tag:blogger.com,1999:blog-22810555932868720882024-03-19T23:23:11.451-07:00Oscar North On FilmA blog reviewing some classics and some more recent films.Oscar Northhttp://www.blogger.com/profile/16711769601170691246noreply@blogger.comBlogger8125tag:blogger.com,1999:blog-2281055593286872088.post-48133930476643770682013-04-22T14:11:00.003-07:002013-04-22T23:56:17.756-07:00Scarface<br />
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<b><u><span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Scarface
</span></u></b><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">(1983) 4.5 Stars<o:p></o:p></span></u></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">U.S. </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">(Universal)
170m Technicolour<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Director: </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Brian
De Palma<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Producer: </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Martin
Bregman<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Screenplay:</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">
Oliver Stone, from the novel <i>Armitage
Trail </i>and 1932 screenplay <i>Scarface</i>
by Howard Hawks<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Music:</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">
Giorgio Moroder<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Cast:</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">
Al Pacino, Steven Bauer, Michelle Pfeiffer, Mary Elizabeth Mastrantonio, Robert
Loggia, Miriam Colon…<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIKWUmesNDVxa235OO_bnuzIYYIgZZdXNLKGCA02qw4hThQGqCyQsLyDf-PZlgpQUcNr8OM-R36oD0vR2Mza2UuIGRmb05T4MBmMEj41jm8AhuW-BYWL5VNsiZv775UXTUZMhhwP9wIaQ/s1600/scarface.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIKWUmesNDVxa235OO_bnuzIYYIgZZdXNLKGCA02qw4hThQGqCyQsLyDf-PZlgpQUcNr8OM-R36oD0vR2Mza2UuIGRmb05T4MBmMEj41jm8AhuW-BYWL5VNsiZv775UXTUZMhhwP9wIaQ/s1600/scarface.jpg" /></a><span style="font-family: "Times New Roman","serif"; line-height: 115%; mso-bidi-font-size: 14.0pt;">Unlike Hawks’s original, De Palma begins
this gangster epic with documentary footage depicting the mass movement of
Cuban refugees into North America. This adds a political context which greatly
aids one’s viewing of ‘Scarface’: perhaps Tony Montana’s only option was to
enter back into the criminal world from which he had come, if he were to ever
amount to any kind of success as a Cuban in the states. After this opening the first
half of the film details Tony’s rise to power from lowly assassin to
power-crazed, self-destructive crime lord; where possible De Palma includes
some intense gore, cigar smoking, patriarchy and of course, hilarious late seventies
dancing and attire. However, as with most prominent anti-heroes, Tony’s
ill-gotten gains soon come tumbling down around him in one of the most famous,
cathartic, bloody scenes ever recorded.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; line-height: 115%; mso-bidi-font-size: 14.0pt;">Whilst a change of tone from De Palma’s
usually Hitchcock inspired films, ‘Scarface’ is truly brilliant. The tone will
often change from witty and casual to suddenly intensely scary and cutting; in
this way the film keeps you transfixed throughout. As mentioned earlier, Tony’s
tremendously fast rise to power and spectacular fall from it is reminiscent of
timeless literary pieces such as Faust or even historical conquests such as
Hannibal or the Roman Empire. This progression is documented brilliantly with
the help of masterfully implanted foreshadowing, a range of great and hilarious
costume changes and a fantastic soundtrack from Giorgio Moroder; which I found
to be similar to Michael Nyman’s ‘Memorial’ from ‘The Cook, The Thief, His Wife
and Her Lover’; coincidentally, a film not completely dissimilar to ‘Scarface’:
both offering treatises on the frail conditions of male selfhood, power
politics and the place of a woman in society. <o:p></o:p></span><br />
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<span style="font-family: "Times New Roman","serif"; line-height: 115%; mso-bidi-font-size: 14.0pt;">Many have described ‘Scarface’ as “postmodern”,
I would tend to disagree. Critics argue that Tony Montana’s drunken line: “You
need me, I’m the bad guy!” during his deterioration, is an indicator of the
film understanding itself as a gangster film. However, I believe that Tony is
able to come to the understanding of his place in society as “the bad guy”
without the film erring into metafiction; in fact this realisation simply
highlights how even though he knows that he causes pain, he’s not going to do anything
about it – he’s happy where he is.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; line-height: 115%; mso-bidi-font-size: 14.0pt;">‘Scarface’ is a tour de force for Al
Pacino (Tony Montana). Whilst the combination of his method acting with a thick
Cuban accent often renders him inaudible, he manages to truly become the
character of Tony Montana and develops with him. The passionate, humourless,
brutal character we see, is perhaps one of the most chilling ever to grace the
screen; his mainly quiet character littered with sudden bursts of rage give us
the impression that he is always manically ticking over like a bomb ready to go
off – which he certainly is. Whilst his ranking in the crime world rapidly
improves, his life doesn’t seem to ever get much better: he becomes paranoid
and even more abusive than before, and to paraphrase his pitiful mother: he
destroys everyone he meets, whether that be physically, emotionally or both, in
the case of his poor sister, who seems a paradigm of purity nearer the start of
the film and ends up driven insane by Tony. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4MP7JURahAuyrFiD05RZDq8VKrKrzO20Jnn4OpPSErbxbCBq1C_HBMzfSxk6e7dZ_mPy8Xs8ZNELDfQbWu6J8Zhdb66ZWHV5xfzDsO5iZhwq1AJeble_7j_Ix4PEWRBujq1ggQ1GpveU/s1600/aaa.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4MP7JURahAuyrFiD05RZDq8VKrKrzO20Jnn4OpPSErbxbCBq1C_HBMzfSxk6e7dZ_mPy8Xs8ZNELDfQbWu6J8Zhdb66ZWHV5xfzDsO5iZhwq1AJeble_7j_Ix4PEWRBujq1ggQ1GpveU/s200/aaa.jpg" width="200" /></a><span style="font-family: "Times New Roman","serif"; line-height: 115%; mso-bidi-font-size: 14.0pt;"><br /></span></div>
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<span style="font-family: "Times New Roman","serif"; line-height: 115%; mso-bidi-font-size: 14.0pt;">The only remarkable points on
cinematography relate to setting and costume, both of which improve for Tony as
his status does; sometimes gradually, sometimes very suddenly. De Palma employs
a number of giant villas in various beautiful locations which can only serve to
make one want to become a drug lord. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; line-height: 115%; mso-bidi-font-size: 14.0pt;">To conclude, I would highly recommend
this film to anyone. The acting and direction is of the highest standard, as is
the scriptwriting from which a number of brilliant quotes can be drawn ‘Say ‘Hello’
to my little friend!’ being just one. The action, music, costume and setting
all serve to make the film terrifying, hilarious, macabre and spectacular. A
must see.<o:p></o:p></span></div>
Oscar Northhttp://www.blogger.com/profile/16711769601170691246noreply@blogger.com4tag:blogger.com,1999:blog-2281055593286872088.post-75370530185852633312013-03-12T14:42:00.001-07:002013-03-12T14:53:42.452-07:00The Cook, The Thief, His Wife & Her Lover<br />
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<b><u><span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">The
Cook, The Thief, His Wife & Her Lover </span></u></b><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">(1989) 4 Stars<o:p></o:p></span></u></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">France / Netherlands / G.B. </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">(Allarts, Elsevira, Erato, Erbograph, Films, Vendex)
124m Colour<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Director:</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;"> Peter Greenaway<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Producer:</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;"> Kees Kasander<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Screenplay: </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Peter Greenaway<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Photography: </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Sacha Vierny<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Music: </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Michael Nyman<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Cast: </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Richard Bohringer, Michael Gambon, Helen Mirren, Alan
Howard, Tim Roth, Clarán Hinds, Gary Olsen, Ewan Stewart, Roger
Ashton-Griffiths, Ron Cook, Liz Smith, Emer Gillespie, Janet Henfrey, Arnie Breeveld,
Tony Alleff<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNm9TIgCyoI3K4Rvhqu6f0D72NLKzAK68lAFzNGawr-mCMhPdJCglsIA_Zi1kb8efibWUYcPfIt1RXLQINrJfYExxFD-NkoPPIqxL-oZJP6slTGgNCHZiJ_jLQCVHxGviezYXvw1lA9UQ/s1600/The-Cook-The-Thief-His-Wife-and-Her-Lover-7556_1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNm9TIgCyoI3K4Rvhqu6f0D72NLKzAK68lAFzNGawr-mCMhPdJCglsIA_Zi1kb8efibWUYcPfIt1RXLQINrJfYExxFD-NkoPPIqxL-oZJP6slTGgNCHZiJ_jLQCVHxGviezYXvw1lA9UQ/s320/The-Cook-The-Thief-His-Wife-and-Her-Lover-7556_1.jpg" width="320" /></a><span style="font-family: "Times New Roman","serif";">Director
and writer Peter Greenaway was originally an artist, and this is translated
perfectly into this stylish, disturbing, macabre, thrilling film. The title
refers to the four main characters of the production – as at times it seems
more like a stage play than a film - very literally: we follow the doomed,
erotic romance of Georgina (Mirren) and the quiet librarian, Michael (Howard);
a romance which is hidden from the former’s tyrant of a husband – Albert Spica
(Gambon) – by the heroic head chef of Spica’s restaurant (Bohringer) in which the
majority of the production takes place. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";">Greenaway
creates an artistic masterpiece in ‘The Cook, The Thief, His Wife & Her
Lover’: with costume designed by Jean Paul Gaultier which instantly, stylishly,
changes colour whenever a character moves into a different part of the set; a
set over which the camera has almost free roam throughout the production – following
the action back and forth, serving to completely immerse the viewer in the
manic world they are presented with. Greenaway also manages to fully define his
four main characters to incredible specificity, such that even their accents
build upon their personalities. Gambon’s ferocious character is not unlike how
one might perceive Henry VIII to have been: gorging on fine food throughout the
film, whilst surrounded by those who serve him; furthermore a number of the
costumes are reminiscent of that era and the painting <i>The Banquet of the Officers of the St George Militia Company,</i> which
hangs over the dining table, creates a sense of royal grandeur. Spica incites
immense fear into the viewer with his sudden rages and violent outbursts; his
jealousy of his wife’s lover is so powerful that he commits atrocities almost
immediately – including some incredibly disturbing and upsetting scenes, for
which I have deducted a star from the film’s score. Helen Mirren’s character
evokes pity throughout, mainly due to the oppressive qualities of her husband, qualities from which we hope she will escape or rebel against. ‘Her Lover’,
Michael, embodies everything Georgina misses in Spica: he is chivalric, caring
for her and treating her as an equal – as opposed to loudly reminding her of ‘how
he taught her’ to go to the toilet; one of the many lines Spica employs to
assert his dominance over Georgina. ‘The Cook’ appears less than the other main
characters of the production, yet he is in many senses the hero. He is
unflinching in his emotions; he treats everyone he interacts with in the same
manner: a quality which often presents him as the brick wall with which Spica
embarrassingly collides. He is arguably characterised as inhuman: the
embodiment of cardinal virtues, he also seems to know things (specifically about
the lovers) of which no other character has knowledge. <o:p></o:p></span><br />
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<span style="font-family: "Times New Roman","serif";">Michael
Nyman’s music is undoubtedly one of the most memorable features of the film.
The one song ‘Memorial’, which is played in chunks during the film, fits
perfectly with the tone of the plot-line and with the staging and direction.
Furthermore, the climax of the film neatly coincides with the only time at
which the whole twelve minute piece is played uninterrupted, serving to create
an immensely powerful and disturbingly macabre finale. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";">As
I have alluded to earlier, the film contains some of the most disturbing scenes
I have ever witnessed. At the time I couldn’t believe they were actually
happening (my mum had to leave on several occasions), but now it is
depressingly clear that they fit perfectly with the scenario devised and the
characters involved; they serve a great purpose but I would not deem some of them
a complete necessity.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";">I
struggle to decide whether or not to recommend this film. I find it to be an
incredibly powerful creation, yet I can understand why one could easily hate
every minute of it – an uneasy tension I felt throughout the two hours. I have
been affected by this film and am yet to decide whether it is for the better or
otherwise; so perhaps it would be wise to stay away from it, but then again I would
like someone to share in my experiences with.<o:p></o:p></span></div>
Oscar Northhttp://www.blogger.com/profile/16711769601170691246noreply@blogger.com1tag:blogger.com,1999:blog-2281055593286872088.post-81764840529374066742013-03-04T12:45:00.001-08:002013-03-05T11:45:06.992-08:00Argo<br />
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<b><u><span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Argo
</span></u></b><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">(2012) 3 Stars<o:p></o:p></span></u></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">U.S. </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">(Warner
Bros) 120m Colour<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Director:</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">
Ben Affleck<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Screenplay:</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">
Chris Terrio<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Book:</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">
Tony Mendez<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Cast: </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Ben
Affleck, Bryan Cranston, Alan Arkin, John Goodman, Victor Garber, Tate Donovan,
Clea DuVall, Scoot McNairy, Rory Cochrane, Christopher Denham, Kerry Bishé,<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk9f0YZdGbjnCmpnAplfV3Zm4T-VtgML5btud1azaYty4E0U2b5Vh_lQ8LuMZH0Pt2aEG3cdggHDimmWrPA9H6jrTI5NDMQXXpFx_O2kIQ1wKueF10kYuMW1T7kmFZBR_JXWsLzC4VIVI/s1600/Argo-film-of-the-week-010.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk9f0YZdGbjnCmpnAplfV3Zm4T-VtgML5btud1azaYty4E0U2b5Vh_lQ8LuMZH0Pt2aEG3cdggHDimmWrPA9H6jrTI5NDMQXXpFx_O2kIQ1wKueF10kYuMW1T7kmFZBR_JXWsLzC4VIVI/s320/Argo-film-of-the-week-010.jpg" width="320" /></a><span style="font-family: "Times New Roman","serif";">It is
hardly surprising that a film in which: Hollywood itself cooperates with the
CIA to save a group of civilians from a volatile Middle-Eastern country, has
been awarded best film at both The Oscars and The BAFTAs; in my opinion ‘Django
Unchained’ is a is a far better candidate for both. 'Argo' begins credibly,
with a brief, storyboard-like history lesson on the origins of tension in one of the
feature’s main countries, Iran. The sequence lends towards the idea that the CIA’s
involvement there – mainly the placement of Shah Mohammad Reza Pahlavi in
power of the country – was a key cause of tension later on. However, after
this point the film takes a more patriotic stance: an exemplar scene being the
persuasion of “producer” Lester Siegel (Arkin), in which after watching scenes
of anti-American Iranian demonstrations, he decides to join Tony Mendez's (Affleck) cause. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";">‘Argo’
is based upon the amazing true story of Mendez’s exfiltration of six
American foreign office workers, who escaped the American Embassy in Iran
during the 1979 hostage crisis. However, I found the film lends too much screen
time to the planning of the fake film ‘Argo’ (their cover story for escaping Iran), and not enough to the experience
of the characters in the country. I found what scenes there were regarding this to be
incredibly thrilling, similarly the acting was incredibly believable. Unfortunately,
the bulk of the movie avoided this and was instead filled with often slow
moving, technical scenes saved only by occasional comedy moments; particularly
during the Hollywood phase of the film. Despite this, ‘Argo’ does give a
powerful look into what the decision making process of the operation may have been like;
improved by Ben Affleck’s masterful direction of the American leaders. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif";">The
cinematography is especially skilful, combining modern camerawork with more
historical, grainy film. Yet this leads me to believe that ‘Argo’ is better suited
to the documentary genre - interviews with surviving subjects and the full,
original story would interest me more, personally. Furthermore, it would
relieve us of the "deeply troubling portrayal of the Iranian people” which
Canadian critic Jian Ghomeshi claims many others have failed to recognise. This
along with the slow pace was one of my main problems with the film: Iran itself
is arguably an accurate depiction, but many members of the population –
military police and civilians - are depicted as animalistic, unreasonable,
stupid and often evil, in a way similar to that of the black people in the racist
‘The Birth of A Nation’; which, unlike ‘Argo’, was heavily criticised for this.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";">Something
I give great credit to the film for is its ability to build tension towards its
climax: that by the end a </span></div>
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<span style="font-family: "Times New Roman","serif";">large portion of the audience I witnessed, including my mum, were
showing physical signs of stress. I was deeply
disappointed, yet understanding, to find later that most of the tense scenes
did not actually occur and that the film was littered with historical inaccuracies;
which again made me feel a documentary would be more appropriate. However, I did
enjoy the tension and nobody is forcing the writers to stick to the facts – so I
am content. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";">To
conclude, I don’t think ‘Argo’ is fully ‘Best Picture’ standard, but I understand
why it won. Whilst I would have preferred a little more focus on the Iranian
hostages’ experiences, I was happy to watch the comedy of the Hollywood scenes
contentedly moving on – but do not expect to be entirely satisfied with the political
stance taken by ‘Argo’. I praise Ben Affleck’s direction, the acting, and the
hair and makeup team for being able to recreate a brilliant array of 70s moustaches
and hairstyles; and for those reasons alone I would urge people to go and see
the film before it leaves cinemas. However, ensure that this is after you have
been to see Tarantino’s latest ode to the ‘Spaghetti Western’ – ‘Django
Unchained’ – which is a true, best picture, five star, masterpiece.<o:p></o:p></span></div>
Oscar Northhttp://www.blogger.com/profile/16711769601170691246noreply@blogger.com2tag:blogger.com,1999:blog-2281055593286872088.post-83578769739929035572013-03-02T11:26:00.002-08:002013-03-05T11:45:21.302-08:00Les Vampires<br />
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<b><u><span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Les
Vampires</span></u></b><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;"> (1915) 3.5
Stars<o:p></o:p></span></u></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">France </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">(Gaumont)
440m Silent BW<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Director: </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Louis
Feuillade<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Screenplay:</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">
Louis Feuillade<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Music:</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">
Robert Israel<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Cast: </span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 14.0pt;">Edouard
Mathé, Musidora, Marcel Lévesque, Jean Aymé, Fernand Herrmann, Stacia
Napierkowska<o:p></o:p></span></div>
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</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9FaU7NgPuDZWbtRcQAgkrkNbGsqjm_N-ShZRQBD7EMFqoMO6E1_aSjHW6XaZaYtTKO_1ZZ3jv9bCv3K5JgNXCex_SbJlvdMFjEYvu1oq8H0fuz3AisuH4P73VCcAwRzWG8UasumCIJ3I/s1600/les_vampires_irma.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9FaU7NgPuDZWbtRcQAgkrkNbGsqjm_N-ShZRQBD7EMFqoMO6E1_aSjHW6XaZaYtTKO_1ZZ3jv9bCv3K5JgNXCex_SbJlvdMFjEYvu1oq8H0fuz3AisuH4P73VCcAwRzWG8UasumCIJ3I/s320/les_vampires_irma.jpg" width="320" /></a></div>
<span style="font-family: "Times New Roman","serif";">I will begin
by stating that this ten part crime serial is not in any way related to the recent
‘Twilight Saga’, and that there is nothing supernatural about ‘The Vampires’: they
are in fact an infamous crime syndicate plaguing Paris. The story begins
dramatically with ‘The Severed Head’, in which crack reporter Philipe Guérande
(Mathé) begins his investigation as to the missing, decapitated, head of
Inspector Durtal (later found in an iconic ‘head-in-a-box’ moment). The crime
was of course committed by ‘The Vampires’ but throughout the episode we are
still unsure of exactly who or what they are: “My friend, I know nothing about
the Vampires except that everyone is afraid of them” a character highlights in one of the serial's
many title screens. This technique can be witnessed in modern films including Spielberg’s
‘Jaws’ in which the shark isn't revealed until late on. ‘Les Vampires’ goes on
to follow Guérande, along with ex Vampire Oscar-Cloud Mazamette (Lévesque), and their attempts to put an end to the notorious gang.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";">The fast pace of the plot is striking; it is already
complex and thrilling with a number of twists and now classic ideas, from secret
passages and codes to chemical weaponry in the form of a pen. This speed is both
a blessing and a curse to the viewer, as we are immediately drawn in and
excited, but at the same time the serial loses its effect as it progresses; for
this reason my favourite episode was the first. This focus on immediate
excitement could be due to the competition facing director Louis Feuillade at the time, coming
mainly from rival <i>Pathé</i> rendering him understandably frantic. However,
this is not to say that the serial completely loses all drama after ‘The
Severed Head’, I would simply recommend watching the episodes separately over a
number of days or weeks in order to take time to breathe. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";">The ‘legendary
opus’ often alludes to Gothic writers and poets: particularly Edgar Allan Poe in my view. The gang was reminiscent of
his presentations of evil organisations such as ‘The Spanish Inquisition’ and I found Guérande to be
the likeness of some of Poe’s protagonists (namely Dupin). However, the gang was also similar to today’s ‘<i>Cirque du Soleil’</i>: with their cat suit
costumes, slinking movements and often very impressive acrobatics, namely
scaling rooftops. This is best personified in one of the serial’s main villains: Irma Vep (an anagram of ‘Vampire’,
which is unnecessarily revealed to us through some admittedly advanced special
effects), the role which catapulted the actress Musidora to fame. Irma’s make
up and expressions are arguably the most iconic part of ‘Les Vampires’, her
snarl (see above photo) was pictured on most of the promotional posters and is still what is most
associated with the saga. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif";">Arguably the vast amount conveyed by the silent acting begins to have a negative effect
on the viewer, as it comes in unison with a bombardment of generally
superfluous title screens. I grew to find this boring and irritating; it
detracts attention from the subject matter as we wait for the screen to move
on. The cinematography of this film was criticised for its simplicity: it is
bare apart from the occasional light going on or off or costume change – in this
way I found ‘Le Voyage Dans La Lune’ to be far more adventurous and advanced,
despite being released over a decade earlier. However, in terms of camera
positioning there is some good that can be said: there are clear early signs of
Avant Garde cinema and its tension building techniques are visible in more
modern thrillers, such as those of Hitchcock. Another strong point for the serial is the subject matter’s cohesion with the soundtrack; which, after the
previous silent films I have reviewed, I thought must be somehow impossible.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";">To conclude,
the seven-hour-not-‘Twilight’ saga ‘Les Vampires’ thoroughly earns its place on
‘1001 movies you must see before you die’. It is not faultless when considering
its arrangement of excitement and its primitiveness in terms of cinematography;
but that is outweighed by the quality of its story, skill of acting and its
classic, insane, all round, French brilliance.<o:p></o:p></span></div>
Oscar Northhttp://www.blogger.com/profile/16711769601170691246noreply@blogger.com0tag:blogger.com,1999:blog-2281055593286872088.post-71819234650324217812013-02-27T10:26:00.002-08:002013-03-05T11:45:45.863-08:00A GreetingGreetings!<br />
<br />
I'm looking to produce one or maybe two reviews a week (depending on the length of film), and I'd really like to get your feedback on both the review and the film itself. I'm going to be moving through the '1001 Movies You Must See Before You Die' (Octopus) so you can keep up with me if you want. My next review will be on 'Les Vampires' and should be coming this weekend.<br />
<br />
Thanks for your attention, following me would be much appreciated and I won't let you down.<br />
Oscar NorthOscar Northhttp://www.blogger.com/profile/16711769601170691246noreply@blogger.com0tag:blogger.com,1999:blog-2281055593286872088.post-42054858102661520622013-02-26T14:00:00.001-08:002018-08-24T10:00:12.316-07:00The Birth of A Nation<br />
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<b><u><span style="font-family: "times new roman" , "serif"; font-size: 14.0pt; line-height: 115%;">The
Birth of A Nation </span></u></b><u><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">(1915) 0 Stars<o:p></o:p></span></u></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></b></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">U.S.</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">
(D.W. Griffith & Epoch) 190m Silent BW<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Director:
</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">D.W.
Griffith<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Producer:</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">
D.W. Griffith<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Screenplay:
</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Frank
E. Woods, D.W. Griffith, from the novel <i>The
Clansman: An Historical Romance of the Ku Klux Klan,<b> </b></i>the novel <i>The Leopard’s
Spots,</i> and the play <i>The Clansman </i>by
Thomas F. Dixon Jr.<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Photography:
</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">G.W.
Bitzer<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Music:
</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Joseph
Carl Breil, D.W. Griffith<o:p></o:p></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">Cast:</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; line-height: 115%;">
Lillian Gish, Mae Marsh, Henry B. Walthall, Miriam Cooper, Mary Alden, Ralph
Lewis, George Siegmann, Walter Long, Robert Harron, Wallace Reid, Joseph
Henabery, Elmer Clifton, Josephine Crowell, Spottiswoode Aitken, George
Beranger<o:p></o:p></span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwq7B__VjzeR7EFaXJX8AHYCodudKcyspq5jOJI2plh78-XR5Vg4LsxjVF6HaTT_9ODyP4tEqg3iz9xWko6POgCUfz5HoghXlzN62cZ1fcEjfSoVpwat-3LyB1Ex51Ii_CTk9RdyVIJxk/s1600/birth+of+a+nation.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwq7B__VjzeR7EFaXJX8AHYCodudKcyspq5jOJI2plh78-XR5Vg4LsxjVF6HaTT_9ODyP4tEqg3iz9xWko6POgCUfz5HoghXlzN62cZ1fcEjfSoVpwat-3LyB1Ex51Ii_CTk9RdyVIJxk/s320/birth+of+a+nation.jpg" width="320" /></a><span style="font-family: "times new roman" , "serif";"><br /></span></div>
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<span style="font-family: "times new roman" , "serif";">To
describe ‘The Birth of A Nation’ in one word would be simple: racist.
Especially in the second half of the three hour KKK glorifying monster, black
people are depicted as animalistic, lazy, violent and as a blight to be dealt
with. This is done through scenes such as the attempted rape and eventual
manslaughter of a young white girl (for which the perpetrator the ‘evil Gus’ is
hunted down and lynched), or a courtroom made up of black people who seem to be
eating drinking and generally embodying the seven deadly sins. The film
seemingly strives to make the viewer side with the white supremacists through
any means necessary, so that at the climax of the film we are rooting for the
KKK to come and ‘save the day’. Certain cinemas and cities banned the film due
to its racist content, yet some people reacted in the opposite way: such as a
spate of white on black murders, and potentially the sparking of the 2<sup>nd</sup>
KKK era.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif";">However,
one must attempt to look past the racism of the film and discuss its other
elements. I would argue that, unlike many of its predecessors who took their
inspiration from theatre, this film seems to draw from, mainly Russian, novels;
namely ‘War and Peace’. This is more true of the first half of the film than
the second (in which it descends into racist propaganda), yet even the fact
that it is divided into parts alludes greatly to ‘The Novel’. A fault with the
film is its silence: with a number of films of the era the lack of speech isn’t
a problem, unfortunately this film fails in that respect. We are subjected to
long scenes of dialogue, often little expressive movement and few to no
title screens to aid us. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif";">This
film has been credited by many as ‘the greatest film of all time’: the only
reasons I could find for saying this would be firstly if I was a racist, and
secondly for how influential this film has been within the industry. If one were to strip this film down purely to its
cinematography and general plot development, then it would be easily relatable
to many successful films which followed it. The malicious presentation of John
Wilkes Booth given through masterful camerawork and lighting; furthermore the
tension created throughout the second part climaxing when the ‘good guys’ save
the day and the lovers unite, is one of the most widely used storylines of all
time.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , "serif";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , "serif";">To
conclude, if it weren’t for the films severely racial tendencies and lack of
speech; it would in fact be one of the greatest films of all time due to its
massive influence over cinema since in both plot development and
cinematography. It is simply a shame that its subject matter also inspired such
abuse and hatred of the racial manner. <o:p></o:p></span></div>
Oscar Northhttp://www.blogger.com/profile/16711769601170691246noreply@blogger.com0tag:blogger.com,1999:blog-2281055593286872088.post-10794336853814989272013-02-26T13:58:00.001-08:002013-03-05T11:46:14.450-08:00The Great Train Robbery<br />
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<b><u><span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">The
Great Train Robbery </span></u></b><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">(1903) 3.5 Stars<o:p></o:p></span></u></div>
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<u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></u></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">U.S.
</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">(Edison)
12m Silent BW (hand-coloured)<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Director:
</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Edwin
S. Porter<o:p></o:p></span></div>
<div class="MsoNormal">
<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Screenplay:
</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Scott
Marble, Edwin S. Porter<o:p></o:p></span></div>
<div class="MsoNormal">
<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Photography:
</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Edwin
S. Porter, Blair Smith<o:p></o:p></span></div>
<div class="MsoNormal">
<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Cast:
</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">A.C
Abadie, Gilbert M. “Bronco Billy” Anderson, George Barnes, Walter Cameron,
Frank Hanaway, Morgan Jones, Tom London, Marie Murray, Mary Snow<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6tgTQi0H8Y921pC5i2sXkx1J8wVc61CBKKQ2zEV-J4ekaVeOLsBmi_nXknStQCKJV92XaRBeQ81n1hKNyzK4h21mVOmW_w_6b3Med7KWLwvid80Q20vji9Sxbe7EmhDgeh_B1YTl0zsw/s1600/great-train-robbery-title-still.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6tgTQi0H8Y921pC5i2sXkx1J8wVc61CBKKQ2zEV-J4ekaVeOLsBmi_nXknStQCKJV92XaRBeQ81n1hKNyzK4h21mVOmW_w_6b3Med7KWLwvid80Q20vji9Sxbe7EmhDgeh_B1YTl0zsw/s320/great-train-robbery-title-still.jpg" width="320" /></a><span style="font-family: "Times New Roman","serif";">The most
commercially successful film in America from the pre Griffith era, <i>The Great Train Robbery</i> is generally
regarded as the first of the ‘western’ genre. This title is definitely well
earned: the simple yet exciting plot of crime, getaway, chase and the eventual
prevailing of good over evil, is an idea continued through westerns right into
the 21<sup>st</sup> century. On the
topic of evil, the ‘bad guys’ of this film epitomise it fantastically, through
actions such as the murder of hostages, stealing bags of money, and an iconic
close up at the end of one of the robbers firing directly at the camera.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";">In terms
of cinematography a lot can be said, for the time the sets are quite advanced;
with a number of different scenes and locations including a moving train and a
river. Similarly the special effects are rather advanced: with believable use
of dummies, explosions and gunshots which would have stunned the audiences of
the time. Despite being a traditional silent film the somewhat complex plot is
made clear through very descriptive acting and good use of props and costume.
This serves to successfully portray actions such as sending false messages,
opening safes, and heckling newcomers.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";">To
conclude <i>The Great Train Robbery</i> is
undoubtedly one of the most influential, successful, and advanced films of its
time, with a plotline which can be seen in the biggest films today; it is
rightfully remembered.<o:p></o:p></span></div>
Oscar Northhttp://www.blogger.com/profile/16711769601170691246noreply@blogger.com0tag:blogger.com,1999:blog-2281055593286872088.post-54698599654834057432013-02-26T13:34:00.000-08:002013-03-05T11:46:31.064-08:00Le Voyage Dans La Lune<br />
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<b><u><span style="font-family: "Times New Roman","serif"; font-size: 14.0pt; line-height: 115%;">Le
Voyage Dans La Lune </span></u></b><u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">(1902) 3 Stars<o:p></o:p></span></u></div>
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<u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">A
Trip To The Moon<o:p></o:p></span></u></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">France
</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">(Star)
14m Silent BW<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Director
+ Producer:</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"> George Méliès<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Screenplay:
</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">George
Méliès, from the novel <i>De la Terre à la
Lune </i>by Jules Verne<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Photography:
</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Michaut,
Lucien Tainguy<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Cast:
</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Victor
André, Bleuette Bernon, Brunnet, Jeanne d’Alcy, Henri Delannoy, Depierre,
Farjaut, Kelm, George Méliès<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnTvUG6yoBuSePChaGyVG_n7BhOYWFEy8vvpx0xLLeW-NE30Wwzi2wpbK6tYFVyOlpaxzg4cUh1lB8cKxTZUwlvsTm9KX-sPcIILg5uKivHpA0Meu7I-QhpO557pbJ7y7kXEvpAg6ZR1I/s1600/tumblr_mb58m2Uzh81qd7v5ao2_1280.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnTvUG6yoBuSePChaGyVG_n7BhOYWFEy8vvpx0xLLeW-NE30Wwzi2wpbK6tYFVyOlpaxzg4cUh1lB8cKxTZUwlvsTm9KX-sPcIILg5uKivHpA0Meu7I-QhpO557pbJ7y7kXEvpAg6ZR1I/s320/tumblr_mb58m2Uzh81qd7v5ao2_1280.jpg" width="320" /></a><span style="font-family: "Times New Roman","serif";">This
short film is reminiscent more of a pantomime than any modern film; this is
most likely due to the only basis for films of the time being plays.
Furthermore Méliès began his career as a theatre actor and magician – a clear
theme from the film visible from the star robes and pointed hats of the cast. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";">Cinema
techniques used include superimpositions, dissolves, and many other editing
practices that would still be used deep into the twentieth century; in this way
the film is regarded as ground-breaking. In addition, the storyline – one of
extra-terrestrial adventure and discovery – is seen as one of the first of its
time to define fictional cinema, in a time when most films portrayed daily
life; such as the films of the Lumière brothers at the end of the 19<sup>th</sup>
century.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";">The film
includes many iconic images such as one of the moon, represented by a man’s
face covered in some form of white paste – an image to be alluded to even in
modern comedies such as ‘The Mighty Boosh’. However, I believe that the film
(despite its comical tendencies) has a deeply satirical message for its time
regarding colonialisation. This is shown by the headstrong scientists who move
to the Moon’s beautiful and amazing world and defile it by murdering its king
and people – they then ‘escape’ and return to Paris to be hailed as heroes in a
set which seems almost identical to the courtroom in which they murdered the
‘Selenite’ king.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif";">To
conclude this film is an absurd, bumbling, comical play, which has been put to
camera. Its experimentation with visual effects and costume is highly
influential in cinema and there is an argument for a satirical point on
colonialisation and imperialism present.<o:p></o:p></span></div>
Oscar Northhttp://www.blogger.com/profile/16711769601170691246noreply@blogger.com0