Children of Men
After watching Children of Men, I am awestruck. I have never seen a movie that accomplishes what this movie has. The last 30 minutes or so of this film is quite possibly the most magnificently crafted sequence of any film I've ever seen.
The camera follows Theo Faron throughout this apocalyptic refugee camp as he evades death on a mission to bring Kee to safety. The sky is dark, and the air is clouded with smoke and dust from the surrounding destruction. Soldiers, refugees, and Fishes are all killing each other, while the Fishes have invaded the camp in search of Kee and Theo. The camera never seems to break or cut, mimicking the view of another person, as if we, the audience, is right there within the scene.
One of my favorite moments in this sequence, which began at the moment when Theo killed Syd, is when Theo boards a broken down bus to escape the rain of fire from the surrounding chaos. As we follow Theo, shuffling through the mass of people crammed into this bus, bullets are heard hitting the bus, and projectile blood splatters the camera lens, and remains there for several minutes afterward. I loved this.
Later in this sequence, the refugees and soldiers are come together in a unified awe at the sight and sound of this newborn baby. As Theo and Kee make their way outside, the crowd's silence is broken by a stray explosion, which results in an outbreak of violence yet again. I really appreciate this entire sequence because of the amount of time, effort, and attention to detail that it required.
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Hugo
Before watching Hugo, I had certain assumptions about what to expect out of the movie. I knew it was shown in 3D in theaters, and as I tend to do with most 3D films, I dismissed Hugo. But when I realized it was directed by Martin Scorcese, and since it was assigned to the class, I became more enthusiastic about watching Hugo.
I loved the movie on the whole. I think it's an interesting parallel that this movie was made in 3D, and that the film depicts the cinema of attractions. It presents both the original cinema of attractions, such as Georges Melies' works, and the modern cinema of attractions, 3D.
In the movie, I found many moments that provoked thought. I think back to the dream sequence when Hugo is on the train tracks, looking at a heart shaped key, as the train rapidly approaches, runs him over, the train derails, riding wildly through the station, crashing through the windows, and falls to the street below. Later in Hugo, we are shown a clip of one of Melies' works, and we see, just for a couple seconds, a train crashing, very similarly to what happens in Hugo's dream. This had my head spinning! This imitation of classic films is exhibited in the film and the poster for Hugo as well, where Hugo is dangling from the hand of the big clock. In the movie, Hugo sneaks into a theater with Isabelle and watches a movie where a man is seen dangling from a clock tower. This got me thinking. Hugo used what he learned from the movie to help him in real life. The movie makers of the past helped Hugo to evade imprisonment and fulfill his desire to share Melies' creation.
The dream sequence also made me consider the symbolism behind the heart shaped key. I think the key symbolizes just that. The key to his heart, or his father's heart, or the connection to his father through Melies' mechanical creation. The key was his connection to love, and to his loved ones. It's fitting that his new best friend, Isabelle, was the one from which the key was presented to him.
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A Single Man
There are so many moments in "A Single Man" that stood out to me as truly cinematic. Every seen was so beautifully crafted and executed. I always love when movies take place in another time period, because there is immense attention to detail. Everything has to be just so, or else the film can be seen as novice.
I want to take a deeper look at the overall theme of the movie. For me, time and impending death were the most prominent themes in A Single Man. The fact that this story takes place in one day, spanning from George's dream/wake up, to his moment of death/sleep, made for a beautiful symmetry. In nearly every scene, allusions to time, death, or clocks are made, but ever so subtly. I noticed it rather early on, when George was in his car, on his way to school, and the camera focused on his analog clock, both at the beginning and end of his drive to the college (only twice...birth and death?).
The ending was utter perfection. Having the ticking clock slow, increase in volume, then stop just after George's death was masterful. Although I felt it coming, this moment still gave me goosebumps. This theme resonated within me more than some other themes in the film, such as age, wisdom/knowledge, the Cuban missile crisis, and homosexuality.
On a separate note, I loved the camera's focus on each character's physical attributes (close ups of eyes, lips, fashion accessories, hands). I think the camera mimics how George's eyes work, in that he has an appreciation for beauty and fashion.
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The Prestige
When I began watching The Prestige, all I knew about it was that Christopher Nolan directed it. The only films of his that I have seen are the Batman movies, which I love. I had high hopes for this film and right off the bat, I found myself submerged in the story.
The opening scene was perfectly cinematic, with the voice over of Michael Caine's character, and the visuals of the "murder of Angier", which we later find out is not a murder conducted by Borden but in fact a plan created by Angier himself, killing a clone of himself. I thought that opening the film by killing one of the main characters was an interesting and new way to start off a film.
As the film progressed, it was fun to see how Borden and Angier's relationship began and how it turned into something completely complex and spiteful. The entire film consists of the two of them trying to one up each other and foil the other's trick. I found it funny that these men upheld the honor code of magicians, by never telling other people their trick's secrets, but were fine with the idea of stealing another magician's trick. Perhaps my favorite scene came when we are introduced to Tesla, a real world character, who is turned into a somewhat fictional one. The fact that he creates a cloning/teleportation machine is fun to imagine, and I thought David Bowie performed wonderfully in this role.
The relationship between Borden, Olivia, and Sarah was perplexing throughout the film, as he loved Sarah on some days but not on others. The twist at the end, when we find out about Borden's twin, hits that much harder when I rewound the film in my head and replayed the earlier scenes in the movie. This is the kind of film that will show much more upon a second viewing, now that I know how it concludes. I should be able to pick up on some more hidden clues and allusions now that I have already seen the movie.
Overall, I thoroughly enjoyed the Prestige and am looking forward to watching it again in my spare time. The story was encapsulating, the acting was phenomenal, and the visuals were magical. Christopher Nolan once again did not disappoint. This makes me excited for the new Batman movie coming out this Summer!
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Melancholia
I began the film "Melancholia" with very few assumptions. I knew that it was about a planet colliding with earth, an armageddon story, but that was it. The introduction to the film was visually stunning, as all the critics say, and kicked off the film in an enticing way. This opening didn't really make much sense to me until the film was over, when I went back and re-watched the opening. Part one, Justine, confused me, to be honest. I was constantly curious as to why Justine was destructing her wedding, cheating on her husband, and ruining relationships. The entire Justine segment of the movie annoyed me. It was very slow moving, and in my opinion, didn't do much for developing Dunst's character, other than proving her to be crazy and unstable. Was this the point? By the end of part one, I was about ready to turn off the movie (but I couldn't, because this was homework).
I took a break and considered what I had just seen. One thing really bugged me. Why did Justine have an American accent while her sister and parents both have english accents? This was distracting for me.
Anyway, part two began and the story seemed to capture my attention more at this point. I enjoyed the recurring, impending music used throughout the film. It became prominent in part two. The progression of the characters was contained within part two, and that made the story flow better for me. There as very little character development in part one. I guess this was intentional, but I did not care for this technique. The ending to the film was once again, visually amazing. The lead up to the final moments in Melancholia was suspenseful and emotional. This movie slowly worked me into stress and anxiety. But earlier in the film, I was bored and irritated. This says a lot about the movie. I ended up finishing the film and loving what I had seen. Any movie that can change a viewer's mind throughout its course stands out in my mind as a great piece of art.
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The Hurt Locker
In watching "The Hurt Locker" I noticed several directorial and cinematographic techniques that were demonstrated, which stray from common cinematic methods. This film, set during the Iraq War in 2004, depicts violence, death, and war in ways that impact the viewer differently than most war films.
We see this right from the beginning of the film. The three man squad is working on defusing a bomb during the first scene under the command of their leader, Thompson. Throughout the duration of the scene, the crew's actions seem routine and jovial. The juxtaposition of the soldiers' attitudes against the backdrop of this desolate third world wasteland is intriguing. This scene comes to a close when the bomb explodes after Eldridge and Sanborn notice a man with a cell phone, which is fashioned into a detonator. I found that this dramatic shift from comfort to panic served the audience well, as we should be on our toes, in suspense mode, from that point forward. This moment kicks the "The Hurt Locker" off with a lasting and disorienting impression on the spectator.
Later in the film, the crew encounters a group of British mercenaries whom they first mistake as local Iraqis. After realizing their true identities, the two groups begin to joke around and begin to make friends, discussing their current goings on. Out of nowhere, a bullet hits one of the British men, and the two crews scatter for safety and artillery. When the British man is shot, it catches the viewer off guard. These sudden, unanticipated sniping bullets turn up a few more times throughout the scene, having the same effect each time. The swiftness of these deaths, as well as their graphic portrayals, create different conceptions about death for the viewer. Death is not immortalized or drawn out, like they tend to be in many films. This created surreal moments of death.
Perhaps the hardest scene to watch in the Hurt Locker is the final bomb scene. This bomb job is different from the others because an innocent man is the host of the explosives. After being unable to detonate or break the man free from the bomb, the crew has to abandon the man leaving him to die while they retreat to safety. the man is shown praying his last words, interrupted by the explosion which unfolds in real time. My favorite thing about these scenes (with the exception of the explosion in the opening scene) was the lack of slow motion. I enjoyed seeing the scenes play out in real time. This made for a more cinematic and surrealistic experience.
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Viaggo in Italia
After watching Viaggo in Italia, I considered the shots in the film and what made them special. Many of the shots in the film were quite standard, not breaking any cinematic rules or assumptions. Not until the concluding scene at the parade did I notice an unorthodox shot. I am referring to the moment just before the ending, where we see a close up of parade spectators walking swiftly at through the street, with an out of focus polio officer in the background.
On the surface, this shot is being used to show that the street is crowded, and there are many faces in the crowd. The shot allows the spectator to see the law enforcement's presence.
In knowing that this is a civilized city with order, we assume that these police men are present to keep the peace in case something unexpected or unsafe were to happen. We assume this because of our preconceived notions about public events. We apply what we know as a spectator to what we see as an audience, and make connections, connotations. We see safety, excitement, and community.
Perhaps the myth being produced here is that, even on a joyous occasion such as this religious based parade in Italy, things can always go wrong. Perhaps this is an allusion to the relationship of our two main characters. It is hard to decipher this moment in the film, but I can't help but believe this moment, and this shot, was significant to the director. This is not just a passing frame, for the image of passing parade-goers and the police man stays on screen for a good 10 seconds.
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Psycho
In Psycho, there are many moments which I could classify as cinematic. From the early scene with Mrs. Crane and her lover, to the ending scene with Norman sitting alone in the police station, Hitchcock's style seeps through every moment in Psycho.
I truly loved this film, and have seen it several times. No matter how many times I've seen it though, I get legitimately scared every time. I think this is a result of Hitchcock's directing style. The constant suspense and thrill found in Psycho is never ending. The closer we get to the end of the film, suspense increases.
One moment which I thought was incredibly cinematic was the scene in which the private detective is murdered. The famous shot of the man tumbling down the stairs is one of the most prominent memories from this film for me because of its blatant Hitchcock style. Actually, just before that shot, we see the detective creeping to the top of the stairs, and with the overhead camera angle, we see Norman's mother exit her bedroom on the right, with a giant knife in her hand. This is one of the most frightening moments in the film. Even though I knew it was coming, it still has its intended effect. I think this is something that Alfred Hitchcock accomplishes in his films that many other directors cannot.
Another moment of pure cinematic enjoyment was the scene in which Mrs. Crane is murdered. This is one of the most famous moments in film history. The shower murder is the turning point in the film, and catches the viewer off guard. One of my favorite Hitchcock moments is when the camera zooms out from Crane's eye as she lay dead on the floor.
Overall, I believe Psycho accomplishes what it set out to do, even after so many years. It stands the test of time. This is one of my favorite films, and that is due to the fact that it is full of truly cinematic moments, as well as having a suspenseful, smart plot. This movie made me want to watch all of Hitchcock's, which I intend to do!
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The Grapes of Wrath
As I watched this classic film, I kept my eye out for certain moments that really captured the magic of the movies. Unlike other forms of art, film has that certain something that allows us to harness human emotion while creating scenarios that are true to life.
One of the earlier moments I noticed that seemed as if it could only occur in the movies came during the Joads road trip across the country. There is a shot where we see the two children peering out the slats in the side of the truck, talking about what they're seeing off in the distance. The shot must have been difficult to obtain, as the car appeared to be moving along at high speeds. Whether simulated or real, director John Ford created a lasting image in my mind, and I would argue that a cinematic moment such as this would be nearly impossibly to recreate in any other medium.
Another purely cinematic moment came at the first camp the Joads camped out at. The camera was being used as if it was strapped to the hood of the truck as the family weaved their way through the crowds to get to their campsite. Such images of the fellow campers walking about in their depressed states worked to set a mood for the following scene, as well as the rest of the movie. This stuck out as a key shot in the Grapes of Wrath because it further drilled in the fact that this depression was a mass occurrence, and we’re merely following one family’s journey.
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Midnight in Paris
The first scene of this Woody Allen film establishes the setting immediately. We see dozens of shots lasting about five seconds each, all across the streets of Paris. I personally enjoy Woody Allen's films, so this was almost like a little reminder saying "Hey do you remember? This is what Woody Allen movies look like". Anyway, some key themes that are prominent throughout the film are introduced early on.
In the scene in which Gil, Inez, Carol, and Paul are touring Paris, Inez informs the other couple about Paul's current novel that he is working on. She makes it clear that Gil would much rather live in an earlier time period. More specifically, Paris in the 1920's. This theme of "Golden Age Thinking" is introduced by Paul, stating condescendingly that those who revel in nostalgia are in denial of the present.
This was a great moment in terms of character establishment. Here we see the cockiness and jerkiness of Paul, the respect and intrigue Inez feels for Paul, and the disrespect Gil seems to receive from nearly everyone in his daily life. This scene conveys the perception of Gil that Woody Allen wants us to see. From here on out, I was on Gil's side.
As far as Allen's general writing style, I always enjoy the dialogue in his films. The conversations in this film were always natural and fluid. This style is refreshing, and I think it helped portray the characters in the way they were meant to be seen. Many films do not accomplish this feat as smoothly as Midnight in Paris.
One other note I took down that I thought was sort of the big revelation or epiphany for Gil was when he went back in time even further than the 1920's, and realized that there is no "golden age". Or maybe it is better to say that every generation has its own golden age. At this moment, he realized that he needed to return to 2010 (or 2011, I can't remember), and begin his new life right there in Paris.
While watching this movie and contemplating the question "What can film do that other mediums cannot?", it wasn't hard to pinpoint the answer. Film is able to capture the essence of the human condition more clearly and effectively than any other medium. We see the emotions written on the faces on screen. Allen's take on realism in this film is one of my recent favorites. He is able to create realistic interactions between characters while developing a fantastical story. Like I said, I think the magic lies in the dialogue as well as in the improvisational nature that Allen urges his actors to utilize. Although I'm not 100% in love with this film, It's hard not to appreciate a polished piece of art such as this.
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Masculin Feminin
In Masculin Feminin director Jean-Luc Godard breaks away from the "Institutional Mode of Representation" often. Perhaps the most common way in which he does this is by keeping the camera stationary at times when the viewer would normally anticipate the viewpoint to follow the characters within.
An example of this is in an early scene, in which Paul is more or less courting Madeline in what looks like a bathroom/powder room. Throughout their lengthy conversation, Godard chooses to sep the camera focused on either Paul or Madeline's faces for minutes at a time, rather than going back and forth as we normally see and expect in most films. I found this to be both highly unusual and curiously effective. In keeping the camera fixed on one face, we are able to see their continuos expressions and reactions, almost as if we are watching the characters process and think.
This technique is used again later in the film, in the scene where Paul is surveying the young woman who was recently named "Miss 19". We do not see Paul, we only hear him, throughout the entire scene. Again, this was greatly effective, because this scene, although involving our main character, was still meant to be focused around this Miss 19. Whether Godard's purpose of this scene was to tell us more about Paul and his interviewing or to simply take a glimpse at what "an average woman" in France was like at this point in time, I do not know. This technique of the stationary camera comes up again later in the film, when a passerby on the street asks Paul for a match, and proceeds to light himself on fire. The camera stays fixed on the wall which they were standing in front of, as Paul and Madeleine take turns exiting the screen.
Looking broader, this film is extremely unconventional in that its layout and organization is very sporadic. The main theme of the film seems to center around Paul and his love for Madeleine. In the 15, for lack of a more accurate term, scenes, we are taken through many different types of happenings and conversations, with different purposes and responsibilities in the film. What I am trying to say is, this film is anything but straightforward. Today's films, especially Hollywood films, tend to be very unwavering and almost always spell every word out for you, so to speak. It does a man good to see a film as out of the box as this.
