrive on connecting with the characters of a film and I had great trouble doing so in this film. I was looking for an emotional attachment to the characters like in We Were Soldiers, but this is not the point of the movie.

A deeper look at The Diving Bell and the Butterfly

2009-09-22T09:02:00.000-07:00

Right from the beginning of this movie I became Bauby (Jean-do). Within seconds I got the sensation that I was no longer sitting in a classroom, but rather laying in a hospital bed looking through Jean Dominque Bauby's groggy eyes of confusion, staring up at hovering doctors. It is Julian Schnabel's genius framing techniques in this scene that allow me to live vicariously through Jean-do and become this character.

All the shots Julian Schnabels films in this scene are point of view shots coming from Bauby's perspective. As he wakes up out of his coma nothing is in focus, in fact I found myself blinking my own eyes repeatedly as if they were Bauby's eyes. After adjusting his eyes a bit more, Bauby is able to focus on a male nurse who seems to be standing next to a few other female nurses. There is very minimal background in this medium shot and quickly, in a blink of Bauby's eye, a female nurse blocks his view of the male nurse and the camera does a close up of this female staring into Bauby's eyes asking him to open his eyes. It is in the these few seconds that the audience begins to feel claustrophobic and frustrated as the doctors and nurses crowd Bauby's face all asking him the same question, "Can you hear me?". It got to the point where I wanted to turn my head away from these people, but of course I couldn't, I was Bauby and I was paralyzed from head to toe. This framing technique makes you focus on what objects are before you since there is nothing else to look at on the screen or if there is it is out of focus. Like Bauby is 'locked in' to his own body, the audience is 'locked in' to the frames.

Throughout all of this chaos Bauby is still blinking his eyes slowly and when he closes them the frame goes dark; nothing is visible except for an extreme close-up of his inner eye lid. Starting from the first close-up of the female nurse up until everyone leaves Bauby's room, the onscreen space is limited to parts of the doctors and nurses faces; Bauby's face is not on-screen until the middle of the film. With this in mind, It seems plausible that Julian Schnabel is intentionally focusing on facial features to fore shadow the importance Bauby's appearance was before his stroke or even contrasting the flashes of light people were to Bauby as the editor of Elle (see the flash back to Elle magazine photo shoot to see this difference).

This scene begins the audience's breath taking journey through the eyes of Jean Dominque Bauby and the unique framing in this scene create this relationship between Bauby and the audience.