“The Fault In Our Stars”, a film that gave me everything I could have ever…

Expected. You have obviously heard of this film, based on the young adult novel written by John Green, unless you’ve been living in Siberia, or not typically around hormone raging teenage girls. If you fit into either of these categories, the overall plot is about teenagers Hazel Lancaster and Augustus Waters. Set in Indiana, the audience witnesses the budding love story between the star-crossed lovers, who just happen to have a “touch of cancer”.

I’m hopeful I didn’t give too much away; however, watch the trailer and you’ve got the story basically down.

Now, for you John Green enthusiasts out there ready to verbally ambush me with clever counterarguments for calling The Fault in Our Stars an expected teenage feel good, I too have read the book before the watching the movie. And in both the book and movie’s case, I am not saying they were necessarily bad. I’m saying, for the sixteen- year-old girl in all of us this film was something we needed to bring out our emotions. Or how most of the film’s target audience would express, “all the feels”. Not that this is a bad thing either; I too was hypnotized by Augustus Water’s relaxing charm and forwardness. So to end this lengthy disclaimer: I wasn’t impressed but have respect for the film despite failing to understand the hype due to cinematic elements as well as overall story.

         One cinematography choice that continued to distract me at parts was Hazel and Augustus’ texting communication appearing on screen. In either curly cursive or chicken starch, the flirtatious conversation bubbled on screen to the ringing of a cell phone. While I understood the importance of their ways of communicating, I felt this use of text was a visual aspect that added a “junior high-ish” feel to the overall film. Visually, text aside, the film looked like you walked into the pages of the book.

Along with all the press strictly belonging to the large fandom tweeting about the film’s release and high expectations, I came into to the film expecting to cry. There weren’t parts of the film that I didn’t see coming in regards to plot that caused me to cry. Instead, the simple fact we, as an audience, cry is because we are watching a movie centered on teenage love caught in the problem of time and disease. The lengthy soliloquys Waters proclaims and the bittersweet truths Lancaster indulges the audience with pull at the heartstrings exactly how something of similar content would be pinned to a girl’s Pinterest board titled “Quotes” and laced with smiley faces and hearts.

 On the acting front, none of the actors seemed irritatingly wrong for their parts. I’m not the biggest Shailene Woodley fan in general, but her interpretation of Hazel neither annoyed nor impressed me deeply. Nat Wolff, who plays Isaac continues to interest me. I would not be surprised to see him continue into more mainstream film after this. If you too were intrigued by Wolff’s performance, check out the movie Stuck in Love, available on Netflix. Of course, we cannot forget Ansel Elgort. The suave young Marlon Brando type who, until now was not exactly on Hollywood’s radar as an up-and-comer. Obviously, this is changing. I do not want to wrongly blow this out of proportion, but his performance was heartwarmingly identical to the book version Augustus Waters.

If you’re looking for a film that may not stretch your critical thinking but gives you ooey gooey feelings, this movie is one that will help you achieve that. A word of warning to those that haven’t been following the book to movie transformation: the film is cute and leaves you feeling hopeful for love, not matter how long; however, definitely not worth the earth-moving hype it has so far received.

So, I know there are those that disagree with me so share your thoughts!  Or if you had the same reaction feel free to comment below as well!

April 22nd brings Lipscomb students a plethora of Earth Day shenanigans

Happy Earth Day Classic Rewind readers! Here’s a video of the day I spent exploring the nature in and around Nashville, Tenn!

http://animoto.com/play/DN17YcdIITsD47iS4aEo3g

 

“And here we go”… Classic Rewind unveils personal picks of greatest films

My last post was dedicated to AFI’s list of the top ten cinematic classics so this week I’ve decided to present my picks for the best five films I’ve ever seen.  Enjoy!

5. The Dark Knight

Heath Ledger. Is there a better way to start off a greatest films list? Christopher Nolan’s 2008 Batman flick, The Dark Knight is awarded the number five slot in my favorite movies. Nolan didn’t just create a typical summer superhero blockbuster; he invited audiences into a world where unusual-looking criminals bargaining with organized crime seems normal and terrifying. As for that unusual-looking criminal, Ledger spooks audiences as the twisted “magician” of sorts, the Joker. Ledger posthumously won the Oscar for Best Supporting Actor for the role. While his most known role, rivaling Ennis Del Mar in Brokeback Mountain, Ledger’s talent flourished long before The Dark Knight. I encourage readers to check out his earlier films such as Candy, Casanova, Four Feathers and I’m Not There to name just a few! Ledger’s talent could morph into any character type, which made him perfect for the cynical Joker.

4. A Streetcar Named Desire

Take a ride on the “rattle-trap streetcar that bangs through the Quarter” and you’ll end up at the #4 ranking film, A Streetcar Named Desire. The film based on Tennessee William’s play stars none other than Marlon Brando as the vulgar brute, Stanley Kowalski and Vivien Leigh as the flighty and disturbed Blanche DuBois. As a reader of the play first, I may be slightly bias on how much I love this film; but then again, Marlon Brando. Through a writer’s lens however, the script, as well as the original play, masters creating strong characters just through the written word. Each character is uniquely their own through the strategic word choice. For example, Blanche puts on an air of sophistication and charm when speaking while Stanley’s violent temper directly impacts his dialogue.

 

3. The Departed

By this point there should be no surprise a Martin Scorsese film is on this list. The Departed, a winner of four Academy Awards, is an outstanding example of a film that captures the human condition. Set in South Boston, this film gives an audience action and suspense while following a who’s who trail of rats and moles in organized crime and the police force. The dimensions of the film editing, especially the temporal relations, convince the audience to believe exactly was Scorsese is intending. Scorsese does an incredible job at framing the image to show the audience the true meaning of every shot. The Departed interprets strong ideas and emotions visually by using every camera angle, close-up, medium shot, and long shot purposely. A fun hidden visualization used in the film to look for is when a character dies, somewhere in the scene the audience can scope for some type of X in the shot. Other than the cinematography and film editing, the film has arguably the best cast, consisting of Jack Nicolson as Irish mob leader, Leonardo DiCaprio, Matt Damon and Mark Wahlberg. If you’re looking for an intellectual film combined with the grittiness and corruptness of organized crime in Boston, this 2006 Best Picture is for you.

 

2. When Harry Met Sally

If you haven’t watched this movie yet then I don’t understand why you are still reading my blog. I’m out of “cutesy” ways to say this: this movie is the excellent blend of wit and reality. Nora Ephron and Rob Reiner created a beautifully light-hearted but honest representation of friendship between the sexes. Read a more detailed analysis of the movie on Classic Rewind and if that still doesn’t sway you, maybe the smooth jazz of Harry Connick Jr.’s music in the film will.

 

 

1. Life is Beautiful (La Vita e Bella)

“Buon giorno, Principessa!” Topping the list is Roberto Benigni’s 1997 film Life Is Beautiful. If there were a list of how many emotions you can feel all in one movie, this film would again win. Life Is Beautiful depicts the story of a young man who uses his charming humor to not only win over his wife, but also keep his son’s innocence during their time in a Nazi death camp. What makes me absolutely love this film is the way the comedy is used to not only cause laughter, but to make the audience truly feel for Benigni’s character and his family. Comedic bits from the beginning of the film follow the characters through till the end. While I guarantee you’ll probably cry, everyone needs to see this Italian film that shows that even when things seem to be awful, life is always beautiful. This film is now available on Netflix.

Do you agree with my film choices? What are some of your all-time favorite movies? Comment below and take the poll!

 

Top ten movies stand the test of time and reign supreme

 THE WIZARD OF OZ

 Concluding our list is L. Frank Baum’s colorfully terrific The Wizard of Oz. The story of young Dorothy Gale and her chipper companion Toto surprised audiences with the unique use of black and white twisting out of control into beautiful Technicolor. The film is commonly viewed with the traditional themes of home, love and friendship; however, The Wizard of Oz is also an allegory for The Great Depression era. Symbols such as the yellow brick road, bricks of gold, are snuck cleverly into the film. Whatever the message, we can’t deny the impact this film still has on audiences today. How many of us bought a pair of ruby slippers and clicked our heels together three times after seeing this movie as kids? Audiences are instantly consumed into the spectacle with its charming dance sequences and catchy musical tunes. There is no denying you will wish you were somewhere over the rainbow.

VERTIGO

Face your fears with James Stewart and Kim Novak, as Alfred Hitchcock’s mysterious thriller Vertigo sweeps into the No. 9 slot. Vertigo will make your head spin as you follow the recovery of retired detective John Ferguson, who suffers from acrophobia, or the fear of heights. Tracing the wife of an old friend, Ferguson soon gets involved too close with his client, and the result is dizzying chaos. One of Hitchcock’s first films to use colorful graphics, don’t miss this movie if you’re looking for a good mystery that can also give you a slight spook.

SCHINDLER’S LIST

 Powerful, tense and heart-wrenching don’t even come close to describing Steven Spielberg’s successful Schindler’s List. Based on the true story of Oskar Schindler, this seven Academy Award-winning film highlights the brutality of the Holocaust as well as focuses on a man that eventually turned into a symbol of hope for those suffering. Not only is the storyline terrific, the cinematography only complements that script. Even the simple use of color at specific points is incredibly compelling to watch as an audience member. Through strong mise-en-scence, the viewer gets insight into a character, especially Oskar, even before he begins to speak. This historical drama, no matter how disturbing, is not one to miss.

LAWRENCE OF ARABIA

This 1962 picture starring Peter O’Toole tells the tale of the unconventional hero T.E. Lawrence, British army officer during the first World War situated in Arabia. To be upfront with my readers, this film was extremely tough to get through. Standing at nearly four hours long, Lawrence of Arabia is a historical biopic that challenges the means of movie-making. High impact action and romance side stories are absent as the movie uses the desert as its stage. The film doesn’t use spectacle but simply tells the story in its entirety.

GONE WITH THE WIND

Join the ever-sassy Scarlett O’Hara and her tumultuous relationship with the mysterious Rhett Butler as the South learns how to survive during the Civil War. This film definitely stands out for its time by having a strong female lead, resulting in the passing of the Bechdel Test. While Gone With the Wind is known as an essential romance movie, the movie has so many more aspects that O’Hara leads, such as the survival of the Tara plantation.

SINGIN’ IN THE RAIN

 Grab an umbrella and prepare to be splashed with fun as Singin’ in the Rain dances its way to the fifth-place slot. Residing as AFI’s best movie musical, Classic Rewind has reviewed the film that pioneered the way for the Arthur Freed Unit at MGM Studios. We can all thank the irresistible comedic charm of Donald O’Connor and the classic suave charisma of Gene Kelly for the monumental amounts of movie musicals such as The Wizard of Oz and Easter Parade that followed.

RAGING BULL

 Another repeat on Classic Rewind, Martin Scorsese’s Raging Bull takes the fourth place slot. Surprisingly, for being such a fan of Scorsese’s work, this was not my favorite film. That being said, certain aspects of this film are made with the highest quality; Thelma Schoonmaker took home the Oscar for Film Editing for the film. Another aspect is the unique perspective of a protagonist the audience doesn’t want to root for in a sports film. Robert De Niro also received the Best Actor Academy Award for this movie. While De Niro’s performance as boxer Jake La Motta is frustrating all for the right reasons, this gritty film is tough to get through if you’re looking for characters you actually go away liking. If you try hard enough, you might be able to view La Motta’s actions as extreme determination to do well in his sport, but I don’t think that makes any of his actions justified.

CASABLANCA

 Suspense, gambling wagers, secrets and romance: what a beautiful friendship these elements make! The 1942 classic Casablanca truly can capture any movie viewer. Following cynical loner Rick unexpectedly running into his past love, Ilsa, who turns out to be accompanied by another man, this film has you switching sides every five minutes. Set during World War II, the movie is filled with the acceptable amount of flashbacks, usually starting with the motif song, “As Time Goes By,” to give the reader just enough information to follow the plot. A turn of events causes an unpredictable ending that I wasn’t sure how I felt about the first time I watched it. While this is obviously very biased considering it is my favorite movie, I would encourage you to watch this film and then watch When Harry Met Sally after to spot all the connections between the two.

THE GODFATHER

 When Don Corleone says he will make you an offer you can’t refuse, he means it! Making its second appearance on Classic Rewind, The Godfather ranks No. 2 on AFI’s 100 Years…100 Movies list. As I have written about previously, this movie is one of my absolute favorites. For a movie with such a high intensity level, Marlon Brando’s superb acting almost seems refreshing, such a juxtaposition that strangely works very well.

 CITIZEN KANE

 Reigning at the No. 1 spot is Orson Welles’ 1941 hit Citizen Kane. The film chronicles the expensive life of Charles Foster Kane, a newspaper tycoon and political candidate extraordinaire. Living a life full of costly statues, various wives and money to spend, Kane utters one simple word before his death: “Rosebud.” The meaning of this word becomes the biggest mystery that newspaper reporters everywhere are trying to solve. The film focuses on the character of Kane starting from his childhood all the way to his death. Even with his whole life being displayed, Kane is not a character the audience fully understands. Signed away to a great deal of money in his childhood, Kane lives a luxurious life while claiming to be the “man of the working people.” The movie is supposed to be loosely based on newspaper muckraker William Randolph Hearst. Interestingly enough, Scorsese’s new film, The Wolf of Wall Street, mirrors this film closely in terms of Kane versus Scorsese’s Jordan Belfort. Considering both films are based off real people, this could just be coincidence. Citizen Kane broke though barriers with its new camera use and makeup concepts. Through the use of the wide-angle camera lens, the walls seem to be zooming past the audience rather than the still camera shots used in most movies previous to Citizen Kane. Director and star Orson Welles was only 26 years old when he portrayed the life of Charles Kane. This shows not only the excellent makeup use to age Welles, but also his believability as an actor to play such a range of ages. Combining biography, character development and mystery, Citizen Kane is a must-see movie.

I’ll have the cheeseburger, but hold the disease

 

How happy is a Happy Meal when it’s filled with pathogens? Is Tyson really “bringing your family together”, or is it driving money into the pockets of company owners controlling darkened coups cluttered with sickly chickens? The 2008 Academy Award-nominated documentary Food Inc. takes on the challenge of answering these questions. Director Robert Kenner fearlessly strives to educate the American people on what we eat, what we can say about it and what we should know. Food Inc. daringly points a finger at a small number of companies that own and run the production of our food and how they have manipulated the government to help them control profit over health and safety of consumers.

Food Inc. is widely regarded as one of the more controversial documentaries made. While some consider the film a revealing expose on the quality of our food, others view it as radical propaganda. Either take on the film, Food Inc. manages to reveal some type of emotion out of the viewer: a major objective for a documentary. A documentary that makes you feel something after is going to produce far more buzz than a film that sounds more like a videotaped class lecture.

Kenner has a specific purpose for each graphic and camera shot he used in the film. Gruesome shots of large factories and mutilated animals represent major corporations the film is exposing, such as Tyson and Perdue. Even the movie’s poster sends a driven message. The cow with a barcode itched to its side is far less appealing than the photos of green pastures and smiling farmers consumers usually see advertising their meat.

 

Food Inc. also does a good job of interviewing the right people to represent their message. Watching the film, you seem to get a plethora of different types of people. Small town chicken farmers upset with Tyson, CEOs of organic farming companies, locally grown farmers and even a mother advocating for food safety after losing her son to E. coli speak out against meat processing companies. While all interviewees seem to be vastly different in the way they convey their message, it’s all truly the same. What I thought was missing from the film was corporate refutation. Where was Tyson or Perdue defending the safety of their products? Small white text filtered the screen at various times throughout the film repeated the same phrase, “Company refused to comment at this time.”

Food Inc. stays true to its bias but most importantly uses arguably the most convincing rhetoric tool, pathos, to call the viewer to action. If the uncensored footage of brutal animal captivity and killing didn’t cause you to put your popcorn down, then maybe the testimony of Barbara Kowalcyk, a mother who lost her son to tainted meat, pulled at your heart strings. If the director can capture some kind of emotion from the audience, he is a step closer to convincing the viewer to take some type of action, and Food Inc. does exactly that.

I would definitely recommend this film to all viewers. Be cautious of eating during or after the film due to graphic footage. I want to hear your thoughts! Do you think our food needs better safety laws? Or are you still willing to bite into that Big Mac without a second thought? If you’re passionate about this subject, the film producers provided a website to further help their cause that you can check out!

 

 

A sticky hot summer turns into an even stickier situation in Hitchcock’s “Rear Window”

It’s time to brush the dust off that spy gear my generation most likely hasn’t used since the first Spy Kids movie came out, but this time, we are going old school with Hitchcock’s twisted whodunit, Rear Window. Opening in 1954, stars James Stewart and Grace Kelly take snooping to a whole new level and may later regret it. The story follows L.B. “Jeff” Jefferies, a man confined to a wheelchair for several weeks after a photography accident resulting in a broken leg. It is summer and the heat is blistering, evident in shots of Jeff’s neighbors trying their best to cool off. Jeff, however, is more fascinated in watching his neighbors through his window. The plot escalates as Jeff believes he has seen one of his neighbors, Thorwald, commit murder. Recruiting his Park Avenue socialite love, Lisa (Kelly), Jeff does whatever it takes to convince the others of Thorwald’s recent escapades.

While listed third under AFI’s Top 10 Mystery Films, according to director Hitchcock, Rear Window, is far from the sub genre of mystery. During an AFI Seminar in 1970, Hitchcock explained his involvement in the suspense sub genre rather than mystery. Mystery films are more about the intellectual process of solving the crime while suspense films are made to create an emotional response. Mystery and suspense films seem to have similar characteristics, but after analyzing certain aspects I understand why Hitchcock would refer to Rear Window as a suspense film.

In a mystery the focus is mainly on a detective or amateur sleuth that uses evidence and the finding of clues to continue the plot forward. There are two different story types of a mystery: open and closed. In an open story line the audience is aware of the perpetrator’s identity at the beginning of the film and the plot revolves around the protagonist unraveling the clues to come to the same conclusion as the viewer. The closed story type is considered more of the classic whodunit. The perpetrator’s identity is concealed from the protagonist and audience until later revealed at the end as the resolution. Rear Window would follow the closed-story arc; however, the movie is twisted in a way due to the suspenseful elements Hitchcock expertly uses.

There are a few distinct ways that a director could create suspense in a film. Through soundtrack, camera angle and lighting, suspense can consume the audience with fear and a sense of anxiety. Hitchcock uses these techniques effortlessly in Rear Window. One of the most fascinating elements of Rear Window would be the soundtrack. In the film’s opening scene the audience is introduced to the variety of colorful neighbors, including a musician whose music is audible to all neighbors. This music is what I would consider the main score of the whole film. From intense moments to the seemingly casual shot of Jeff waking up, the neighbor’s music is heard, creating the mood for the film. In a movie about looking into the lives of your neighbors, this odd soundtrack causes suspicion into the back-story of that character. Suspense is also created through different camera angles. The camera does multiples pans of the neighbors, and the audience even gets a special look through Jeff’s binoculars as he is spying through his window. What I think is special about the camera angles in Rear Window is actually what isn’t shown. Never is the inside of Thorwald’s apartment shown from any other angle other than through Jeff’s window. I believe this causes suspense as a viewer because you don’t know whether to believe Jeff or not. Lighting can also produce suspense, and the dim shadows and darkened stand-off between Jeff and Thorwald definitely cause some anxiety for the viewer.

If you’re looking for a thriller filled with conspiracy, surprises and even a touch of romance, Rear Window is the film for you! I would highly recommend this film as well as any of Hithcock’s other films like Psycho, which I wrote about on this blog earlier that you can check out!

 

 

 

Audiences join hardworking whistlers and a princess white as snow on a journey to true love’s kiss

Wishing wells, a magic mirror, pathways through a dark forest and a prince ready to save the day set the scene for Walt Disney’s beloved classic, Snow White and the Seven Dwarfs. Premiering in 1937, Snow White and the Seven Dwarfs follows the story of “the fairest of them all,” princess Snow White, as she finds refugee with seven diamond-mining dwarfs from the Queen that wants her dead. Through the Queen’s witchcraft, illusion and an irresistible poisoned apple, Snow falls under a sleeping curse only her true love is worthy of breaking.

While this film that graced our screens as children created a sense of hope and love in all of us, this Disney adaption is far from its origins as a Grimm Brother’s fairy tale. The main theme is still prevalent: the Queen so determined to be the fairest in the land she hires the Huntsman to return with Snow’s heart. However, in the Grimm story, the Queen eats the heart she assumes is Snow’s. Like the Disney film, the Queen obviously takes matters into her own hands with witchcraft and disguises. In the movie, the Queen is successful in right away with the poisonous apple. In the Grimm story, she is not so lucky. First the disguised Queen convinces Snow to buy a corset she ties too tight, causing Snow to almost choke to death. Fortunately, the dwarfs save Snow in time. The persistent Queen tries a cursed comb and eventually the poisonous apple that finally causes Snow to fall into a deep sleep. As for the most romantic, and arguably most memorable, part of the film, the Grimm brothers didn’t have such a butterflies-in-your-stomach, happy-ending in mind. Instead of a charming Prince kissing Snow awake, the Prince’s men are carrying her glass coffin when they stumble and the apple is dislodged from Snow’s throat. Not such a swoon-worthy moment!

 

So why was Disney’s version so different? Snow White and the Seven Dwarfs came out in 1937; however, the film spent many years before in production. With the 1930s in America ridden with unemployment and poverty, movie-goers lived far far away from a fairy tale. Starting with Mickey Mouse, Disney created a sense of hope during the Depression era. Before Snow White and the Seven Dwarfs, Disney mainly created short nine-minute cartoons. These cartoons stood as uplifting breaks from the reality most Americans were living. With Snow White and the Seven Dwarfs, the first full-length animated film, Disney didn’t take the gruesome moments of the Grimm’s story so present audiences with movie filled with great love and happiness, something the country desperately needed at the time.

 

Not only did the uplifting spirit of Snow White and the Seven Dwarfs cause the film to be considered the best animated movie of all time, but it was also the gateway to the creation of more full- length animated films. Snow White and the Seven Dwarfs was one of the first movies to use Technicolor; color cinematography that used synchronized monochrome films in different colors. This produced the movies in color instead of black-and-white. Walt Disney also used the first large-scale multi-plane camera to create the “soft focus” memorable to Disney’s animated films. The multi-plane camera used painted foregrounds and backgrounds on different carriages of the camera and lit them differently. This allowed a different level of light on each shot. Disney continued this camera technique in is later films. The Little Mermaid was the last film of his to use the multi-plane camera.

If you haven’t seen Snow White and the Seven Dwarfs, I would highly recommend the film for people of all ages. Anyone watching can enjoy the dwarf’s slapstick comedy and the light-hearted musical score to go along with it. What are your thoughts on Snow White and the Seven Dwarfs? Would you have preferred a cartoon more familiar with the Grimms’ telling of the story?

 

Can’t get enough of the fairest of them all? Check out the modern-day adaptions of this classic film, Mirror Mirror and Snow White and the Huntsman.

 

Ali can sting like a bee, but La Motta never backs down in Scorsese’s biographical sports drama

With punches thrown, blood soaked sponges and the quick flash of 1940’s cameras, Raging Bull is a gritty film about the life and boxing career of Jake La Motta. Topping AFI’s Top 10 Sports Films, director Martin Scorsese does not leave out the gruesome details of La Motta’s career and what he risked to be a boxing title champion. La Motta’s “present-day” life, one of stand-up routines and bar scenes, set in the 1960s frames the movie as this epic biopic travels through La Motta’s tumultuous ‘40s and ‘50s career.

Jake La Motta is portrayed by Robert De Niro, who won an Academy Award for the role. De Niro went through various weight fluctuations and boxing training to become this character. Certain elements of the film, including the way La Motta views and treats women, mainly his second wife, stayed true to La Motta’s own written biography. The film displays aggressive and abusive behavior from La Motta toward wife, Vickie, stemmed from an undetermined paranoia. Obsessed with Vickie, who she is with and what she does when he’s away, Jake eventually drives her out of his life, along with his other close companions; mainly his brother Joey who serves as his friend and manager.

An interesting take on a sports film, Raging Bull presents more than just gory face-smashing boxing matches. While the movie focuses heavily on La Motta obsessing over his sport and having that obsessiveness transfer to his daily life, the movie includes a good sense of American history.  During this time in boxing the mafia was in charge of the Board, meaning the mob decided who won and who would fight whom. As true to the actual events taking place, La Motta’s brother Joey gets involved with mafia member, Salvy. However, with Jake’s determination to win only because he was the better fighter, the mafia becomes displeased with his refusal for help and turns the boxing world against him.  Adding this to the film added suspense and development in the psyche of the character Jake La Motta.

As a warning to those interested in the film, the title is most definitely fitting. Raging Bull is not a sports movie with an overall theme of hope attached to it, much like the sports dramas of today. La Motta is portrayed as a hot head with a violent temper and is not seen even as a tragic hero. What is interesting about this sports biopic is that you don’t necessarily want to cheer for Jake, the assumed protagonist. La Motta is seen as the bully; however, there isn’t a true protagonist you cheer for rather than La Motta. While I liked the different aspects of the film, I wouldn’t recommend it for those looking for an uplifting film of a struggling athlete turning to a better life.  This film is completely the opposite.

For those of you who have seen Raging Bull, do you agree with the analysis? Was Raging Bull what you expected from a sports film? I want to hear your thoughts so comment below!

 

 

Get ready for a glorious feeling of song and dance as musicals go Technicolor

Contrary to the title, Singin’ In the Rain is hardly a film that should be watched during a storm, curled up with a blanket and cup of hot chocolate. As comfy as that sounds, this movie musical will have you up tapping your toes to the festive beats. Set in 1927, Singin’ In the Rain follows Don Lockwood (Gene Kelly), one side of Hollywood’s power couple of the silent films.  His seemingly better half and co-star, Lina Lamont (Jean Hagen), and best friend Cosmo Brown (Donald O’Connor) join Don through the transition from silent films to talkies; a time the film parodies with mass chaos and jumbled mix-ups.  Enter Don’s real-life love, aspiring Broadway actress, Kathy Seldon (Debbie Reynolds) and trouble begins to brew with nasally voiced, conniving Lamont.

Singin’ In the Rain was one film from the long stream of movie musicals from MGM Productions; specifically the Freed Unit. The Freed Unit was a powerhouse in the making of musicals for film, led by Arthur Freed, who not only produced the shows but also wrote compositions as well. This legendary unit consisted of classics such as Vincente Minnelli, Gene Kelly, Fred Astaire and Judy Garland. A few examples from the multiple musicals produced include The Wizard of Oz, Easter Parade and An American in Paris.

While the obvious explanation for what makes a musical different than any other type of movie is the song and dance element, I encourage viewers to not to just see Singin’ In the Rain as any typical musical.  The production of each song and synchronized choreography is full of life.  Magnificent colors represent the film so vividly it is not only entertaining to dance along to, it is a marvel to see. From the stark contrast of yellow slickers against the shimmering rainy streets to the glittering costumes of the era, even viewers not keen on musicals will be immediately drawn in.

However, Singin’ In the Rain is not only spectacle. The precision of each dance step is a wonder. The way Don and Cosmo’s feet match up perfectly together like there is only one dancer on camera is every dancer’s dream. This type of precision helps tremendously with pulling off the slapstick humor throughout the film. Cosmo, the jest of the film, shows just how much precise dancing helps create the humorous situations in the clip below:

Even if you are not a musical fan, I strongly encourage you to give this movie a chance. Filled with situational irony, romance and laughter, this parody of the transitional years from silent films to talking pictures is sure to give you a glorious feeling. We all know with the identical breakout choreography, musicals are not always the most realistic. But take a break from reality to enjoy a film with the intention of making you smile in the golden age of cinema.

As modern day movie viewers do you believe the movie musical has changed?  If so, is it a good thing, or has current movie musicals strayed from their true purpose of entertainment? If you liked Singin’ In the Rain or are interested in more information on the Freed Unit and the other movie musicals created check out Musicals Great Musicals: The Arthur Freed Unit at MGM; a documentary on the making of Freed’s musicals.

Coppola, “Godfather” makes you an offer you can’t refuse

 

You’ve probably heard the phrase “sleepin’ with the fishes” or heard about a horse head ending up in someone’s bed. It’s also almost impossible not to have rolled around in a chair, stroking a cat, while playing the villain in childhood games. For all of these things, we have AFI’s No. 1 gangster film, The Godfather, to thank. Set in the 1940s New York, the film follows the organized crime Corleone family, with patriarch Don Vito, played by Marlon Brando, in the role of Godfather. While filled with the beautiful Italian music composed by Nino Rota, The Godfather also contains hot heads, harsh threats and gruesome violence. As a warning, this film is not for the faint of heart.

Filmed in 1972, The Godfather is not the first gangster film of its time. Movies portraying organized crime began to really grow around the ‘30s, the era of Prohibition and the emergence of big time gangsters like Al Capone. Most films made during this time would be based off the daily newspaper’s headlines. Premiering in 1932, Scarface: The Shame of a Nation, shocked audiences with its ruthless violence and gruesome tactics of the leading men. This film was the first land-marking Italian-American gangster film. However, after the audience reaction to Scarface, production studios created the Hays Production Code. This was a censorship code for studios to de-glorify the crime and show viewers that gangsters were psychotic criminals, not the “tragic hero” films portrayed them as. To dodge the code, films shifted to seeing FBI agents, police officers and typical good guys trying to stop the gangs, usually resulting in same ruthless violence.

The Godfather came out in 1972, and the original gangster crime flick was back to where it began. A film with an overall emotional tone, this movie does more than just show organized crime and action; it shows a strong sense of family. I believe the overarching theme is to do anything you can for family; the film features strong moments like hot head Sonny Corleone protecting his sister’s well-being to simple moments of Vito patiently waiting for son Michael to take a family photo. While a central plot of The Godfather is the evolution of the character Michael, played by Al Pacino, Michael’s motivation in the film all stems from his family- first attitude.

 

Directed by Francis Ford Coppola, The Godfather won three Academy Awards: Best Picture, Best Actor in a Leading Role (Brando) and Best Writing of a Screenplay based on material of another medium. The musical score was nominated until the Academy discovered Rota used some of the music in a previous Italian film, Fortunella. The nomination was withdrawn.

How do you feel about gangster films like The Godfather? Do you think that films such as these glorify crime, or do you think it is purely for entertainment purposes? Share your thoughts in the comments!