Chinatown
Movie: 1974, color, 130
- Director: Roman Polanski
- Actors: Jack Nicholson, Faye Dunaway, John Houston
Chinatown is a film about a private detective who gets set up and then tries to find out who set him up. The central message of the film is that it never pays to be dishonest.
What film noir sound elements does Chinatown have?
Chinatown is often viewed as one of the greatest films of its time. One of the reasons it is so renowned is that it appeared to be a noir film, but it was shot in color. Film noir films, or black films, had always been shot in black and white, just as their name suggests. So Chinatown confused many people because it seemed to have the same music, feel, plot, and characters as a traditional film noir film. Chinatown proved that film noir could be shot in color. The music in Chinatown is nearly identical to the music that can be heard while watching to Maltese Falcon or Sunset Boulevard. It has an eerie feel and creates the tension necessary for any good crime or thriller film. Also, there is some narration by the main character, which follows common film noir structure. The soundtrack of Chinatown is very film noir.
What themes does Chinatown have that make it film noir?
Chinatown confronts themes of death, trickery, and betrayal. It also has a strong femme fatale character, Evelyn Mulwray. She does not lead to J.J. Gittes’ death or downfall, but she does lead him in the wrong direction and seduces him. Her actions fall, or almost fall, under the most cliché femme fatale character to be found. Also, the film has a lot of betrayal and strange twists, ranging from the fact that Evelyn slept with her father to the fact that the water is getting stolen from the people for the profit of Evelyn’s father. Film noir films often have very dense plots filled with trickery and strange twists. The film is one of the greatest neo-noir films every.
Goodfellas
Movie: 1990, color, 146
- Director: Martin Scorsese
- Actors: Robert Di Niro, Ray Liotta, Joe Pesci
How does Scorsese use the tracking shot?
In Goodfellas, there are three of the most famous tracking shots. The first use of the tracking shot is when Henry enters the bar during a party. The shot is used to introduce a group of characters. The tracking shot brings the audience in and connects us with Henry because we are viewing the introductions from his point of view. Also, the shot brings us closer to all of these characters. The second time the shot is used is when Henry enters the club from the back entrance with his new girl. The two of them take the back entrance to show Henry’s power and connections throughout the town. As the two of the travel through, the camera follows them and shows Henry paying off the guards and saying hello to some of the cooks as they walk through the kitchen. The purpose of this shot is to, once again bring the audience closer to Henry, to show Henry’s special treatment in the town, and to show the thrill that Henry’s girl is attracted to. The final time the tracking shot is used is when Henry is “coked out” in his big new house. A helicopter has just followed him and he is getting scared that he is being followed. This time, the tracking shot is used to show Henry’s disorientation and fear form being captured. Scorsese is another one of the greatest directors and his uses of the tracking shot are some of the best ever.
How does Scorsese use the movement of the camera to increase the reality of the world?
In many scenes from Goodefellas, Scorsese uses the camera as part of the scene, not just a way for the audience to look into the characters lives. Scorsese uses the camera, especially during dance scenes, to increase the interest of the audience. For example, when Henry dances wit his new wife, the camera moves along with their dance. This slight movement of the camera brings the audience into the scene. It creates a sense of intimacy between the dancers and the audience. Also, the movement of the camera makes the audience feels like they are dancing with the characters. Scorsese uses this technique in many of his films, such as taxi driver, and it always brings the audience into the film and makes the audience feel what the character is feeling.
Umberto D
Movie: 1952, black and white, 89
- Director: Vittorio De Sica
- Actors: Carlo Battisti, Maria-Pia Casilio, Lina Gennari
Umberto D tells the story of a man in post WWII Italy who must deal this a cruel landlady, debts, and his lovely dog. He must continue his life with only the small amounts of money from his pension.
How does Sica use shadows and the contrast between black and white in and right after the hospital scene?
When Umberto realizes that he will not be able to live in old room much longer, he admits himself into a hospital. In the hospital, everyone is wearing white, the color of innocence. Part of the reason that everyone is wearing white, is that the hospital is run by a group of nuns. But also, white is the color of innocence. The meaning of the color is important because some of the people in the hospital are old war veterans, with similar intentions of those of Umberto. Although these intentions may seem wrong, it is actually the older generation, the generation of a hard yet simpler time, trying to survive in the modern world. They are innocent to the changes that have come about and want only to find a way to survive. Also, white can be a symbol of vulnerability. Hospitals take in the sick and needy ad help them. The hospital helps the vulnerable, and hence everyone wears white. The only time other colors enter the hospital is when the visitors come. The visitors do not belong to the hospital and are not affected by the innocence and vulnerability of those within the buildings walls.
Right after the hospital scene, Sica has Umberto walk out from under a bridge. As Umberto walks towards the camera, he comes out of the shadows. Umberto has been faced with many challenges in his life, and after he leaves the hospital he hopes things will be different. The leaving of the shadows for the sunlight is Sica’s way of portraying Umberto’s feelings to the audience. Although Umberto’s life does not get much better after leaving the hospital, it actually gets worse, he still hopes that things will change.
What fascist elements are apparent in the music and staging of the film?
Much of the music in Umberto D has a militaristic feel. For much of the film, a constant song with a heavy, sharp beat, a good marching song, can be heard in the background. The militaristic music reaffirms the fascist feeling of all Italian Neo Realist films. Also, the staging in Umberto D has many fascist elements. The best example of the fascist staging is during the opening credits. During these few minutes, a large group of old men is shown marching down the center of a road. They are marching almost like an army would march into war. As a fascist state is almost the same as a militaristic state, the military like march of these old men creates an air of fascism for the audience. There are other scenes throughout the film that have a militaristic staging and all of these scenes create the fascist atmosphere necessary for an Italian Neo Realist Film.
American Graffiti
Movie: 1973, color, 110
- Director: George Lucas
- Actors: Richard Dreyfuss, Ron Howard, Paul La Mot
American Graffiti takes place during the night before two boys leave for college. It shows the final hours of them and their friends at home in the Valley. The central message of the film is don’t make decisions too early.
How does Lucas use sound to increase the reality of the world?
George Lucas is one of the master filmmakers and one of the best at creating a realistic world. He creates these amazing worlds by use of sound. In American Graffiti, there is almost constant background noise. Whenever the scene takes place in a car, there is music playing on the radio. This music changes when the shot leaves the car and goes to the street. Also, there are always horns going off, people talking, and other common background noises. Also, each of the main characters has a different “theme song”. The song represents each characters personality and can change slightly to fit their mood. Although Luca uses copious amounts of well-timed music, the music he uses is all well placed and has necessary meaning. Also, he knows when to use silence as a tool, although very rarely. Every sound has meaning in Luca’s American Graffiti as well. Each sound either advances the plot, foreshadows an event, or simply increasing the reality of the world and the time. Lucas’ use of sound makes him one of the greatest filmmakers of all time.
What do the costumes say about each character?
Luca’s also uses costumes with perfection. The costumes tell the audience about each character, they give the audience a first impression. For example, when we first see Steve, he is wearing “preppy” clothes that show he is a high achieving student and a good kid. He wants to go to college, which fits the first impression from his clothes. Curt is wearing similar clothes to Steve, but his shirt is un-tucked and is plaid instead of striped. John is “the cool kid” and his is wearing a plain white shirt, the far extreme of the spectrum. Terry is the nerdy kid, and his costume fits this stereotype. He is wearing a strange shirt/jacket and his big round glasses. Curt’s character is undecided about going to college until the very end of the film, he cannot decide whether or not he wants to stay in town with John or go to college with Steve. His clothes represent this feeling.
The Sixth Sense
Movie: 1999, color, 107
- Director: M. Night Shyamalan
- Actors: Bruce Willis, Haley Joel Osment, Toni Collette
The Sixth Sense is about a boy who sees dead people and a doctor who helps him with his visions. One of the major themes of the film is the necessity of communication.
How does Shyamalan use quick cuts, camera angles, and zoom, to increase tension and fear?
In The Sixth Sense, Shymalan uses lots of quick cuts. These little changes increase the tension in the film dramatically. There is one scene where four or five one-second shots of Cole’s empty house are shown. This is right before he goes to the bathroom. The quick shots and cuts tell the audience that something is going to happen and gets them on the edge of their seats. Also, Shymalan combines the use of camera angles, zoom, and pan, to show different people from different angles and events from different viewpoints. When the father of the child gets the VHS from Cole, the shot starts from the back of the father’s head and pans around to his face. The camera then zooms in on the box containing the tape as the father opens it. Once again, the audience knows that something important is about to occur. The tension builds, partially thanks to the music, but mostly because of the changing camera angles. Shyamalan also uses lots of high angles to show power and fear. The ghosts that Cole sees usually seem higher up than Cole. When we, the audience, see the ghosts from Cole’s point of view, it is always a low angle. When Cole finally conquers the spirits, when he helps the little girl, at first she looks down on him, but after he returns to her, he is looking down on her from a high angle. Throughout the film, Shyamalan uses the camera to inspire fear and provide the necessary tension for the film.
How does the music represent what Cole is feeling?
Throughout most of the film, the music is dark and scary. It helps create a dark mood, one that represents Cole’s loneliness and fear. As the film continues, the music seems to lighten up. Finally, by the end of the film the music, at least for Cole, has changed to music that brings a better mood. For example, in the car at the end of the film when Cole tells his mother that he can see ghosts, the music has done a complete transformation, just as Cole has. The music changes at the same time that Cole changes so that by the end of the film, both the music and Cole have changed into new identities.
Pulp Fiction
Movie: 1994, color, 154
- Director: Quentin Tarantino
- Actors: John Travolta, Uma Thurman, Samuel L. Jackson, Bruce Willes
Pulp Fiction tells the story of two hitmen, a boxer, and a mob boss and his wife. In the film,
troubles effect all of the characters and they must overcome these strange adventures.
Why does Tarantino choose to put the dictionary definition of the world “Pulp” at the beginning of the film?
At the very beginning of Pulp Fiction, Tarantino puts the definition of “Pulp”. It essentially says that “Pulp” is a meaningless blob. At first, this definition appears to be meaningless, but as the film progresses, in its very irregular style, the small word begins to have a huge significance. One of the strangest things about Pulp Fiction is its structure, or lack there of. Throughout the film we are thrust back and forth through time without really knowing where we are. Usually, this type of action by the director would be disastrous and frowned upon by the audience. The only reason it is okay in this instance is because of that small word “Pulp” at the beginning of the film. It tells the audience that the film they are about to watch has no structure. It is just mush. Because Tarantino recognizes and informs the audience of the ordeal of which they are about to face, the film functions perfectly with lack of structure.
Why is there so much light in a film with such dark themes?
In Pulp Fiction, there is always a lot of light. The rooms, for the most part, have plenty of light, especially compared to other gangster and mob films. Even when Vincent and Jules are about to kill people, the lights remain on, the sun streams in, the furniture is bright, and most of the people, including the victims, are wearing clothes with warm colors. The purpose of this is to keep the audience in a good mood. The film is not meant to terrify the audience or even show the atrocities of organized crime. It is more just a story, and by keeping the light colors throughout, Tarantino keeps the mood high by keeping the lighting warm and bright.
Fargo
Movie: 1996, color, 98
- Director: Joel Cohen, Ethan Cohen
- Actors: William H. Macy, Frances McDormand, Steve Buscemi
Fargo is about a man who has his wife kidnapped because he needs money from his father in law. Things go terribly wrong and lots of people, including the wife and father in law, die. The theme of the movie is that nothing good comes from a life of crime.
How do the dull costumes and landscape reflect the characters personalities?
The film Fargo is set in Minnesota and the landscape is all grey and white due to the snow. Also, the characters are all dressed in bland colors such as black, dark blue, grey, and a little white. The characters in Fargo are all almost as bland as the characters in the film. None of the characters seem to show any emotion or react in any way to the death and misfortune befalling those around them. Take Norm, Marge’s husband, for example. His clothes are always plain and dark in color, and he hardly speaks. When he does open his mouth, his voice is monotonous and the way he frames his thought is very simple. He does not use big words or show any excitement.
Do the directors’ backgrounds affect their attention to detail?
The world that Fargo is set in is very realistic. Everything seems real and very possible, maybe not the events, but the people and places. A large part of this realistic atmosphere comes from the fact that the Coen brothers know exactly what it is like to live in Minnesota because they grew up just outside of Minneapolis. The two directors’ background, growing up in Minnesota, gave them the insight necessary to create one of the most realistic worlds I have ever seen in a film. The little details, such as the way people act, dress, and interact with other characters, come from the Coens’ own experiences and youth, their observations of the people of Minnesota carrying on with their everyday lives around the two brothers.
Crash
Movie: 2004, color, 112
- Director: Paul Haggis
- Actors: Don Cheadle, Sandra Bullock, Thandie Newton
Crash is about racism in Los Angeles. It tells of a group of people whose lives become intertwined over the period of two days. The central message from this film is that everyone is racist, but they also have the potential to do well.
How does Haggis transition between stories
Crash has a numerous amount of different story lines. For this to work, there must be a way to transition between the different story lines seamlessly. This is especially important because the stories will become connected. Haggis shows these transitions almost without the audience realizing. He will, for example, show a closeup of a car driving and when the car leaves the screen, a new scene with new characters has started. He uses the same technique with people walking and doors opening and closing. This form of transition helps the audience realize that the characters and storylines will soon become one.
Does the detail increase the reality of the film?
The film also has a very intense amount of detail. There are little things that do not seem necessary to the film. Sometimes this little detail, such as the little character that is put on the dashboard, comes back into the story and has a huge impact. But usually, the little details do not seem to have much importance. Although they are not important to the story they are important to the setting. The small details help advance the world that Haggis has created and advance it. The little things also make the film seem more possible and real. Little details also make the characters appear like those that we see in every day life. Once the story lines come together, the little details have an even greater importance. They help us see the differences between the characters and why they are attracted to each other. Without the detail and attention given to Crash the film would not have been nearly as realistic and outstanding.
The GodfatherMovie: 1972, color, 175 min.
- Director: Francis Ford Coppola
- Actors: Marlon Brando, Al Pacino, James Caan
The Godfather is about a New York Mafia family and their interactions with the other Mafia families in the area. Most of the film takes places after a mysterious man trying to start the heroin trade in New York appears and a war between the families erupts.
How does the lighting reflect the mood?
The lighting thought The Godfather is very dark and somewhat ominous. The lighting seems very real because Gordon Willis (the cinematographer) uses minimal lighting. The lighting also gives the film a vintage feel. The film is set in the late 1940’s and follows a family set in tradition. The vintage lighting reflects these feelings and gives the family, and the film itself, a very old feeling. Just as the lighting is dark and mysterious, the characters are dark and mysterious. The shadow in the movie also helps the audience learn more about the characters. For example, there are many scenes where Michael Corleone’s face is half in shadow and half in light. This is because he must decide between the life of a civilian and the life of a gang member, the life of his family. Also, the lighting changes when Michael goes to Italy. He leads a different life, one without the secrecy and darkness of his life in New York. The entire world seems brighter, as do the characters. Throughout the film, the lighting portrays the feelings of the characters and the mood of the setting perfectly.
How does Coppola keep the Corleone family separate from the outside world?
In The Godfather the Corleone family remains separated from the rest of the world through physical barriers. Much of the film takes place within the falls of the Corleone household. This gives the audience the feeling that the family does not have much interaction with the world beyond. They are focused on their affairs and their affairs only. The few times the audience sees a member of the Corleone family outside and without the protection of the walls they are killed. This happens twice, to Don Corleone and to Sonny. Both of them have interactions with strangers and both end up dead. The setting helps to reflect the secrecy surrounding the family. Little is known of them and most of what is known is based upon myth, such as the story about “the offer that cannot be refused.” The physical separation also helps show boundaries. Within these boundaries the Corleone family has extreme rule, but outside they are open to attack from the other families. Coppola keeps the family separate by keeping them within the walls of their house and in other buildings.
City Lights
Movie: 1931, black and white, 87 min.
- Director: Charlie Chaplin
- Actors: Charlie Chaplin, Virginia Cherrill
City Lights is about a tramp that falls in love with a beautiful blind girl. He promises to restore her sight even though he knows he will not be able to see her anymore because he is so poor but he pretends to be rich. But one day he runs into the woman after her sight has returned and she recognizes his voice and they fall in love. The message from this film is that love is blind.
How does Chaplin use close ups to express what the audience should feel?
Chaplin uses close ups very carefully in City Lights. One of the most memorable moments in the film is when the camera takes a close up of a basket of flowers and then a close up of the girls face. The purpose of these two shots is to explain to the audience that the girl is as beautiful as the flowers. The two shots are from the tramps point of view, which shows to the audience that he instantly falls in love with the girl. Also, Another use the close up is to show how a character feels to a specific comment or gesture. For example, when the rich man does not recognize the tramp, a close up of the tramps face is shown so his facial features can be seen. Without the closeup, certain facial features would be lost. Another good example is when the tramp sees the girl for the first time after she regains her sight. After she recognizes him by his voice, a closeup of the tramps face is shown. In the closeup tears can be seen welling up in the tramps eyes. If the closeup was not used, the tears would not be seen and the entire effect of the scene would be lost. Chaplin does not use closeups a lot, but when he does use them, they have very powerful effects on the audience.
How does Chaplin use spacing and angles to express characters’ feelings for each other?
Chaplin uses the space between characters to show if they know or don’t know each other. The most obvious example is between the Tramp and the rich friend. When the friend is drunk and they are friends, the two men are always close together, but when the man is sober and he does not recognize the tramp, he pushes him away and avoids him. Also, during these times, the angle changes. When two people are close friends, the angle is usually at eye level because they are equals. But if the two characters are not friends or do not recognize each other, the angle will be different (high or low angle) to show that one of the characters is more important, or views his/her self as more important, than the other character. The same is true for the girl and the tramp. When the tramp first sees the girl, he is looking down upon her and they are standing far apart. As their relationship grows, the angle gets lower, closer to eye level, and the two begin to stand physically closer to each other. The new spacing is used to show that the girl and the tramp are growing closer together emotionally. After the girl regains her eyesight and she sees the tramp for the first time, the two of them are standing far apart because she does not recognize him. But after she recognizes him, they move closer together, once again in both a physical and emotional manner.
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