Great film, I had a lot of great opinions and commentary, but I'll just have to describe my favorite scene.
As "The Court of The Crimson King" by King Crimson plays, the camera is mounted on the windshield of a Bentley Arnage, the hood ornament is in focus. The windows are slightly tinted. Theo is being driven through the streets of London. He sees the poverty in the streets and frustrations Londers have with the current infertility. There is much pollution and the streets are very dirty.
As the car continues, the lyrics to the song commence as Theo passes the gate into a much more beautiful city, reminiscent of the London of today. The camera is now situated on the inside looking out to the world, as opposed to outside panning to keep pace with the car.
Theo exits the car and enters the Ark of the Arts, meeting his cousin Nigel who is standing in front of a statue of Michaelangelo.
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Hugo
I had heard millions of rave reviews for this film before actually watching it. I ended up enjoying it but was not particularly captivated like I thought I would be. Still, there were a few scenes that were particularly genius on Scorcese's part.
1) George flipping through Hugo's flipbook with a moving image of the automaton that he created before become a filmmaker was a commentary of early cinema. Cinema has become less "moving images", but instead a larger than life narrative with the help of technology. The images of the book, being drawn on paper have numerous constrictions, just like early film (camera's lack of portability, black and white, no sound). What made Méliès successful was his ability to tackle these challenges. He created elaborate sets around the camera, painted in scenes, and in early films, there was a live band or narrator with the audience.
2) The library scene where Hugo and Isabelle read of the history of film was also an interesting element. Very few fictional films formally educate their audiences. Where Midnight in Paris lefts those who had not read classic literature out of the loop, Scorcese uses this scene to put all viewers on equal playing field. This scene made the film more appropriate for children, who are less likely to know about the Lumière Brothers and early cinema. I appreciated the use of actual footage from The Train Arrives at the Station and other films. Scorcese used actual footage, but recreated the theaters and environment where the films were screened to keep a stylistic integrity with the rest of the film.
3) The screening of The Voyage to the Moon at the Méliès residence sewed real-world History into the fictional narrative. I felt that this gave a more authentic feel to the film. It was interesting to watch scenes recreated to include characters from Hugo. I liked the same technique in The Prestige, through the character Nikolai Tesla, but in this film more care was taken into blending history and art.
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A Single Man
I don't think I've ever seen a film like this one. I didn't particularly enjoy it, but I appreciate the efforts of Tom Ford. I just felt uncomfortable during the entire screening, but that was probably what he intended. I don't think I've ever seen any other gay movie, aside from Milk, but that more political and less sexual in nature than this film.
When I saw the Psycho billboard before and towards the second half of George's dialogue with Carlos, I was very intrigued. George parks his car directly in front of Marion Crane's gaze. A Single Man has a much different subject manner than the film, but both succeed in building a suspense throughout the narrative. Ford attempts to edit his film as smoothly as possible. There are specific moments where it is innovative, but generally he follows IMR. He also tries to recreate that montage of that infamous shower scene throughout. In this particular scene, the playback is slowed and violins crescendo to build the tension as Carlos takes a drag of his cigarette. The tune is reminiscent of the one that opens and recurs throughout Pyscho.
In this scene, we have a highly respected British Actor, Colin Firth conversing with a famous Spanish model, Jon Kortajarena as Carlos, in front of the infamous stare of Vera Miles in one of the shots that defined Hollywood film. Although films are shot in particular languages and catered to particular audiences, all film has a universality, and cinephiles overcome language barriers to enjoy it. Hollywood may over shadow other country's films, but there is appreciation to be found in films of all types.
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The Prestige
I really enjoyed watching this film. Although it was based on a novel, the subject matter still felt original. This film, like Melancholia thrives on capturing the human nature even with somewhat unrealistic special effects (i.e. the electrical currents).
While a fictional story, director Christopher Nolan did a fantastic job in sewing the narrative into the real world. Nikola Tesla, a real world inventor known for his work with electricity, was the anchor to the film's plot, albeit having a small on screen roll. He has the solution to the problem the film poses. Tesla's machine is more than a teleportation device. It has the power to turn illusion into science, which means no longer tricking the spectators and hiding the spectacle, but actually engaging them directly.
The consequences of this are difficult for the audience to understand, but to Borden and Angier, it is clear that this is everything. These are two competitors, ready to sacrifice anything for the good of their illusions. This passion is communicated through the great acting and subtle manipulation of details. Both leading characters have developed very clever schemes and in a desire to be more successful, but both end up losing.
I was a little confused with the nonlinear plot, having trouble following what the main characters did and did not know during each scene, and would greatly benefit from watching the film again to better pick up on cinephilic details and follow the plot.
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Melancholia
I have never seen a Lars von Trier film before this week's screening, but Melancholia left me pretty intrigued. A concept as bizarre as planets colliding brought out what I felt were very real emotions in the characters.
The opening sequence was truly mesmerizing. The slow motion really allowed for a cinephiliac approach. These shots foreshadowed the entire film, but they stood alone as a spectacle. I was in awe as I watched the planets collide, and the emotions of Justine, Claire, and Leo made hyperreal as the operatic soundtrack played. The colors were bright and very striking to the eye. Each shot had a long enough duration for their contents to really sink in with the viewer. Its placement at the beginning of the film predestines everyone's demise, but I still was very interested in the contents of the film.
The same music would return during crucial moments in the film, such as during the final scene when Leo, Justine, and Claire sit in the "magic cave". It evoked many of the sentiments that I felt during that opening sequence.
The film could have been a very interesting foray into science fiction, but it would have undervalued the psychological element. It was difficult to watch Justine's life completely fall apart, on her wedding night nonetheless, and then follow her lifelessness through the second half of the film. Claire's anxiety is equally discomforting, there is a child that she should be raising.
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The Hurt Locker
I wasn't a particularly great fan of the film even when it came out, but it had it's moments. In general, I have never been particularly fond of movies about the United States Military, aside from Full Metal Jacket. Still, many moments where Bigelow portrayed war/violence/death stood out.
1) Death of Matt Thompson
The slow motion techniques coupled with the numerous angles artificially immersed the viewer into the violence. Small details were made clear and the resulting visual was breathtaking. I thought "there is no way he could survive" after watching the tiny sand particles come alive onto the screen. I didn't really need any confirmation of his death, and it was understood even though Bigelow didn't really provide a clear one.
2) The Sniping of a British Mercenary and the Resulting Shootout
Here, the actual deaths were understated. I felt that the viewer was supposed to be more preoccupied with the action in a war-zone than the actual violence. After each died, the camera cut to a new shot, as if there were more important things in the scene deserving of the attention of the viewer. The now-dead mercenaries did not need any additional attention, because they were not particularly central to the plot like the United States soldiers were.
3) The death of the man who was locked to a bomb
Here, Bigelow extended the length of the scene to include more dialogue and evoke a more emotional response than the other two moments. Ariel views show that this is a spectacle for many of the locals also, even in an area as hostile as Iraq. Cuts between multiple characters give a little insight into the tensions between them all as time runs down. The explosion is less emphasized, compared to that of Matt Thompson's. Time is slowed less and less angles are utilized. This makes James survival more probable.
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Journey to Italy
I wasn't very interested in this film. The characters were unlikeable and the plot wasn't very captivating. I really didn't care what happened between these two superficial people.
Scene: Mrs. Joyce taking a tour of the first museum.
Shot (Denotation): The curator describes the four dancers of Italy and each one is profiled, comparing the last one to his daughter, and the camera finishes with Mrs. Joyce herself who says nothing as the two continue through the museum.
Connotation of Cultural Codes: The curator is subtly bragging about the beauty of his daughter, comparing her to a piece of romantic Italian art. Mrs. Joyce's lack of a reaction prompts a continuation of the tour.
Connotation of Specialized Codes: The camera, by panning to show a profile of each dancer and finally Mrs. Joyce includes her in the image of the art. She is a visual aspect overlayed over the curator's commentary, making her a part of the exhibit to the viewer.
Myth Production: Perhaps the issue is that Mr. Joyce does not fully comprehend the beauty of his wife like the camera does. He should appreciate her more, for she is a big part of his own history, and someone he should cherish.
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Psycho
I can see why this movie is so highly-regarded. It seems to have the sentiments of what I imagined classic film to have.
- One of cinema's strengths is that editing it can blend elements in the shot with additional ones outside. A recurring soundtrack hints the viewer to suspenseful moments in the narrative. It refocused my attention and made it easier to make note of important events.
- In many scenes, Hitchcock moves the camera in the same way our eyes naturally track movement. It pans as our eyes shift towards moving characters. It zooms when the viewer would have focused on a specific part of the shot anyways. Also, in dialogue, the shot focuses on the speaking character and changes very cleanly. Facial responses are captured before the characters next line or briefly worked in during the other characters lines. This is very unlike the dialogue in Masculin Féminin. I wonder if these elements should be attributed to the cinematographer or the director.
- Hitchcock, being the "auteur" really gives us the privilege to see certain shots. While Marion deals with the used car dealer, we are reminded that the police officer who followed her earlier is still watching, as between dialogue the camera reverts to him waiting outside the dealership.
- In the subsequent scene, Marion is in her car and snippets of conversations she had with characters earlier in the film are replayed. Hitchcock is inviting the viewer into her mind, so we can better psychoanalyze her place in the film. I felt that these clips gave a better understanding of her character than a monologue would. It shows that she is nervous and worried about being caught with the stolen money.
- The "shower" scene is probably one of the most celebrated scenes in American film history. Although it is not perfectly edited for continuity, and the violence isn't as realistic as those in films today, the sentiment captured is unmatched. It is the first "horror" scene in the film and it the depiction of the "psycho" startles the viewer. It is so striking that even today there is a desire to know Hitchcock's exact technique in capturing this pivotal moment. The numerous cuts really disoriented me, but I remained fixated on the screen. It was akin to watching a train wreck.
- Despite all the suspense that builds throughout the film, there is a great resolve to make clear what happened. No question is left unanswered relating to the crimes as the psychiatrist addresses every plot hole. Since this was a film, Hitchcock was able to overlay the skull onto Norman's face to visually depict his psychologically damaged persona.
- Despite all the suspense that builds throughout the film, there is a great resolve to make clear what happened. No question is left unanswered relating to the crimes as the psychiatrist addresses every plot hole. Since this was a film, Hitchcock was able to overlay the skull onto Norman's face to visually depict his psychologically damaged persona.
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Grapes of Wrath
Call me uncultured, but I haven't read the novel. Even worse, I didn't particularly enjoy this film. I recognize that it has merit to the film world, but it just wasn't really able to capture my intention. I didn't really care what happened to the Joad's. I felt a little sorry for them, but none of the characters were particularly likable. There were however, a few moments of "cinematic" quality that really embraced the art of moviemaking.
- The flashbacks in Muley's story reinforced the goal of narrative arts, to show rather than tell. It is important in both writing and film, but the latter can tackle the concept directly. At first I was frustrated by the lack of distinction between the past and present, but Ford's overlaying of the spinning tractor wheel over the wider shot of a tractor breaking the planes was genius. It pulled me into the scene more and put another dimension between me and the event, without one actually being there. I recognized that Muley was telling the story with this technique, but gained information in such a manner that it was a live scene.
- Throughout the film, Ford blended text and visuals through highway signs to better inform the viewer without breaking IMR. His intertitles blended whereas Godard's were jarring, but both are very unique to film as an art. The montage sequence allowed for music, Ford choosing songs that reminded me of classic Western Films. "Westerns" and just in general films about arduous journeys in general have anchored themselves into Hollywood. It's American culture to watch movies about these kinds of things, as opposed to reading about them.
- I'm not certain since I haven't read the novel, but I would imagine that the montage through much of the West replaced what would have led to much character development through the Joad family. Film can better "seek" through time to reach only the most relevant parts of the narrative.
- Film is great in that it can direct your attention to certain elements, but the screen still allows for a myriad of subtleties to present themselves in conjunction with the main message. I here crickets and birds chirping frequently throughout the film. The West provides a great backdrop for the film. I often caught myself admiring its beauty as opposed to paying attention to the events in the film.
I felt that much of the rest of the film was presented like a novel. It may have been considered "auteur" in its era, but I feel that many of these tools are available to the filmmakers of today.
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Midnight in Paris
I was pretty intrigued by this film as well. A very mainstream work by Woody Allen's standards, but still one of his best films. It was ironic that the protagonist, Gil Pender abhors Hollywood and modern literature, yet the film had many elements of the Institutional Mode of Representation.
-The film does seem to follow the conventions of Narrative Realism. Its plot is closely tied to classic literature, and its events could very appropriately be written into a novel. Allen still however maintained the literary allure of 1920's Paris and La Belle Époque with charismatic actors who were very dedicated to exaggerating the roles of the artists they were representing.
- The opening montage of Paris does however predispose the viewer to Gil's view of Paris. We see numerous shots of the city at different times and climates, many of the shots are ones Gil would describe to Inez in later scenes. There were shots in daytime, night time, and rain of numerous Parisian locations. This made me sympathize with Gil more when others in the film write him off as a psychopath. It was easy to understand why he felt so tied to the city, because while watching, I felt that even I wanted to move there.
- Allen does not resort to creating a science behind Gil's time travel, or using any special effects to portray it. It could have been done with modern technology but would detract from the fantasy element of the film.
- Film allows sound cues to emphasize certain parts of the plot. The first clocktower chime grabbed my attention during the film, and I was expecting for an important action to occur. Sure enough, Gil gets into the antique car and begins to rendezvous with the artists of Paris' Golden Age.
- The events in this film obviously were not "real", but they definitely spoke to the nature of human life. Many of these artists are given dry descriptions in textbooks, or appear in "stuffy" black and white photographs. The camera allowed for an intimate insight with their actual personality. Although these were staged, Kracauer would argue that these could be more valuable than an actual event directly recorded by the camera.
- It was really interesting to watch Gil argue with Paul, Inez's lover. They represent to polar opposites. Paul is an egotistical academic and "intellectual" who is obviously well read, while Gil collects his knowledge through actual experience. I enjoyed watching them argue over Picasso's painting. It proves that History itself is an art of interpretation. Even though Inez and Carrol discredit Gil in the scene, the audience is treated to watching Gil actually be right.
- Subjectivism plays a huge role in the film. For most of the film we are only treated to Gil's point of view and sympathize with his adoration for the Lost Generation, but it is not until we see La Belle Époque that we realize that everyone has their own "Paris", one that may not even be in France, but carries fantastic intimate qualities.
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Masculin Féminin
Overall it was an impressive film. Unlike Hollywood's utilitarian Institutional Mode of Representation, Jean-Luc Godard creates his own rules. Masculin Féminin rewards the viewer who is as attentive as possible.
- Intertitles are present throughout the film. It delineates scenes/settings in a jarring format, as opposed to an establishment shot. The concept of "15 precise facts" awkwardly divided the film, and reminds us that Godard is in control of the final product. The intertitle that calls this film "the son of Marx and Coca-Cola" is particularly interesting because where Hollywood would like films to be a seamless transition into fantasy, Godard wants the viewer to know that he is watching a film in which editing and camera angles have created obstruction and dysfunction.
- Long conversations occur throughout the film, but instead of changing the camera angle to face each speaking character, Godard lets the camera stare intently on one character as he/she listens to and responds to dialogue from the other. I was at first more consumed with the subtitles to notice, but I eventually appreciated this technique because it allowed me to stare more intently into the actor/actress and better comprehend his/her motives.
- Relevant to many (if not all) of Godard's films is political theory. I remember reading that Godard claimed to have never read Marx, but themes of controversial political rebellion and youth are portrayed much more openly than in Hollywood, in fact they are almost celebrated as Paul vandalizes numerous settings around him as he becomes frustrated with society and those around him.
- The most interesting scene to me was the one at the bar where after being dismissed by Madeline and subsequently rejecting an expensive prostitute, Paul runs into a man with a knife. One of Madeline's songs play, upbeat in rhythm and music while the man commits suicide and stabs himself. The numerous elements of the scene contradict each other while in IMR, or Hollywood in general, elements are supposed to complement each other to create the scene.
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