High Noon
Movie: 1952, black and white, 85
- Director: Fred Zinnemann
- Actors: Gary Cooper, Grace Kelly, Thomas Mitchell
High Noon is the story of a Sheriff of a town who is faced with a group of outlaws that he placed in jail. The film takes place in real time.
Why does Zinnemann include shots of the clocks?
High Noon is a very unique movie because it is shot in real time. Most films take place over a period of a few hours, days, weeks, or even years. Yet High Noon takes place over only one and a half hours. During this short period, Zinnemann constantly returns to shots of the clocks in each room. The shots vary from full shots, close-ups, or just a clock in the background. Although the shots may appear to be insignificant, they help to establish the fact that the film takes place in real time and that the Sherriff’s impending doom grows ever closer. Very early on in the film, the time of the confrontation between the Sheriff and the bandit is established. Therefore, the constant shot of clocks shows the viewer how long before the climax. The shots give the film another element of tension as well. If the shots of the clock were not included by Zinnemann, then High Noon would not have received the same attention as the provide a critical part of the films base in reality and its tension.
How does the increased speed of cuts throughout the entire film increase the tension between Marshal Will Kane and Sam Fuller?
At the beginning of the film, most of the takes are very long, especially during the wedding. This longer takes remain prominent throughout the early parts of the film to express the tranquility possessing the town and the Sheriff. He knows that he has done a good job of making the town safe and he is leaving it the way it should be. But once news of the bandits impending arrival arrives, the takes grow shorter and the amount of cuts increases. With the addition of new element of tension in the film, the takes must change to reflect it. Throughout the rest of the film, the takes grow shorter and shorter, until the climax is reached. When the bandits arrive in town and begin to fight with the sheriff, the quickness of the shots gives the film the necessary tension. Although there the shots are the clocks are no longer used, the tension is higher because of the quickness of the cuts and the quick changes in takes. Also, throughout the film, the changes between the scenes involving Sam Fuller and the Marshal grow closer and closer. At the beginning of the film, the time spent on each character can last up to 10 or 15 minutes. As the film continues, the changes between each character gets quicker, until the two characters clash in the middle of the town. The increased speed of the changes symbolizes the closing distance between the characters.
The Graduate
Movie: 1967, color, 106 min.
- Director: Mike Nichols
- Actors: Dustin Hoffman, Anne Bancroft, Katharine Ross
A recent college graduate has an affair with his middle-aged neighbor, but then falls in love with her daughter.
How do the angles contribute to the obscurity of the film?
The Graduate is probably one of the greatest films I have ever seen, but it is also very strange. Throughout the film, there are many strange angles that are very uncommon in other film, yet they help to make the film as brilliant as it is. One of the most memorable shots occurs at the end of the film when Dustin Hoffman is standing on the upper level of the church, yelling down at Katharine Ross. He is framed within the glass window and the cross is behind him. Also, the angle is a very low angle as it is from the point of view of the guests looking up at him. This shot shows the power that Hoffman’s character posses at this moment, his power over Ross’s character. The power from the shot comes mostly from the low angle and the contrast between the levels of Hoffman and the audience standing below him. Also, the framing of his character within the window adds a prominence to his actions, as he fits perfectly within the frame. Also, because of the cross sitting behind Hoffman, he gets a Christ-like aura, which is ironic because he had an affair with his soon-to-be wife’s mother.
How does Nichols use zoom in ways to increase the power of otherwise simple shots? There are hundreds of other amazing shots in the film, but my favorite shot uses zoom. When zoom first was introduced to filmmaking, it was often used in unnecessary ways. As time went on, the novelty of the new feature wore off and it was used much less. There are few examples of zoom that are as powerful as the scene in The Graduate where Mrs. Robinson stands in the corner of hallway, dripping with rain and tears in her eyes, slumping down after Hoffman tells Elaine that he had an affair with her mother. The walls behind Mrs. Robinson are all white, and as the camera zooms out to reveal the plain white walls behind her and the new distance between her and Hoffman, the loss Mrs. Robinson feels is finally revealed. The shot shows how empty her life now is and how lost she feels without Hoffman in her life. The shot makes it appear that she is lost in an institution for the mentally ill, not a large beautiful house. None of this power would have been portrayed without the expert use of zoom.
Raging Bull
Movie: 1980, black and white / color, 129 min.
- Director: Martin Scorsese
- Actors: Robert Di Niro, Cathy Moriarty, Joe Pesci
A boxer, Jake LaMotta, uses his anger to drive himself to the top of boxing, but this same anger leads to the destruction of his personal life, driving away his wife and brother.
What is the significance of the scene shot in color?
The entire film, Raging Bull, is shot in black and white, except for one scene. The scene appears to be shot on an old handheld camera and depicts some important family events. The fact that this one scene is in color goes to show that this is the one time that Frank LaMotta is actually happy. Throughout most of the fim, he appears to be an angry character that is always at odds with the world. The contrast of the black and white represents this anger in LaMotta’s life. It also shows how simple LaMotta views the world. He sees no color, only black and white, especially when it comes to his wife. During this period of color, LaMotta finally seems happy. He enjoys the time spent with his wife and child and is seen laughing, something he rarely does. Also, LaMotta is able to see the different shades of color in the world instead of just the black and white. His new happiness and new view of the world, although temporary, is expressed through the color scene.
How do the angles in the scenes with Di Niro and Pesci reflect the changing relationship between the brothers?
How do the angles in the scenes with Di Niro and Pesci reflect the changing relationship between the brothers?
LaMotta, Di Niro, and his brother, Pesci, have a very tumultuous relationship throughout the film. The tention between the two is established very early on when LaMotta asks his brother to hit him. At first, the camera angle is level and LaMotta tries to convince his brother to hit him. But as the scene continues, LaMotta begins to persuade his brother to listen to him. As he changes his mind, the camera angle changes to put LaMotta in a point of control over his brother. This angle difference remains throughout most of the film. As long as LaMotta has control over his brother, the camera angle reflects this control by having LaMotta at a higher angle then his brother. These angles do not change until the movie draws to its close. When LaMotta meets his brother in a parking lot after his wife leaves him, the camera angle changes to put the two men on an almost equal plane, but not quite equal. Now, LaMotta’s brother is placed slightly higher to symbolize the destruction of LaMotta and the entire loss of his old life.
Forrest Gump
Movie: 1994, color, 142
- Director: Robert Zem eckis
- Actors: Tom Hanks, Robin Wright, Gary Sinise
Forrest Gump tells the story of a man, Forrest Gump, who lives through some of the most important events of the 20th century and gives an unbiased view of these events by participating in them in an unknowing way.
What is the significance of keeping many of the camera angles at eyelevel throughout much of the film?
The purpose of Forrest Gump is to provide an unbiased presentation of many of the important events of the 20th century. There are many ways to provide this unbiased view of the world, but one of the most successful ways of presenting unbiased information is through the use camera angles, more specifically eyelevel camera angles. The eyelevel camera angle is used to show a sense of balance between characters, or the way a character views an event. Zemeckis uses copious amounts of eyelevel shots, especially during what might be considered controversial events. The eyelevel shots show how Forrest Gump is on the same level as those in the scene and he does not see himself as superior and inferior to the other characters. When Forrest Gump meets the president of the United States, they two men appear on the same level. In other films, the president may be shown from a higher angle to show his power and superiority over other characters, but to express Forrest’s unbiased view of the world and the people in it, Zemeckis uses a simple eyelevel shot. The eyelevel shot is also used when Forrest Gump encounters his previous captain, Captain Daniels, who has lost both of his legs and is now a helpless drunk. It is obvious that Forrest Gump is superior, both physically and morally then the Captain, but Zemeckis still uses the symbolic eyelevel shot. The consistent use of this unbiased shot subconsciously leads the audience to believe in the unbiased nature of Forrest Gump and his view of the world.
What is the significance of the simplicity of the shots in Forrest Gump?
Forrest Gump is portrayed as one of the simplest character in film. His simplicity is what allows him to see the world as the wonderful and perfect place that it is. Throughout the film, Zemeckis portrays Forrest Gump’s simplicity through the use if the very simple shots. The most memorable of these simple shorts are used during the bus stop scenes. During these scenes, Forrest conveys his knowledge of the world in his simple way to those that sit next to him. Some of the characters appear to be interested in what Forrest has to say, and others pay him no mind, but the shot never changes and neither does Forrest’s passion for his story. The consistency and simplicity of the shot corresponds with Forrest’s simple mind. Every time the film returns to the scene on the bench, it is a two shot, one of the most common and simple shots in filmmaking. This also symbolizes how Forrest, although he is very successful and appears to be one of the most uncommon people alive, views himself as just another person. The power and symbolism portrayed through the simple scene is one of the greatest examples of the power of simplicity in filmmaking.
Duck Soup
Movie: 1933, black and white, 68
- Director: Leo McCarey
- Actors: Groucho Marx, Harpo Marx, Chico Marx
Duck Soup is about a man who becomes the Dictator of Freedonia and then must deal with the terrible shape the country is in and win a war.
How do the long shots allow for the little tricks that are played on characters?
Duck Soup does not use any short shots; every take is a long, static shot. Although this type of shot often does not work, especially in newer films, the extended length of the shot works because of the style of the film. Duck Soup uses slapstick comedy and little tricks. The tricks performed by character on another occur during each take, and not during a cut. This unique editing and filming provide a reality to the film that would be lost with shorter takes. Also, the lengthy takes give time for the tricks to develop. If the takes were shorter, each prank would not have the same complexity, as much of the trick would be cut off from the scene. But throughout the film, the shots grow shorter, as the tensions between the two countries grow and the plot becomes more serious.
How does McCarey use angles to make Firefly appear unqualified for his job?
Whenever Firefly is shown in the film, he appears lower then everyone else. The shots that surround him always make him appear to be smaller, both physically and symbolically, then the other characters in the scene. There are low angles that make Firefly look lower then even the viewer. Throughout the film, the differences between Firefly and the other characters grow even more extreme and he sinks further and further down into the hole he has dug for his country. Also, the angles make him look smaller as the film progresses. The symbolic aspect of these shots helped make their use more popular in future films.
On the Waterfront
Movie: 1954, black and white, 108 min.
- Director: Elia Kazan
- Actors: Marlon Brando, Karl Malden, Lee J. Cobb
An x-boxer tries to change the world dominated by his oppressive longshoreman union leaders by standing up to the corruption in the system.
What is the significance of Joey’s jacket and why is it significant that Terry survive when he wears the jacket?
At the beginning of the film, we see Joey get thrown from the top of his building. When he falls to his death, he is wearing his jacket. Later in the film, Joey’s father brings the jacket to one of the other workingmen, and within a few days, this man has died as well. After the second man’s death, the jacket is brought to Terry who accepts the gift. Thankfully, Terry does not wear the jacket right away, if he did, I’m afraid that he may have died due to the jackets deathly effects. But when he goes to confront the corrupt officials, Terry decides to wear the jacket. At first, I was scared for his life, but as the scene progressed, I realized that Terry was actually going to live. The symbol of the jacket as death and destruction of the longshoremen had been destroyed by Terry’s defiance of power. When Terry stood up to the corrupt officials and destroyed their power, the symbol of the jacket was destroyed with it.
What is the significance of Edie’s hair color? Nearly every character in the film has black hair and wears black. The dark color symbolizes a dark color in their character, but also a deeper relationship between the characters. As they are all part of this gang, they all wear similar colors. The only character that goes against this norm is Edie, she has blond hair. White is a symbol for purity, and Edie’s hair is very close to the all-pure white. Edie is innocent in the sense that she is oblivious to the actions taking place around her and the death and destruction that are occurring. Also, she refuses to notice the evil side of Terry, although it is very obvious. The difference in appearance also brings Edie’s to the forefront of the film. She stands out from everyone else in the story because of her.
Movie: 1975, color, 133 min.
What is the purpose of the quick shots during the meetings with Nurse Ratched?
How does Forman use shots of the building and color to establish the oppression of those in the institution?
Movie: 1942, black and white, 102
Movie: 1977, color, 121
Movie: 2001, color, 178
One Flew Over the Cuckoo’s Nest
Movie: 1975, color, 133 min.
- Director: Milos Forman
- Actors: Jack Nicholson, Louise Fletcher, Danny DeVito
A rebellious man tries to help the people in a mental institute fight against the tyrannical head nurse.
What is the purpose of the quick shots during the meetings with Nurse Ratched?
The meetings with Nurse Ratched are some of the must stressful parts of the film. The stress is directly related to the stress that the patients feel and the troubles they are going through. No one talks for a very long time, and everyone is very fidgety. The camera mimics the patients’ movements. Never does the camera focus on one of the patients for more then a few seconds. The quick cuts from one of the distressed men to the other increases the tension of the scene. Also, the quick shots bring the audience closer, not further, from the characters. Sometimes quick shots can distance the audience from a specific character, but Forman does not allow this to happen. The reason that the quick shots bring the audience closer is that they reflect how the patients feel.
How does Forman use shots of the building and color to establish the oppression of those in the institution?
Throughout the film, Forman often cuts to shots of the windows and area surrounding the institution. Whenever a window is shown, the bars covering the window are very prominent. The barred windows are what keep the patients stuck in the oppressive atmosphere of the institution. They also contribute to the building tension of the film. During the party that McMurphy throws, the supervisor enters the building. Instead of simple showing her walk into the room, Forman first shows the nurse exit a previous ward with her keys, and then slowly open the huge, locked door that leads down the hallway to Nurse Ratched’s station. The swinging and creaking of the door and the sound of the lock, show the distance between the patients and the real world. They are totally cut off by barred windows and huge doors from reality.
Casablanca
Movie: 1942, black and white, 102
- Director: Michael Curtiz
- Actors: Humphrey Bogart, Ingrid Bergman, Paul Henried
Casablanca tells the story of a bar owner in the French colony of Morocco during World War II and the troubles he goes through to help his customers.
What is the significance of the color of each characters costume?
In Casablanca, there is a sharp contrast between those in the area that have rights, due to their relationship with Nazi Germany, and those that have none. The most powerful people in the town all seem to wear the same color: white. In the film, white was a symbol for power and black was a symbol for disrespect. In Rick’s bar, the differences between colors are very important. At one of the tables, one of the German high-ranking officials is sitting with some other men. He is dressed in white, but most of the other men at his table are dressed in black, showing the differences between their power and the respect they demand. Throughout the film, some of the characters change from wearing one color to wearing another. This change in color shows how in the city, people don’t have a constant rank, they sometimes switch between roles and have less power at one time then at another.
What role does alcohol play during Rick’s flashback?
In nearly every movie, alcohol is a symbol for escape from reality. This classic symbol holds true in Casablanca. In Casablanca, Rick wants to escape from the world he lives in and move to a separate reality where he can be with his love. Before the flashback starts, Rick is talking to one of his employees, asking if he would like to share a drink. The employee, Sam, kindly refuses but Rick decides to drink anyway. As Rick begins to drink, he starts to pass out of his current reality. Then, he accidentally hits his drink and it spills across the table. The spilling of the alcohol symbolizes the loss of hope Rick has for this reality and how he knows he must move on to another time. Alcohol also plays a role during the flashback. Alcohol is one of the factors that bring the two together. They both drink together and share times over alcohol. When Rick finally comes back to reality, he continues to drink. Although the film shows him as returning to reality, he is in fact still lost in the past due to his drunkenness.
Star Wars
Movie: 1977, color, 121
- Director: George Lucas
- Actors: Mark Hamill, Harrison Ford, Carrie Fisher
In Star Wars, a young man travels through the galaxy as he learns his true power and helps the rebel forces fight against the oppressive and evil empire
How did Star Wars revolutionize a genre?
Before Star Wars, one of the greatest and most revolutionary films of all time, was created, the genre of modern science fiction was very unknown. Although there were some older science fiction films, they had a very different structure then Star Wars. When Lucas set out to create his film, he wanted to follow the structure of science fiction TV shows, but keep the length of a film. The special thing about science fiction TV shows is that they would start up in the middle of the action, while providing only a small amount of background information for the viewer. Lucas wanted to give the viewer this background information in a way that would allow for the film to follow a cinematic structure, but start the film in the middle of the action. Lucas decided to provide the background information through text at the beginning of the film. This text gave the necessary background information and was very similar to the TV science fiction of the current era. Before Star Wars, science fiction was totally different, but the film brought the genre into the modern times.
What is the influence of Star Wars on special effects?
Star Wars was also revolutionary in special effects. The first amazing thing about Star Wars in a special effect aspect is the amount of special effects in the film. Nearly every frame of the movie has been altered in some way. Lucas did not exactly create the special effects that were used in his film, such as digital matte painting, blue screens, stop motion animation, and computer generated images, but the extent to which he used them was unprecedented. Thinking back on the film, I realize how every single scene probably had an artificial digital background. A large chunk of the film was shot in front of blue screens to provide an alien background. Lucas also revolutionized the sound effect aspect of special effects. He used copious amounts of sound effects to bring his in depth story to life. Without Lucas’ critically acclaimed films, it is hard to imagine where video and audio special effects would be.
The Lord of the Rings
Movie: 2001, color, 178
- Director: Peter Jackson
- Actors: Elijah Wood, Ian McKellen, Orlando Bloom
In The Lord of the Rings, Frodo journies to destroy an evil ring that brings power to the destructive wizard that oppresses the world of Middle Earth.
How well was the film adapted from the novel?
The Lord of the Rings novels are some of the most famous novels of the past century. They are very in-depth and J.R.R. Tolkin took the time to create an entire world for his story to take place in. A common mistake in the adaption of novels for film is that the essence of the novel is lost when it is compressed for the screen. But in the case of The Lord of the Rings, the essence remains. Peter Jackson does an excellent job of maintaining the exact mood that Tolkin expressed in the writing of his novel. Part of the reason Jackson is able to capture the novel in such a real way, is that the film is very long. Although each novel in the Lord of the Rings trilogy is about 400 pages, each film nearly keeps up with this length at about 300 minutes each. Of course, although Jackson does a superb job of adaption, some parts of the novel are left out of the film. The most important of these parts is at the end of The Return of the King. In the novel, the hobbits return to the Shire to find a home that has been destroyed by evil and change, but in the film, this entire segment is left out. Even with these large changes, Jackson still provides a very accurate adaption of the novel.
How does the changing narrative structure increase the tension of the film?
Another difference between the novel and the film is the way that the story switches characters. In the novel, each book is broken into sections, each section focusing on a different group of characters. The film takes a very different approach. Once the fellowship separates into separate groups with separate goals, the film switches in between them throughout. Also, at the very beginning of the film, a slight prologue is given to provide enough background information for the film to make sense, information that is given later on in the novel. Once the film starts to switch between groups, the tension beings to increase. The cuts from one group to another are expertly times to provide a tense anticipation. Once the story leaves one group for another, the audience is left waiting to find out if the characters will survive, or die in the fight. Without these cuts, the story would not flow as well either. The changes between groups help to keep the film in chronological sequence, unlike the novel. Because the film is in chronological sequence, it makes more sense to the viewer. Although the way Jackson filmed the movie does not exactly follow the novel, it fits a film better because the cuts increase the tension and maintain chronology.
