Citizen Kane (1941)

"I think it would be fun to run a newspaper."

“Movie spectaculars are films in which the magnitude and intricacy of the mise-en-scene share equal emphasis with or even outshine the story, the actors, and other traditional focal points for a movie” ,(Corrigan White 89). Citizen Kane (1941) is that movie. It has been the number one movie directors want to try and recreate. It is also a movie that you have to watch more than once. The first time you watch the film, you are confused to as what is going on. Director and star Orson Welles, tells the story of a man who has all that money can buy, except happiness.



The opening scene sets the whole tone for the rest of the film. At first we hear the non diegetic music sounding a lot like there’s a haunting grim reaper character lurking around the corner. The camera is focused on a ‘no trespassing’ sign and begins to move up to a low angle close up of a chain linked fence. “Recognizing the dominance of either the image as presence or the image as text within a single film or part of a film is the one way to begin to appreciate and understand it”, (Corrigan White 129). These low angle shots are used throughout the film whenever we see Welles’ character Charles Foster Kane. It makes him appear taller and important. There is very little light in this three minute opening scene. This darkness is continued throughout the film without the audience ever realizing it.


As the camera starts to become a deep focus, the audience starts to sense that this Kane character has amassed a fortune. We see a strong gate that looks like nothing ever leaves or enters the estate, exotic animals, a lake with gondola’s and a beautiful mysterious mansion hidden in the dark in the right corner. The deep focus on the camera keeps the audiences eyes glued to the center of the screen but still observing other images.


The camera shoots to a white light. As we witness the white light amongst the dark in the far right corner, Welles uses a lap dissolve here to move the camera and show the audience what is behind the white light. When the camera focuses more on the mysterious light and starts to fade from the other objects, the music becomes one with the lights flickering on and off. The use of sound and camera movement makes this scene one that defines this movie as a whole, mysterious and curiosity ensue.


The strange light dissolves into what looks like snow. When we first realize that the person is holding a snow globe, it’s too late. Welles use of mise-en-scene and camera movement in this opening sequence makes us want more. As the snow turns into a snow globe and it falls and smashes to the ground, an image of the nurse appears in the shattered glass. With an extreme close up of a man, the word, “Rosebud” is heard and this mysterious white light fades once again into the dark. The symbolism of the globe shattering is Kane’s innocence and childhood that was taken away to early. Something he couldn’t afford to buy. Like I said you need to watch this movie more than once to understand its greatness.

 

Citizen Kane. Director Orson Welles. Starring Orson Welles, Joseph Cotten, Ray Collins. Turner Home Ent. DVD.

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IMDB Citizen Kane

Corrigan & White (2009), The Film Experience: An Introduction.

3:10 to Yuma (2007)

"Butterfield: Twenty-two robberies. Over four hundred thousand dollars in losses. More in delays. The Southern Pacific will have Ben Wade convicted in a federal court. Hanged in public. An example made. And we will pay to make it happen."

"Ben Wade: Y'all notice he didn't mention any of the lives I've taken."

"The human fascination with creating illusions is an ancient one", (Corrigan White 98). Without an ensemble cast, a beautiful set, and costumes this period piece would not have been turned something that is believable today. After watching 3:10 to Yuma (2007), I learned that the lead actor is nothing without its supporting actors, the actors are nothing without the set and without the costumes this movie would not have worked.

In the movie, Russell Crowe plays a notorious robber out to take whatever he can get his hands on. Christian Bale plays his counterpart, a family man on the verge of losing his home due to his lack of funds. These two characters connect and stumble upon a journey neither one of them was expecting. The two men carry the film in a psychological twist with an ending you wouldn’t have thought could happen.

Casting Directors, Lisa Beach and Sarah Katzman, did an amazing job casting Bale as Dan Evans, a character completely opposite of his more famous role, Batman, in The Dark Knight (2008). Dan is a character you feel you have to cheer for, but there is something the way Bale plays him that makes you sense that this guy has something else he isn’t sharing. While he most of the time plays the leading admirable guy, Crowe is perfectly chosen as the rebel, Ben Wade, a man with a loyal following who will do anything to get their leader back. Crowe’s character is someone you are secretly cheering for because of the charisma Crowe displays on screen. Another great character is Charlie Prince. Played by Ben Foster, Prince is a devoted sidekick in Wade’s outlaw gang. He doesn’t know right from wrong. He only knows what Wade tells him to do, he never thinks for himself. His character never changes throughout the film. He is forever the sidekick and never a leader.

Yes, without the actors there would be no movie. But without the costumes and the set the movie would just not be worth watching. Unless you enjoy actors just reading from a table, then this movie is not for you. Shot in New Mexico, a set was recreated and “Principal photography took place in and around (cities) Santa Fe, Abiquiú, and Galisteo. “ (Wikipedia 3:10 to Yuma) The set design was so good that, “After filming concluded, the owners of the Cerro Pelon Ranch petitioned to keep a $2 million expansion to the movie set on their property, which was supposed to be dismantled within 90 days. The set of 3:10 to Yuma made up 75% of the overall sets on the ranch. In April 2007, the request was met by the county's development review committee to keep the expansion, which would potentially generate revenue in the future.” (Wikipedia 3:10 to Yuma)

                    Costume designer Arianne Phillips who just recently finished Knight and Day (2010) with Tom Cruise, who was actually signed on to play Ben Wade before Crowe, had to deal with the unexpected chilly weather while on location. Says co-star Peter Fonda, “Yes. First, costumes and weather were a concern and we have a fabulous costume designer by the way. Fabulous costume designer. Arianne [Phillips] is just fabulous so we were very lucky. Well, everybody in the shoot was fabulous, too, but I think this film was originally supposed to be shot in July and August, which would have been just fine with me. But we had serious weather problems, very, very cold days, below zero days. It had its hardships, which also gave us something to playwith as actors.” (Movies About)

Through performative development, bypassing character types, and creating scenic realism this remake of 3:10 to Yuma (2007) is one that can create a Wild Wild West feel without ever leaving your living room.

 

3:10 to Yuma. Director. James Mangold. Perf. Christian Bale, Russell Crowe, Ben Foster, Logan Lerman. 2007. Lionsgate. DVD. 2008

        Movie Poster

Ensamble Cast

Christian Bale

3:10 to Yuma

Movies-About_Peter Fonda

IMDB- 3:10 to Yuma

Corrigan & White (2009), The Film Experience: An Introduction. (Chapter 3)

The Best Years of Our Lives (1946)

"Fred Derry: How long since you been home?"

"Al Stephenson: Oh, a couple-a centuries. "

The movie about what happens to soldiers after their return home from the war is one that is still on the AFI top 100 films of all time. This movie, brilliantly cast, won all the major awards at the Academy Awards in 1947 including Best Actor for Fredric March. March’s performance as a banker turned Sergeant is just one of the reasons this movie will remind us in years to come that war is hell, and so is afterwards.



"The most fundamental value of mise-en-scene is that it defines our location in the material world: the physical settings and objects that surround us indicate our place in the world," (Corrigan White 85). Through the superb story structure and characterization, these potentially painful topics are handled with care. The three stories of the veterans, fold into each other. The men, who have never met before a fateful flight home, become lifelong friends.

Multiple close up and aerial shots are used in the beginning to give the audience a feel as to what the soldiers are experiencing. Al (March), is shown in his uniform, proud, and also eager to see his family. Homer, played by Harold Russell, is scared and nervous to go home. He has lost both his hands in the war and now uses prosthesis. Fred, played by Dana Andrews, was a newlywed a month before he signed up for the war. He has no idea what to expect when he returns. He only knows for sure is that he no longer wants to be a soda jerk. After returning home, then men continue to bond and stay current in each other’s lives.

The story of Al is one that connects all three. Al is at first uneasy being home. We see a close up him embrace his family, but almost as if he is looking right through them not recognizing them. He returns to his job as a banker and receives a promotion. A big project for someone to take on that just returned to civilization. Al can’t control his inner demons and begins to turn to alcohol for solace. He turns to the bar which Homer’s Uncle owns and meets up with Fred. A night of drinking ensues and the patchwork of the three characters turns into one story. It leaves the audience wanting more, feeling as though these veterans could be someone you might know.

At one point, all three of the men go through an identity crisis; separately yet together. They haven’t quite figured out if they should continue to be soldiers or become the regular Joe next door. The strong supporting actors including Al’s wife and daughter, played by Myrna Loy and Teresa Wright respectively, play an important role in defining the three veterans and bringing them back to reality. In one scene in particular, we see Fred looking in the mirror while he is holding a photograph of himself his wife kept on the dresser. We all look to the mirror for answers. The truth though is staring right at us. We see what we want to believe is real. Fred sees for the first time he has become someone he no longer wants to be. He wants to be the family man he was before the war. As for the other characters, Homer stops his self pity and becomes the man he wants to be, a great husband to his wife. Fred also becomes the man he wants to be. He divorces his wife and finds that true happiness might be a struggle but the rests, just like war, in the end are worth it.

The Best Years of our Lives. Director William Wyler. Starring Frederic March, Dana Andrews, Harold Russell, Myrna Loy, Teresa Wright. MGM. DVD. 2000.

Fred, Al, Homer

Al-Family

Al-Mirror

IMDB

The Best Years of our Lives

Corrigan & White (2009), The Film Experience: An Introduction.

The Seventh Seal (1957)

"Nothing escapes me. No one escapes me."

-Death

Who hasn't wanted to gamble with Death?

Set in the 12th century, The Seventh Seal (1957) follows a knight on his journey home after the Crusades. Swedish Writer and Director Ingmar Bergman turns his screenplay into the two questions every human will ask themselves- Is death inevitable? Is there a God? This hybrid genre movie will leave you with the answers you may or may not be looking for.

The black and white movie has a dark mysterious setting that enhances life’s puzzling questions. We at first hear commanding non digetic music and then the subtle sounds of the ocean waves crashing. A perfectly placed chess board is next to the sleeping knight, who is lying on the rocks. Death then shows up as says to the knight, played by Max von Sydow, and says, “I have been at your side a long time.” We learn that Death not only has a face but likes to play games. "We rarely experience the traditions of naturalistic and theatrical mise-en-scene in entirely isolated states",(Corrigan White 88). In this now iconic scene, the knight and Death begin to play a game of chess; in a battle to delay the knight’s death.

The mis-en-scene of this shot is worthy of being recreated, which it has been throughout the years in such films as, Monty Python and the Holy Grail (1975) and Bill & Ted's Bogus Journey (1991). Bergman uses the 180 degree rule here by setting up this scene. On the left we see death covered in a black robe but with a pale white face. Death has selected the black chess piece and says, “It becomes me well.” What got my attention about this shot is how Death is covered in black but the clouds in the sky in the background seem to be allowing the light to shine through. Maybe there is light at the end of the tunnel? Or maybe there is a God looking down on us? On the right side of this medium framed shot, we see the knight in a gloomy light, his features only visible by the shadows of the light from the left. The dimness above him seems to be telling of his inescapable fate, one that cannot be one by a game of chess, no matter how good you are.

Throughout Bergman’s seventeenth movie as a Director, the contrast between black and white is visible in every scene. We follow the knight’s point of view as he travels along his journey home to his wife. He meets a set of friendly actors who are shown in a lighter context as to foretell the audience of their outcome. These characters bring reason to the knight as when he is eating strawberries and says, “I shall remember this moment: the silence, the twilight, the bowl of strawberries, the bowl of milk. Your faces in the evening light. Mikael asleep, Jof with his lyre. I shall try to remember our talk. I shall carry this memory carefully in my hands as if it were a bowl brimful of fresh milk. It will be a sign to me, and a great sufficiency.” This is a defining moment in the film when the audience will learn the answer to the questions.






The Seventh Seal. Directed by Ingmar Bergman. Starring Gunnar Björnstrand, Max von Sydow, Bengt Ekerot. Criterion. 1957. DVD. 1999.

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IMDB-The Seventh Seal (1957)
The Seventh Seal (1957)

Corrigan & White (2009), The Film Experience: An Introduction.

The General (1926)

"If you lose this war don't blame me."

-Johnny Gray

Before there was color, there were black and white films. Before there was sound, there were silent films that created a motion picture without the use of noise. Director Buster Keaton’s The General (1926) has both these elements and yet still creates one of the most cinematic motion pictures today.

Keaton not only does his own stunt work, like moving a log while the train is still in motion, but also still has time to make sure his camera work is flawless. According to imdb.com, “In the train crash a dummy was used as engineer. It looks so realistic that the townspeople who had come to watch screamed in horror.” He doesn’t need fancy CGI or animation to bring this film to life. His character is the main point of view and his camera follows him through his journey. Filmed in parts of Tennessee and Oregon, the story unfolds with us viewing him on a stolen train in search of his beloved locomotive, The General, and also Annabelle, his damsel in distress, during the Civil War era. He uses multiple extreme long shots to show us the train in front of him with his darling Annabelle captured onboard. He sometimes uses an overhead shot to show us what he is doing so we see the whole picture, like when he is putting wood into the train so it doesn’t stop. Many times we see a medium shot and it brings us into Keaton’s world and his famous ‘great stone face’. His dead pan expressions are right on and sometimes you just can’t help but laugh out loud.

Throughout the film, the characters of Keaton’s Johnny and Annabelle are seen talking but are never heard. You can read their lips but it’s their actions that really do all the talking. There are a couple of scenes in which images as text appear to fill us in as to what is going on. Though it’s not really necessary, it gives the characters appeal. The opening text is quoted as saying, “There were two loves in his life: his engine and...” and then a close up of his beloved Annabelle is shown. Johnny’s closing line of, “Soldier!” after being asked his occupation, makes us happy and applaud Johnny’s new found title. Both of these added texts to the screen show us Keaton’s great awareness to little details. Keaton’s attention to detail in comedy makes you forget the film is silent. Though there is music added to the version I viewed it didn’t take away from the film; it enhanced the images being shown on screen.

When The General (1926) was released it was critically panned. It was one of the most expensive movies at the time as well. I wonder if it was because a comedy film like this had never been created before or the audience was expecting something else. Keaton is quoted as saying this was his favorite film he worked on. He had total and complete artistic control, very rare back then and unheard of today. Today the film is on AFI’s Top 100 Films of all time. I’m sure it will stay there for the next 100 years.

The General. Directed by Buster Keaton and Clyde Bruckman. Starring Buster Keaton, Marion Mack, Frank Barnes, Charles Henry Smith. Kino International. 1926. DVD. 2008.

Filmsite- The General
IMDB- Buster Keaton

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Corrigan & White (2009), The Film Experience: An Introduction.

A Streetcar Named Desire (1951)

"I know I fib a good deal. After all,
a woman's charm is 50% illusion. "

-Blanche DuBois

While watching A Streetcar Named Desire (1951), I not only noticed Marlon Brando’s method acting but the use of props in the film. The mis-en-scene would not be complete without either. Without props, I wonder what Dorothy would be like without her ruby red slippers or Darth Vader without his black helmet or Psycho (1960) without its infamous knife shower scene.

In many scenes throughout the film, we witness a disgruntled Stanley (Brando) eating with his mouth open or drinking alcohol with his poker buddies. These props make us feel as though we are watching someone’s possible real life in front of us, not someone acting out a scripted play. With Brando’s method acting he turns a simple dinner into a fight that could happen anywhere.

The character, Blanche DuBois, played by Oscar winner Vivien Leigh, always uses multiple props to give her character depth. I noticed that whenever Blanche is in a flirty mood she always asks a man for a cigarette. The cigarette is almost like her security blanket. It gives her something to hold on too, feel comforted by and allows her to be the seducer she really is. She constantly is flirting with Stanley who happens to be her sister’s husband when she has a cigarette in her hand. When she first asks for a cigarette, Stanley gives her one from behind his ear. This was adding his person touch to it and flirting back to her. When Blanche asks Mitch, a suitor she seems to be interested in, though he’s more interested than she, for a cigarette, he reaches for one in his shiny silver case. She sees his case and it opens up a conversation for both of them. This use of prop creates the focal point of Blanche and her character.

Another prop predominately used by Blanche, is her constant use of looking in the mirror. She is forever looking at the mirror to admire her reflection. To me, this use of prop was to show us that Blanche is flawed just like everyone else. She is insecure about her appearance because she is getting older and becoming less attractive to men her own age. When we see her look in the mirror, she is always fixing something about her look; she is not as perfect as she would like us to believe. Towards the end of the film when she and Stanley begin to argue, she looks in the mirror as if asking for advice on what she should do next. She is betting on the mirror being her conscience and guide. Stanley doesn’t see what she sees and becomes enraged and breaks the mirror. All hope she once had is now gone and broken into a million little pieces. She no longer is stable and her life forever changes. Her true self comes to light.

The entire mis-en-scene of this film creates this fake world that seems so real. The props used throughout the film create the illusion that this could really happen. Ask any smoker and they’ll tell you they feel naked and lost without a cigarette in their hand. We all look in the mirror to make sure we look presentable in public. But do we really see the reflection that’s there? Or is it what we want to see?

A Streetcar Named Desire. Director Elia Kazan. Starring Marlon Brando, Vivien Leigh, Kim Hunter, Karl Madden. 1951. Warner Home Video. DVD.
IMDB- A Streetcar Named Desire
Mirror Picture
Brando Picture
Vivien Leigh-Cigarette
Corrigan & White (2009), The Film Experience: An Introduction.

Documentary

"In feature films the director is God; in documentary films God is the director."

-Alfred Hitchcock

In the past month I have watched two very different documentaries. My selection of choices was very slim, because at the moment, gas for my car is far more important than a Netflix account. So I went to my local redbox and found two movies I was interested in seeing.

My first choice was The Cove (2009). I had never heard of this Rick O'Barry guy, but I knew about the show Flipper and I’ve always loved animals, so I decided to give it a try. After watching the award winning documentary, I found myself wanting to hop on the next flight to Japan to save all the dolphins from the evil killers. I felt I needed to do something instead of just turning the DVD off and returning it at redbox. I had to do something right? After looking up how much plane tickets cost, I decided to focus my efforts elsewhere.

For my second choice I watched The September Issue (2009). Directed by R.J Cutler, this subjective documentary is a behind the scenes look of making the famous September issue of Vogue magazine. I have always loved the art of fashion. Watching this movie brought fashion to a new life through the eyes of Vogue editor Anna Wintour. After watching this movie, I wanted to pack my belongings and move to New York City to become a fashion designer. Then I remembered that New York City is way too expensive and I don’t like the subway.

Yes, you could say that I am gullible when I watch these types of movies but “documentary movies are about insight and learning.” (Corrigan White 2009 p. 272) (Trust me, I’m not that easily influenced. I don't buy into anything Michael Moore does.) These movies are presumed to be nonfiction so you’re supposed to watch documentaries with an open mind and take what you will from them. Watching these two films, I felt I learned something; the inhumane dolphin killers must be stopped and that fashion is just more than clothes and supermodels. I knew a little more about fashion (I made my mom get me my first subscription to Vogue at 13!) but I was surprised I had never heard of the dolphin killings in Japan. Is it because Japan didn’t want the rest of the world to know their secret? Is it because they are feeding dolphins with high levels of mercury to people and they didn’t want to tell anyone? Or is it because they didn’t want Americans to cash in on their gold mine? Whatever their answer may be I was angry after watching The Cove. But I was glad this issue was brought to light and watching this film made me ask these questions to myself. That’s what a good documentary does.

I got an iTunes gift card not too long ago, and as you can tell, I like movies, so I’m excited to finally rent the documentary Food Inc. (2008). I heard from a lot of people that after watching this film “you won’t want to eat for a week”, but I’m going to watch it with an open mind and a bag of popcorn. Hopefully they don’t talk about popcorn because I don’t want to give that up like I did McDonalds after watching Super Size Me (2004)!

http://www.savejapandolphins.org/

 
 

The Cove. Director Louie Psihoyos. Starring Rick O'Barry, Louie Psihoyos. 2009. Lions Gate. DVD.

 

The September Issue. Director R.J. Cutler. Starring Anna Wintour. 2009. Lions Gate Home Entertainment. DVD. 2010.

 

Corrigan & White (2009), The Film Experience: An Introduction. (Chapter 8)

http://www.brainyquote.com/

 

The September Issue

TSI Picture

 

The Cove

TC Picture

Text Dolphin

Jeremy Renner of The Hurt Locker

"The rush of battle is often a potent and

lethal addiction, for war is a drug. "

-Chris Hedges

Back in February, I went to the Boston Society of Film Critics Awards. Jeremy Renner, star of The Hurt Locker (2008), was there to accept his best actor award and also have a Q&A with the audience after a viewing of the film. He seemed really happy to have been a part of the movie and was grateful for the director, Kathryn Bigelow, now a Best Director Oscar winner! Here are some photos I took as well as some videos of him answering questions.

 Photo Credit:

  Ashland11

For the full interview check out
 The Boston Phoenix- The Hurt Locker

Alice in Wonderland (1903)

"I'm late! I'm late! For a very important date! No time to say hello, goodbye! I'm late, I'm late, I'm late!"
-White Rabbit

Before going to see Tim Burton's Alice in Wonderland(2010) this weekend I decided to see who else had made Lewis Carroll's classic into a film. I knew of the Disney version but I wanted to see who else had attempted to create the magical story.
 I found this video on YouTube directed by Cecil Hepworth and Percy Stow, made in 1903! It's actually really well done- Check it out!

Maya Deren Avant-Garde

"I'm afraid that if you look at a thing

 long enough, it loses all of its meaning."

-Andy Warhol

I have always enjoyed art in its many shapes and forms. If I had enough money, I would own every piece of art Andy Warhol touched, or maybe the rights to The Beatles songs, sorry Paul. There’s something so epic about another human being who can create a work of art out of nowhere. Who would have known a simple Pop Art painting of Campbell’s Tomato Soup would be worth so much today?

For Maya Deren, all it took was a 16mm camera, her husband, and a thought, for her to create one of the first avant-garde experimental films, a masterpiece before its time. Coming from a creative background, she was also a dancer, poet, choreographer, writer and photographer; she was the first of her kind. Her films, Meshes of the Afternoon (1943) and At Land (1944), bring poetry to life. “Experimental media contemplates the way human senses and consciousness function.” (Corrigan and White 321) The close ups of the objects she uses, from the key, to the knife, to the chess piece makes us as the viewer focus on the symbolic associations she is trying to make. What do these symbols mean? What is it she’s trying to say? Does she really want us to know?


Art is how you interpret it. Art is meant to shock us, make us think; make us say “what just happened”? Deren does this to her audience with her films. Her metaphoric associations give us clues as to what she is trying to tell us, but nothing definite. In both films, she appears to be multiple characters. Her characters are always on a journey. A journey as the hero or the villain, we don’t quite know. A personal journey perhaps? She always personifies these characters; she is the only one who really knows what or whom she is trying to portray. “What is undeniable is that Meshes establishes key themes and cinematic innovations that Deren continued to explore throughout her career as an experimental filmmaker.” Senses of Cinema

In the movie, Meshes of the Afternoon, Deren uses her lyrical styles to grasp our interest. She focuses on the shadows of the subjects rather than just their physical being. She makes you curious as to what it’s all about. That’s what an innovative filmmaker does, makes us wonder what’s around the corner.


Avant-garde is described as an artistic, experimental, ahead of its time, form of art. Today such filmmakers like David Lynch and Terry Gilliam, who’s Fear and Loathing in Las Vegas (1998), takes us on a wild ride through the life of Hunter S. Thompson, keep the image of Deren and others like her alive. It takes a person with a great imagination and a story to tell to create this type of movie.


Deren created her silent films with just her 16mm camera she purchased with the money her father had given her. She had a dream and a desire. She uses different angles, slow motion and her creative background to make these surrealist films challenge the viewer to think outside the box. I wonder what the movie industry would be like today if Deren were still alive today.

 

Souces:

 

Brainy Quotes

IMDB

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Senses of Cinema

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Corrigan & White (2009), The Film Experience: An Introduction. (Chapter 9)

Der Untergang (2004)

"Words build bridges into unexplored regions"

-Adolf Hitler

To me, Adolf Hitler was a man with no soul. To a young German secretary in 1942, Traudl Junge, he was a father figure that could do no wrong. She never questioned what he did. It was only when she was older did she realize her ignorance. In the film, Der Untergang (2004), Hitler played by Bruno Ganz and Junge played by Alexandra Maria Lara, we learn of their relationship, as well as the downfall of Hitler, through many omniscient narrations.

Director Oliver Hirschbiegel opens the movie with the real Traudl Junge, now in her later years. In a documentary type-setting, a narrative duration, she tells us how she can’t forgive herself for being so childish, and for “not realizing the horrors, the monster, before it was too late”. When she is saying these
words, the camera is focused just on her face. You can see her trying to rationalize in her head that the decision she made to work with Hitler was the right one. Just before the camera fades to black, we catch a glimpse of the truth she now knows. She could have simply said ‘no’ but chose not to. If she had, hers would have been a different story to tell.


From Junge’s narration, played by Lara, we see her life through her rose colored glasses. Knowing what the outcome of this film would probably be, I had to watch this movie with an open mind. Ganz plays Hitler as no one has ever really seen him before. From the ticking hand behind his back, possibly because of Parkinson’s, to eating his meals with his loyal and close companions, to being called “Uncle Hitler” by the Goebbels children, sometimes I forgot he was the mastermind behind the whole war. Sometimes. “A character’s inferred emotional and intellectual make-up motivate specific actions that subsequently define that character.” (Corrigan and White 240)

In one of his scenes now recreated to mock pop culture of today, Hirschbiegel focuses the camera behind Ganz, who is sitting down, to show the power that Hitler had. His Generals are facing him, looking at him for their orders, there next attack. This man had more power than I think he understood. It wasn’t just Junge who was captivated by him, everyone seemed to be.


Throughout the movie, there are several narrative points of view. We learn of a young Nazi soldier named Peter, Eva Braun, Hitler’s wife, the Goebbels family, very loyal to the Fuhrer, Hitler’s secretaries, and Prof. Dr. Werner Haase. Filmed in the symbolic space of the Fuhrer’s dark bunker as well as each of these characters, plays an important role to making this film seem real. It almost makes you believe this isn’t historical fiction. Almost.

In the end, we see Traudl Junge again this time speaking of her life after the war. She says “I was satisfied that I personally wasn’t to blame and that I hadn’t known of those things.” With her head down as to not focus on her emotions, she talks about finally realizing what she had been a part of. “It was no excuse to be young.”

Sources:

Der Untergang 2004. Director Oliver Hirschbiegel. Starring Alexandra Maria Lara, Bruno Ganz, Matthias Habich,Juliane Köhler,Corinna Harfouch,Ulrich Matthes,Donevan Gunia. 2004. Sony Pictures. YouTube/DVD.

IMDB

Der Untergang YouTube

Bunker Picture

Tradul Junge

Corrigan & White (2009), The Film Experience: An Introduction. (Chapter 7)

Mulholland Drive 2001

"It is all an illusion..."

-Bondar

Red. The primary color. The color of passion. The color of blood. The color of the forbidden. The color of the Devil. In China, red is worn by brides to symbolize prosperity and good fortune. During the two World Wars, the Soviet Army was called the “Red Army” for all the bloodshed they caused. In David Lynch’s Mulholland Drive, the color red can be seen throughout the entire movie. Each time we see the color, it is used to make us be conscious of the hidden meanings behind the objects in red.

After the mysterious woman, played by Laura Elena Harring, gets out of the shower, she wraps herself with a red towel. She also wearing red lipstick and sees a picture of Rita Hayworth, the famous actress known for her feisty personality, as well as her red hair, and takes her name. This scene symbolizes that "Rita" has a dangerous secret. She is covering up in a dark red towel mysteriously hiding her true self. She takes her name from the starlet and in turn transforms into a new person, a fantasy of who she really is.

Red Towel "Rita"

When we first meet Betty, played by Naomi Watts, she is seen wearing a pink sweater. The color pink is a lighter version of red. It represents Betty’s innocence. She has this fairytale dream of her becoming a famous actress. She sees the world through rose colored glasses.

“I'm sorry. I'm just so excited to be here. I mean I just came here from Deep River, Ontario, and now I'm in this dream place. Well, you can imagine how I feel.”-Betty.

As the film progresses we learn that she is not what she seems. Her darker side is hidden by her pretty pink sweater.

                                                              Pink Sweater "Betty"

The Cowboy played by Monty Montgomery, is wearing a red handkerchief in this scene. This symbolizes power. He is in control and telling Adam, played by Justin Theroux, that he needs to do what he is being told by the studio making his film.

“When you see the girl in the picture that was shown to you earlier today, you will say, "this is the girl". The rest of the cast can stay, that's up to you. But that lead girl is "not" up to you. Now you will see me one more time, if you do good. You will see me, two more times, if you do bad. Good night.” - Cowboy.

          Adam is also covered in pink paint which indicates his obedient persona vs. the Cowboy’s dominance.

                                                                    The Cowboy

In these two scenes at “Club Silenco” Betty is now wearing a red shirt to show she is the dominate one. She is also infatuated with Rita at this point, and wants to control every movement they both make. The red make up and earring on the singer, Rebekah Del Rio, represents her passion not only in her voice but also for Rita and Betty’s relationship. She can be heard singing, "Crying" and that is what all three women do.

                                           Betty and Rita

                                                                        Club Singer

The red smoke behind the “Bum” implies danger, evil and death. This scene of the “Bum” can be interpreted differently depending on how you view the film. To me it symbolizes not only the anger and pain Betty is going through but also her failure to get Rita’s love. The “Bum” is seen at the very end opening Pandora’s Box and in turn killing Betty’s dreams. The red smoke signifies her passionate soul leaving her body.

                                                                            Bum

The color red stood out to me because it’s my favorite color. Red can mean love and death. This film shows us both.

Sources:

Mulholland Drive 2001. Director David Lynch. Starring Naomi Watts, Laura Harring, Justin Theroux, Ann Miller, Dan Hedaya. 2002. Universal Studios. DVD.

Mulholland-Drive

IMDB

Colors

Flags of Our Fathers 2006

A Picture is Worth a Thousand Words

We’ve all seen iconic images, whether in history books, watching the TV, or searching through the Internet. Can you picture these without looking them up? Young John F Kennedy Jr. saluting his father’s casket, Marilyn Monroe in her classic white dress blowing in the wind, Neil Armstrong landing on the moon with the flag, the sketch of the Unabomber in his hooded sweatshirt (AKA Ted Kaczynski), O.J. Simpson’s white Ford Bronco driving down the freeway (the black gloves too) or Farrah Fawcett in her red bathing suit. It’s these images that can change the world and our views on life.

Director Clint Eastwood has taken one of the most famous images of war and turned into a film that’s more than just a history lesson.

This movie is based on the book of the same name, by James Bradley with Ron Powers and tells the story of how the famous photograph of six American men raising the United States flag brought hope back to the people, but also changed the lives of the men forever.

The photograph, taken on February 23, 1945 by Joe Rosenthal, depicts the six American men raising the United States flag on Iwo Jima. These men were John “Doc” Bradley, (James’ father) Ira Hayes, Harlon Block, Rene Gagnon, Michael Strank, and Franklin Sousley. They had no idea this photo was taken at the time. Only three of these men survived to share their story with the families waiting back home for loved ones.

Hayes, Bradley, Gagnon

One of these men “Doc” as he’s known because he is a Navy corpsman, does not see himself the hero he’s made out to be. Played by Ryan Philipe, he is just a man studying to be a mortician but also trying to save his life and many others. One of these lives was his friend Ralph “Iggy” Ignatowski. While another soldier was calling for help, Bradley leaves Ignatowski to find the wounded soldier. He returns to find his friend missing. “Where is he?” he is heard saying throughout the film. This haunts him for the rest of his life. Bradley returned home to see that his world was forever changed, all because of this one image that was seen by millions of people. He never spoke of his ‘achievement’ to his kids. James Bradley only learned of his father’s past by going through his belongings after his passing.

Hayes (Adam Beach) and Gagnon (Jesse Bradford) also have a hard time adjusting to their new found fame. Hayes turned to alcohol and didn’t want to be called a ‘hero’:

“..All I did was try not to get shot. Some of the things I saw done, things I did, they weren't things to be proud of, you know?”

At first Gagnon basks in all the glory, but later finds fifteen minutes goes by pretty quickly.

Sometimes we forget that the soldiers are just ordinary men and women. They aren’t so ordinary though, because they have decided to risk their lives to save others. To us that makes them heroes. But they don’t see themselves that way. In this iconic image, we don’t see the hurt the soldiers were feeling. We don’t see their wounds, we don’t see their fears. What we do see is what we want to believe; that there is some kind of hope for mankind. That tomorrow will come and the war will be over.


Eastwood's film makes this iconic image come alive.  What would our world be like if there were no images?

Flags of Our Fathers. Director Clint Eastwood. Starring Ryan Philipe, Jesse Bradford, Adam Beach, Jamie Bell. 2006. Dreamworks Video. 2007. DVD.

Amazon.com

Flags of Our Fathers Fan Site

IMDB- Flags of Our Fathers

Iconic Images