Brief Reviews of Each Film

Blancanieves

My favorite film of the semester.  Beautiful cinematography, wonderful acting, and a truly splendid storyline. 

Zero Dark Thirty

An interesting perspective on the takedown of Osama bin Laden.  The film is controversial by nature, but it’s also unique in more ways than one. 

Devil’s Backbone

Combining elements of horror, fable, and fantasy, del Toro’s Devil’s Backbone is definitely an entertaining watch. 

The Piano

Absolutely loved this film – the music, thematic elements, everything fit perfectly to make the it stand out.  Really enjoyed The Piano’s representation of music as Ada’s true voice. 

Do the Right Thing

This was a fun watch.  A fantastic portrayal of what it means to “do the right thing,” no matter your background or who you are. 

El Topo

Surreal, surprising, sort of insane. In this film, the viewer’s taken through a sort of drug-induced, dream-like narrative—lots of satire/allegorical elements, too.  Definitely worth a watch. 

Seconds

Really enjoyed this film.  Love the dystopian feel, and the common science fiction trope of exploring big corporate power. 

The Hitch-Hiker

A great film by acclaimed director Ida Lupino.  Very suspenseful, and challenges the stereotypes associated with noir films of this era. 

Double Indemnity

Wasn’t my favorite film of the term, but definitely worth a watch for anyone interested in noir films and the infamous femme-fatale. 

M

A masterpiece directed by Fritz Lang.  Elements of melodrama, and even horror, combined with dark scenes and shadowy figures, makes this film ahead of its time. 

Sherlock Jr.

I couldn’t have had a better introduction to silent films.  Buster Keaton did a phenomenal job with Sherlock Jr.  It’s humor is perfect, and it’s entertainment value is hardly matched by much of modern cinema. 

On Blancanieves

Blancanieves, directed by Pablo Berger, is a stunning contemporary silent film.  Modern audiences will quickly discover that there need be no interruptive jabber to make a film worthy of their gaze.  Rather, viewers will come to realize and respect their experience of a film in a different manner.  The film’s silence—the old-fashioned title cards and inaudible dialogue—greatly enhances its narrative.  The viewer is left guessing, waiting for the words to appear onscreen.  Modern cinematography, accompanied by Spanish-style melodies, help to move the story along. 

Set in a Spanish town during the 1920’s, this black-and-white film is far from bleak.  The cinematography is beautifully engaging, inviting the audience to be a part of the narrative.  The acting is as well-executed as any, and the actors were masterfully chosen.  Following a Snow White based storyline, with a Spanish bullfighting twist, Blancanieves proves the timelessness of our most beloved fairytales.  Though, the film is far from a children’s bed time story. 

Time and again, the evil stepmother, Encarna, displays her ruthlessness toward all who surround her.  Most vulnerable to Encarna’s villainous behavior, Carmen lie beholden to a range of ill-treatment. The viewer is left with an almost constant desire for revenge.  A strong feeling of resentment and hatred is conjured as a result.  Finally, only after Encarna’s demise, is any sense of satisfaction achieved. 

The ending of Blancanieves, possibly contrary to popular opinion, was absolutely wonderful.  As a mere prop for a circus freak-show, Carmen is placed inside the classic Snow White glass box, waiting for her Prince Charming to bring her back to life with a kiss.  At the very end, when the man who could be considered her true love kisses her, we see a tear slide down her cheek. She did not suddenly awaken, as may be the case in traditional fairytale stories.  The tear that rolled ever-so-slightly down Carmen’s cheek, 

Zero Dark Thirty: Gender Construction

            Directed by the first woman in history to win an Oscar for Best Director, Kathryn Bigelow’s Zero Dark Thirty is a truly unique film.  Central to the film is a persistent CIA agent whose determination ultimately leads to the raid on bin Laden’s Abbottabad compound.  Maya, played by Jessica Chastain, is the film’s strong and highly intelligent lead.  Different from most military/war films of any era, Zero Dark Thirty’s strong female lead truly sets it apart.  But, aside from this, what does ZDT bring to the table?  

            The argument can be made that Zero Dark Thirty is, in some ways at least, a feminist film.  In Bigelow’s film, women are not sexualized objects placed at man’s every whim.  Rather, the films protagonist stands out from her male counterparts.  During one scene, Maya spouts, “I’m the mother f*cker that found this place,” when speaking to the CIA director in reference to the Abbottabad compound.  Her male counterparts take note of her unremitting confidence.  She lets no one define who she is but herself.

            But, Bigelow’s Zero Dark Thirty is also criticized as a film that doesn’t live up to feminist ideals.  It is argued that the only difference between ZDT and the countless other military/war films is that of the female lead.  And that, though Bigelow has been highly proclaimed for her work as a director, Zero Dark Thirty is yet another film in the American Imperialist machine.  Proponents to this school of thought proclaim that Bigelow’s film defies gender equality by promoting ideals (the glorification of war, etc.) that are fundamental to patriarchy. 

            Both points hold a good deal of weight, and both are, to an extent, true.  It depends on how the film is viewed, and by whom (obviously…).  ZDT does stand out from the over-abundance of military/war films.  There are a plethora of issues that have been debated around this film, controversy upon controversy has been stirred.  And, being all-to familiar with 9-11 history, the War on Terror, and the hunt for bin Laden, I’m not sure what to make of Zero Dark Thirty. 

On The Devil's Backbone: Fable or Horror?

While del Toro’s The Devil’s Backbone has elements of horror (lots of gore/violence and suspense), it also contains layers of fable and fantasy.  The film reminded me, from the very beginning, of Pan’s Labyrinth – directed by del Toro as well – which I didn’t know until after watching.  Devil’s Backbone is very suspenseful at times, perhaps adding to the horror-like affect.  When Santi’s ghost character randomly pops out at the viewer, with a shrieking sound, the feel is very horror-esque.  However, unlike many horror films, our “ghost” is not a super terrifying, deranged, monster-like creature (or a serial-murderer of sorts).  Santi, brutally (and accidentally) murdered by the stories antagonist, is only a child.  While he does look semi-terrifying, we’re able to see past that, and feel his desire to avenge his death at the hands of Jacinto.    

In some sense, Santi’s ghost is beautiful – a “fantastical” and almost mythological being.  Also, the film’s narrative is much more creative and well-written than many horror films of this generation (just my opinion).  It contains political allegories and stabs at “the establishment,” instead of showcasing a simple, corny, overdone plot. 

So, in conclusion, there are definitely elements of horror in del Toro’s Devil’s Backbone – I may have jumped from fear more than a few times while watching.  But, to me, it’s more of an allegorical, whimsical, mythological story. 

The Piano - Understanding Through Sound

While this scene may not be exceptionally beautiful or aesthetically pleasing to the eye, it represents something of great significance.  This scene, in particular, showcases Ada’s use of her piano to communicate with the outside world—to “speak” her mind through music.   Throughout The Piano—through it’s ups and downs—Ada’s use of music as a means of communication is prevalent.  Even in her sleep, Ada conjures up wonderful arrangements, providing a soundtrack to her dreams (at least, that’s how I like to think it would work).  

At this point in the film, Ada’s husband gossips (for lack of a better term) with a few women of the village about the possible departure of Gaines.  The villagers speculate over his reason for leaving, concluding that he must have had trouble with the natives.  This, however, is not the reason—as Ada and her husband are all-too aware.

Hearing news that Gaines is leaving, Ada, with her usual melancholic glare, sits at her beloved piano—her mode of speaking, of expressing her feelings.  As she keys a sorrowful but beautiful tune, the people surrounding her begin to stare.  The expressions, especially worn by Ada’s husband, look as if they comprehend the desolate melody—as if each note had hit them where it counts.  Later, one of the onlookers commented that Ada’s playing was like “a mood that passes through you … a sound that creeps into you.” 

The Piano’s rich melodies passed through me, too—the score is very moving and well written. 

On Do the Right Thing

In relation to Lee’s film, the doing the “right thing” is often more complicated than it seems on the surface.  While doing what’s right can be viewed in a general sense so as to not conflict with decency and moral guidelines, the “right thing” is also subjective – depending on one’s own circumstances and surroundings.  As demonstrated in the film, doing the right thing may vary from person to person. 

Throughout Spike Lee’s Do the Right Thing, different characters from different sides of the spectrum try to do the right thing, but often fall short.  Radio Raheem, for example, speaks about love conflicting and competing with hatred.  And, while Raheem realizes this conflict, and the need for love to defeat hate, he’s overcome by his own anger and hatred in the midst of his oppression.  The police who eventually murder Raheem could’ve done the right thing by letting him live.

So, I think an overarching theme of Lee’s Do the Right Thing is that, no matter of race or ethnic background, we should all strive to do what’s right, even in a society where it’s sometimes difficult to know just what that is.  Through his film, Lee shows that people on all sides of the spectrum are subject to hardship and stereotypes.  And, people handle such situations in different ways.  Many of the film’s characters could have done the “right thing” but let their hatred overcome their love.  

On El Topo

This particular scene, while it may not fairly characterize El Topo in it’s entirety, provides a great depiction of the backwards and bizarre nature of the townspeople and their “faith.”  The scene portrays a cult-like religious ceremony.  A procession in which the participants are surrounded by the “all seeing eye,” as they falsely believe that they are witnessing “miracles.” 

 

The preacher/cult leader hands the followers a six-shooter revolver for a game of Russian roulette, while they eerily chant “God will protect us.”  What these false believers don’t realize is that – while they pass the gun from person to person, holding it to their heads and pulling the trigger – the pistol is loaded with a blank.  So, the “miracle” of them not shooting themselves is nothing but a fraud, a phony scheme used to keep the townspeople believing in the sham.  Later, the blank is replaced with a real, fire-ready bullet.  Again, the revolver’s passed between members of the congregation.  This time, though, it ends up being anything but miraculous. It turns to tragedy as a child grabs hold the gun and it fires – a horrific, gory, unexpected scene.  After this incident, the “church” is through.  No longer will members want to return and blindly follow their phony leader. 

Not only does this scene represent the perplexing nature of El Topo, it seems to mockingly reflect society and its religious structure/institutions.  The townspeople, engaging in all sorts of immoral activities, still hold the belief that they, above others, will be protected by their faith.  

On Seconds: A resemblance to Blade Runner?

Comparing Seconds to other dystopian films has proven somewhat difficult, as I’ve not seen too many films under this genre.  There were, however, some elements within Seconds that reminded me of Sci-Fi, dystopian films like Blade Runner.  While watching Seconds, it seemed much more like a Sci-Fi dystopia, rather than strictly a dystopian thriller. 

One of the big themes in Science Fiction, and dystopian films in general, is big corporate power.  In Seconds, the “Company” held absolute power over the individuals that they claimed they wanted to help.  In films like Blade Runner, based on Phillip K. Dick’s novel, Do Androids Dream of Electric Sheep, the “mega-corporations” wield all the power over the dystopian world they inhabit. 

Another theme from Seconds that slightly resembles Blade Runner and other Sci-Fi works, is that of being “born again.”  Just like the Company in Seconds, the mega-corporations in Blade Runner manufacture what they call “replicants.”  So, the idea of a powerful corporation wielding more control than they should, is a central theme to both Seconds as well as Blade Runner.  The fact that they sort of “create” these beings is also inherent to both works.   

On The Hitch-Hiker

The Hitch-Hiker is a story of three men – one with a gun and the others reluctantly at his whim – struggling to survive.  Roy Collins and Gilbert Bowen, two friends supposedly on a “fishing trip,” find themselves face-to-face with the hitch-hiking, serial killing Emmett Myers.  Myers holds the two friends at gunpoint throughout the film, coaxing them into disastrous situations.  The film ends almost anti-climatically, as Myers is recognized and caught by the Mexican police.    

While many classic noir films portray women in a negative light – glamorous, but dodgy and dangerous – Ida Lupino challenged such notions with film’s like The Hitch-Hiker.   Not only is Ida Lupino considered to be the first female noir director, her crafty character choice in also of significance.  Unlike most film noirs, The Hitch-Hiker had a predominantly – almost entirely – male cast.  Instead of the femme fatale commonly associated with film noir, William Talman leads the film as the uneasy and villainous Emmett Myers.  The film’s lead characters, as well as those only placed in a few scenes, are men.  During a time when cinema was riddled with narratives that attempted to reinforce stereotypical norms, and noir films were aimed at portraying women as the villain, Lupino’s Hitch-Hiker did the opposite.

Also unlike many classic noir films, Lupino’s Hitch-Hiker has some very spacious cinematic elements.  Though there is some sense of claustrophobia during scenes shot inside the car, a good portion of the film depicts vast desert terrain and “lonely” highways instead of jam-packed cities.  This vastness is another opposition to classic noir films, but Lupino makes it work brilliantly. 

While The Hitch-Hiker employs many components that establish it as a true noir film, the elements that are outside the realm of noir are interesting to dissect. 

On Double Indemnity

While I don't want to undermine the progress made in terms of the representation of women in cinema, I think that Double Indemnity and other noir films -- though groundbreaking in their portrayal of women -- hardly present a fair representaion.  I definitely think that such films challenge many preconceived notions of gender and the roles women traditionally play (in film and society).  Still, however, it seems that the women portrayed in these films are, in many ways, confined and defined by societal norms.
Take Phyllis, for instance.  Yes, she is a very strong, witty character, which goes against the grain of the wife or motherly character often portrayed in cinema during this period.  But, Phyllis' strength and self-determination stem from the limitations placed upon her by her husband.  I'm not saying this is a bad thing at all (for her to be determined to "get out" of the relationship).  Rather, that Phyllis D's power is a product of her confinement at the hands of men.
Instead of portraying women in a positive light, films like Double Indemnity often present women in destructive roles.  While these roles may be considered powerful and liberating for women, they also may be a bit over-the-top -- providing an extreme generalization and negative image.

On M: Melodrama or Horror?

While there are melodramatic elements in Fritz Lang’s M, it’s difficult to categorize the film as a melodrama.  Nor, one could argue, can M fit perfectly into the realm of horror.  As I watched the film, I kept this question in mind – is it horror or melodrama?  At M’s conclusion, I realized that the film contains the best from both worlds.  Lang’s film seamlessly integrates these different genres, creating a stunning composition. 

Moreover, though, I would argue that Lang’s M is more along the lines of horror.  Introducing the murderer as a shadow, whistling an eerie but familiar tune, definitely plays on the chords of horror.  Not to mention the film’s subject matter – a serial murderer who is utterly powerless over his impulse to kill children.  The subject matter in-and-of itself seems very horror-esque.  The elements of suspense used in M also lead me to this classification. As the film plays out, excitement and anticipation builds for the viewer.  So, really, one could place M in a number of genres or categories.  In the end, it’s viewer who decides.    

On Sherlock Jr: Keaton and Self-Reflexivity

Perhaps the best example of Keaton’s use of self-reflexivity in Sherlock Jr. takes place during the film’s final scene. Realizing that she’s “made a terrible mistake” in blaming Keaton for stealing a pocket watch belonging to her father, Keaton’s wanna-be girlfriend confronts him to apologize.  The awe-struck Keaton, working as a “moving picture operator,” hardly knows how to handle this situation.  After dreaming of himself as the heroic, well-respected detective – bravely exposing the real thieves and rescuing the girl – Keaton now finds himself facing his awkward reality.  After her apology to Keaton, he fumbles for the right words, for the right move to make.  Remembering his role as moving picture operator, Keaton notices the characters on the silver screen.  He awkwardly mimics the actions of the two characters – man and woman, in love – as they embrace.  He takes what he sees on the film and applies it to his present position, while in reality, he’s part of a film himself.  A film within a film, that also demonstrates the ability of this medium to persuade and teach.  Keaton’s use of self-reflexive techniques, while innovative and entertaining, is truly effective in demonstrating some of the lesser-known aspects of film.    

Intro Video

Looking Forward to the Semester! 

An introductory video detailing some of my interests in terms of film, as well as my expectations for the course.

Background Music: Jon Brion "Monday" from I Heart Huckabees