City of God

Movie: City of God, 2002; 130 min

Director: Fernando Meirelles

Actors: Alexandre Rodrigues, Matheus Nachtergaele, Leandro Firmino

Summary: The story follows two boys who grow up in the same slum neighborhood of Rio de Janeiro but lead different lives as they grow older. Later on, the stories of Rocket, an aspiring photographer, and Li’l Zé, a gang leader/drug dealer, intertwine during drug wars in the City of God.

Question 1: What significance does the chicken at the beginning of the film have?

The film begins with a montage series of choppy cuts of knives being sharpened, cutting vegetables, and slaughtering chickens for a meal. One brown chicken continues to appear throughout the sequence where other chickens are being slaughtered right in front of it. The chicken becomes aware of his deadly fate and lets himself free. Even though the chicken is free from the tie around his foot, he is now running away from a group of hoodlums with guns in their hands, shooting after it as if their guns were toys. This chicken serves as a symbol for all the people who are slaughtered by the relentless hoodlums. Once these unfortunate people become aware that their life is in danger by the hoodlums, they attempt to escape and run away. But most of the time, the hoodlums will find and kill the people whom they pursue. With the chicken in the context of the story, the opening scene serves as a precursor to what will happen throughout the film.

Question 2: What role does the camera play at the end of the film? What unique effect does the director use pertaining to the camera?

Rocket, along with his new camera, happens to be present during a monumental/final battle in the war between the two drug gangs in the City of God. With his camera, Rocket captures pictures that will guarantee him an opportunity for a steady job, something a majority of the people in the City of God does not have. The camera offers Rocket an escape from his world of violence and death. Rocket also captures photographs of the policeman taking bribes from Li’l Zé. These photographs could either make him go down in history for revealing the injustice of the police system, or they could be the end of him because they go against the police. The last set of photographs Rocket takes are of Li’l Zé after he is shot multiple times by the Runts with their new guns. As Rocket walks from his observation point to where Li’l Zé lays face-down on the ground, the director purposely makes the shot as if seen through a camera lens kept on in between pictures; a lens that is not pointed at anything specific. The shot through a camera lens stops once a photo is snapped of Li’l Zé.

Cinema Paradiso

Movie: Cinema Paradiso, 1988; 155 min

Director: Giuseppe Tornatore

Actors: Philippe Noiret, Enzo Cannavale, Antonella Attili

Summary: A successful filmmaker, Salvatore Di Vita, recalls his childhood living in a small Italian town and falling in love with movies at the local theater. The death of his good friend, the theater’s projectionist, brings back his memories.

Question 1: Describe the first movie showing at the local theater. What purpose does the director seem to have in this scene and how does he achieve it?

            The first scene of a movie showing at the local theater is one of many throughout the entire film. This scene, however, is significant because it helps captivate the audience and brings them into the theater with its patrons. The director’s objective with this scene seems to be to bring the audience into the theater and make them feel like they are actually there feeling the magic of the movies that the patrons feel. The multiple panning shots of the audience and close-ups on different patrons, and especially Toto, give the film’s audience a feeling of actually being there because they can see everyone else’s reactions to what is being shown on the movie screen. The theater audience also interacts with the movies shown on screen by making Indian noises at the John Wayne cowboy trailer, laughing together at Charlie Chaplin, and complaining when the movie cuts right before a kissing scene. Even though the theater environment differs greatly from that of present day movie theaters, the film’s audience can actually feel like they are there right when the movies were becoming popular.

Question 2: How does the director transition Toto from a child to a teenager? What is significant about this scene?

            After the theater fire, Alfredo becomes blind and can no longer work the movie projector. The only other person who knows how is Toto, who takes on the job at a very young age. Toto’s transition occurs when Antonio places his hand over Toto’s face as he talks about how important sight is to a person. When Antonio takes his hand off Toto’s face, the boy is now a teenager still working in the projection booth. This transition shows that the strong relationship between Toto and Antonio and Toto’s job and passion for movies still has not changed after all these years. The transition can also serve as a metaphor that life and childhood moves by quickly. 

Breathless

Movie: Breathless, 1960; 87 min

Director: Jean-Luc Godard

Actors: Jean-Paul Belmondo and Jean Seberg

Summary: The story follows Michel, a criminal on the run for shooting a policeman. Michael attempts to persuade his American girlfriend, Patricia, to run away to Italy with him.

Question 1: How does the unique narrating style at the beginning of the film contribute to the plot?

            At the beginning of the film, Michel is talking to someone, but this person is never addressed. It is soon realized that he is in fact talking to the audience as he steals a car and drives away. The car scene is seen though Michel’s eyes as he drives along the countryside road in his new, stolen car. As he drives, Michel continues to talk to the camera/audience. This narrating style can be suggestive of Michel’s personality. For example, because he talks to someone who is not actually there in front of him, it is suggested that Michel does not enjoy being alone. This unique narrating style gives the sense that Michel is not alone even though in reality he is the only one in the stolen car.

Question 2: How does the director’s use of multiple cuts and a choppy style contribute to the story?

            The film, at first, seems to be very choppy with cuts. There are many more cuts in each scene compared to the average film. These choppy cuts maybe seem like poor filmmaking, but they are actually the opposite. The director uses these multiple cuts to contribute to the story. The film is “breathless” in French, and the multiple cuts evoke a feeling of attempting to catch one’s breath. They create a fast paced tension—like a quickened heart beat in some sorts. The choppy cuts make the audience feel the stress of being pursued, a feeling that the principal character constantly feels. This choppy style is an example of a film director’s purpose in every one of his shots and cuts. 

Dreams

Movie: Dreams, 1990; 119 min

Director: Akira Kurosowa

Actors: Akira Terao, Martin Scorsese, Mitsunori Isaki, Chisho Ryu, Mieko Harada

Summary: The film is comprised of eight different, imaginative dreams that are shown in this order: Sunshine Through The Rain, The Peach Orchard, The Blizzard, The Tunnel, Crows, Mount Fuji in Red, The Weeping Demon, Village of the Watermills.

Question 1: What is the purpose for the absence of music during a majority of the blizzard dream?

Although the blizzard has multiple dream-like qualities—for example, the random woman in the middle of the blizzard—the absence of music causes the dream to seem very real. The director and composer accomplish this by only including the white noise of the blizzard, without any accompaniment of a musical score. This absence of sound makes the dream feel like more of a reality because in a real blizzard, the sound is so intense that all anyone would be able to hear is a loud white noise. Without including a musical score for the majority of the scene, the director and composer succeed in making the audience question if this dream is different from the others and if this blizzard is not a dream, but reality. Another approach can be that the blizzard is reality, and when the score comes in towards the middle of the scene, this is when the dream occurs. In other words, the entire story is not a dream, but the dream occurs within the blizzard.

Question 2: How does the director bring the man into VanGough’s world during the painting/museum scene?

The dream starts with a man admiring VanGough’s paintings at a museum. All of a sudden, the man is within one of the painting’s settings. The director makes it obvious that the new place is VanGough’s world because all of the colors are vibrant and the places are recognizable in some of VanGough’s famous works of art. For example, the man walks to the haystacks and past colorful houses and bridges. Also, the director uses an interesting technique to bring the man into a new world by using green screen technology to make the man look as if he walks through pathways in some of VanGough’s paintings. This interesting cinematic technique brings the audience into the paintings and as well, it intensifies the dream to make it more extreme yet also magical at the same time

Rules of the Game

Movie: The Rules of the Game, 1939; 106 min

Director: John Renoir

Actors: Nora Gregor, Paulette Dubost, Marcel Dalio, Jean Renoir, Julien Carette

Summary: The story focuses on wealthy French life at the beginning of World War II. It follows the wealthy and their servants in their game of love.

Question 1: Explain a scene where source music is used to portray the life of the wealthy during the time.

            Source music is used throughout the film – when a band is playing, when people are singing; it is heard/seen anytime the source of the music can be recognized on screen. One specific scene where source music is used occurs when the man and the maid are standing in one of the expensively furnished rooms in the affluent household. The source of the music comes from the record player that the two play in the room. As the music plays, the man and maid run around the room laughing and smiling. The music coming from the record player has an upbeat rhythm. This upbeat rhythm, along with the laughing and running around, portrays the carefree and privileged life of the wealthy people living in the mansion.

Question 2: During the hunt scene, what techniques does the director use to make the audience feel like they are taking part in the hunt?

            The scene begins with men walking through the forest, hitting the trees to make the rabbits come out. As the camera follows the men, it also follows the rabbits that are soon to be hunted. The director’s use of this series of tracking shots gives the audience a sense that they are walking alongside the men and taking part in the adventure of the hunt. Instead of simply showing the hunt, the director uses the tracking shots during the preparation of the hunt (which is using noise to get the rabbits out of hiding). These tracking shots build up to the excitement of the hunt, bringing the audience into the scene at the same time. The scene ends with loud gunshots going off and rabbits and peasants are seen falling to the ground. The hunt has begun and by this point the audience feels like they are taking part in the excitement due to the director’s use of tracking shots at the beginning of the scene.

The Godfather Part II

Movie: The Godfather Part II, 1974; 200 min

Director: Francis Ford Coppola

Actors: Al Pachino, Robert Duvall, Diane Keaton, Robert De Niro

Summary: As Michael, the new Don Corleone, expands his control over his syndicate that stretches from Nevada to pre-revolutionary Cuba, the past story of his father, Vito, is portrayed.

Question 1: Discuss how the connection between Michael with his father Don Vito Corleone is portrayed at the beginning of the film.

Similarities between the first and second films can be seen in the opening of the second film. Both films begin with a family gathering/celebration where people come in to see the Don of the Corleone family at the time. In the second film, Michael has taken the place of his father as the head of the family. During a large celebration at his mansion, people come to Michael’s office to ask the Don for advice and help. The way Michael conducts his meetings is similar to that of how his father conducted meetings in the first film. Coppola uses these connections and similarities between Michael and his father to portray Michael’s new role as the head of the family. He has now taken his father’s place and has his shoes to fill; this is why Michael starts to conduct his affairs similar to how his father did at the family celebration.

Question 2: Discuss the importance of mise en scene and wardrobe in the film.

This film takes place in two different eras: the past when Don Vito is young, and the present when Michael is the head of the family. Mise en scene is especially important to the film because it tells the audience that the time period has changed and a different storyline is beginning or continuing. Wardrobe can tell a great deal about the time period and also about what stages the characters are in at each time of their life. For example, it is recognizable that Don Vito has not yet become successful when he is wearing less expensive clothes and is still working in the local store. Also, the setting tells what stage Vito is in his life because before he becomes successful he lives in a small apartment with his family and with little belongings. Mise en scene also sets apart the more recent time period in the film when Michael is the head of the family. Michael’s home and clothing are both proof of his success and wealth, unlike his father before he became the Don. Without mise en scene in wardrobe and setting, there would be no way for the audience to differentiate between the two time periods of the film.

Raging Bull

Movie: Raging Bull, 1980; 129 min

Director: Martin Scorsese

Actors: Robert De Niro, Cathy Moriarty, Joe Pesci

Summary: The story of Jake La Motta, an emotionally unstable boxer, unfolds as his career progresses but his life outside the ring slowly becomes destroyed.

Question 1: Opera music plays at certain points throughout the film. At what points does the music play and why? Give specific examples.

Opera music is played throughout the entire film. It opens the film with the credits along with a slow motion scene of a fighter in the ring. The opera music sets a calming and peaceful tone to the scene, but it is actually used to serve as a contrast to the danger of the fighting that occurs in the boxing ring. When the music is played at the beginning of the film, it makes it seem as though the boxer is dancing instead of fighting. The opera music continues throughout the film, especially during times of chaos and fighting. It plays during Jay’s boxing matches and also during a bar fight with Joey. The music is interesting because it is such a contrast to the scenes in which it plays during. This contrast between the music and what is happening in the scenes might be used to calm the intensity of the scene/fights, or it could also be used to add to the intensity because opera music would not typically be played during a fight.

Question 2: Give an analysis on the fight scene montage.  How does the director portray this sequence of shots differently compared to the rest of the film?

The major fight scene montage is different than other scenes in the film due to the fact that it is a montage and it also incorporates scenes in color. The fight is to opera music, as if the boxers are dancing together in the ring. Instead of the shots flowing together, they are broken up into stills, creating more of a montage feel. This technique is used to contrast the other fight scenes in the film because this scene is one of the more major ones. The quick and sharp changes between the shots of the fight give a sense of chaos and tension to the audience. Also incorporated into the fight scene montage are home videos of Joey’s wedding, of Jay and Vicki together, and of the family. What makes these videos different from the rest of the film is that they are the only shots that are shot in color. The contrast between the black and white of the film to the color of the home videos portrays the fact that Jay’s life would be brighter if he values his family over his bleak, black and white life as a boxer.

All About Eve

Movie: All About Eve, 1950; 138 min

Director: Joseph L. Mankiewicz

Actors: Bette Davis, Anne Baxter, George Sanders, Celeste Holm, Thelma Ritter

Summary: Eve, an aspiring young actress, insinuates herself into the company of Margo, a famous but older stage actress. Through Margo, Eve gains connections with other directors, writers, and actress in the theater, bringing herself closer to her dream of becoming a famous stage actress.

Question 1:  How does the opening of the film begin the story and foreshadow what will happen in the story?

The film opens with Eve receiving an award for her acting in the theater. When she receives the reward, the film stops in a picture and a narrator begins to talk. He gives a background on Eve; he tells how everyone knows “everything” about Eve, and also introduces the question of what people do not know about Eve. This introduces the story and the plot of the film. The camera then cuts to Karen who begins her narration back into the past evening when she met Eve and everything began. The opening also foreshadows what will happen in the film because it shows Karen and Margo’s reactions when Eve receives her acting award. All the guests at the awards gala are clapping in appraisal and respect towards Eve, yet Margo and Karen abstain from clapping. Their actions suggest a sort of hostility and contempt towards Eve. The reasons for these feelings are revealed later in the film but are suggested at the beginning.

Question 2: What similarity does Phoebe have with Eve? How is this portrayed at the end of the film?

At the end of the film, Eve encounters Phoebe, a teenage girl who says that she is writing a journalism piece on Eve for her school newspaper. Little does Eve know that Phoebe has hidden desires of becoming a stage actress and that Phoebe will do anything to reach her goal. Phoebe’s desires are portrayed when she holds Eve’s award and pretends that it is hers. Phoebe looks at herself in the mirror as she wears Eve’s beautiful, expensive overcoat, just as Eve did with Margo’s dress. This camera shot is interesting because from the angle it is shot through the mirror, it looks as though there are hundreds of Phoebes instead of one. This shot portrays Phoebe’s desire to be famous and for everyone to know her name. Eve, however, does not seem to notice the great similarity that Phoebe has with herself. This similarity is that they both will do absolutely anything to achieve their dreams of becoming successful actresses. Just as Eve gained her success through her connection with Margo, Phoebe intends to do the same with Eve.

Some Like it Hot

Movie: Some Like It Hot, 1959; 122 min

Director: Billy Wilder

Actors: Marilyn Monroe, Tony Curtis, Jack Lemmon

Summary: Two struggling musicians, Joe and Jerry, witness a mob hit and are forced to flee New York City. Except their ticket out of the city is dressing up as women and joining an all-female band. Further complications occur when the men develop feelings for a beautiful band member, Sugar.

Question 1:  How does the film portray the time period in which it takes place?

Though made in the 1950s, the film takes place during the 1920s, which was a time of prohibition. During the time, there were police raids of illegal speakeasies and arrests of bootleggers who sold alcohol illegally. Even though alcohol was illegal at the time, people enjoyed partying and drinking. This 1920s lifestyle is portrayed throughout the film. For example, Joe and Jerry play at an illegal nightclub (aka speakeasy) in a “funeral home” that is raided by the police. Also, the plot is driven by a gang of bootleggers who kill others competing for their alcohol sales. In addition, the girls in the band sneak alcohol around in their bags and have parties in the middle of the night. These situations were typical to the time period, and by including them in the film, the time period is easily recognizable.

Question 2: What is the irony behind Joe and Jerry’s situation? Talk about specific scenes and why this irony adds comedy and plot to the film.

Joe and Jerry both dress up as women in order to join an all girl band and flee the city, but they find themselves attracted to the beautiful Sugar. Except, the irony behind their situation is that they cannot show their attraction to Sugar if they are dressed up as women otherwise they will blow their covers and be kicked out of the band. Their covers are finally blown when Jerry kisses sugar on stage in front of an entire audience. Normally this scene would be romantic, but it is also comedic because Jerry is still dressed as a woman. Also, Joe and Jerry flee the city in order to get away from a gang of bootleggers after they witness a murder. The plot intensifies when the bootleggers come to Florida where Joe and Jerry are playing as women, but it becomes even more involved when the two witness a second murder. The irony behind them witnessing two murders (the second murder happening to be of the gang members who were looking for Joe and Jerry in the first place) adds more tension to the plot.

Annie Hall

Movie: Annie Hall, 1977; 93 min

Director: Woody Allen

Actors: Woody Allen, Dianne Keaton, Tony Roberts, Carol Kane, Paul Simon, Janey Margoun, Shelly Duvall, Christopher Walken, Colleen Dewhurst

Summary: A neurotic New York comedian shares the stories of his past loves, focusing on his love with Annie Hall.

Question 1: What effect does the narrator have on the story and how does the narration differ from that of other films?

The main character, Alvy, is also the narrator of the film. Throughout the film, he talks with the audience and shares his stories of his past. At the beginning of the film, he traces his neurotic nature back to his childhood living next to the rollercoaster in Coney Island, Brooklyn. He reflects back to himself in elementary school, and at one point takes the place of his childhood self as an adult in the classroom. This connection can portray the fact that even though Alvy is an adult, he is still a child at heart. As he shares his story about his falling in love with Annie, Alvy also reflects back to his past loves and wives. He narrates and shares what went wrong in his love life. The fact that the story is controlled by the main character’s narration gives the film more of an informal, documentary-like feel. This narration style differs from other films, which are typically not narrated by anyone at all.

Question 2: When Alvy and Annie just meet and have a conversation in Annie’s apartment, what is unique about the dialogue in their conversation?

First encounters can sometimes be awkward between a man and a woman. This awkwardness is portrayed in the scene on the balcony of Annie’s apartment. As the two are having a conversation, subtitles are shown on the bottom of the screen. At first these subtitles seem out of place because they are not in the rest of the movie, but then the audience realizes that the subtitles do not match what is being said in the dialogue. The subtitles are meant to tell the audience what Annie and Alvy are really thinking as they continue their conversation. The subtitles are unique because they portray the awkward nature of a first conversation with a potential lover. They also show how the two are not yet comfortable enough with each other to speak what they are actually thinking. The subtitles along with the dialogue also provide a comedic relief to their conversation because it is funny for the audience to see what is really going through the characters minds as they carry out a conversation.

The Graduate

Movie: The Graduate, 1967; 105 min

Director: Mike Nichols

Actors: Anne Bancroft, Dustin Hoffman, Katharine Ross

Summary: Benjamin Braddock, a recent college graduate, finds himself trapped within an affair with his parents’ friend Mrs. Robinson. After becoming deeply involved with the affair, he falls in love with Mrs. Robinson’s beautiful daughter, Elaine.

Question 1:  Analyze the scene when Ben is shaving. Explain how Ben shows his emotions through his movements.

When Ben is shaving, his mother comes in the bathroom and asks where he goes every night. He lies by saying he goes for a drive, but the audience knows this is not true. During their conversation, the shot only shows Bens chin being shaved. Before he lies, he stops shaving for a moment, and then begins going faster as he tells the lie. By his movements, the audience can see his inner emotions from his movements. Also, when Ben’s mother asks if he has been seeing a girl, the camera immediately cuts to a close-up of him cutting his finger with the razor. Her question catches him by surprise, shown through his reaction with the razor. These close-ups of Ben’s chin and finger are used to make the audience feel his emotions and his fears of his mother finding out about the affair.

Question 2: How do the monkeys at the zoo parallel Ben’s situation with Elaine?

When Ben follows Elaine to the zoo he is left behind once her date comes to meet her there. Elaine and her date walk away with their arms around each other, leaving Ben alone in front of the monkey exhibit. Ben looks at the two monkeys who have their arms around each other. These two monkeys happen to parallel his situation with Elaine, because Elaine and her date walked away with their arms around each other. The shot then cuts to Ben’s face and focuses on a gorilla in another exhibit in the background. This gorilla, unlike the two monkeys, is alone. In a way, this gorilla represents Ben and the fact that he is alone. Also, monkeys are considered to be silly and to commit careless actions. The typical actions of monkeys can also parallel Ben’s careless action of becoming involved in an affair with Mrs. Robinson. This affair is the reason behind why Elaine does not want to be with Ben, and the reason why he is left alone at the zoo just like the lone gorilla.

Forrest Gump

Movie: Forrest Gump, 1994; 141 min

Director: Robert Zemeckis

Actors: Tom Hanks, Robin Wright, Gary Sinise, Sally Field

Summary: Forrest Gump, an unintelligent but sincere man, shares the story of his life and his accidental presences at many historic events. He also shares the story of his true love, Jenny.

Question 1: What significance does the feather have within the story?

The floating feather opens and closes the film. The film begins with the feather floating, accompanied by the musical score, through the sky. It happens to land of Forrest’s foot, to where he sees it and stores it safely in his Curious George book. The book is then seen in Forrest’s memories of his childhood when his mother reads it to him before bed. Later, at the end of the film, Little Forrest brings the book to show for show and tell at school. Before Little Forrest goes to school, Forrest opens the book and reflects back on his childhood and his mother. The feather then falls out and floats away in the wind, tying up the end of the story. In many ways, the feather represents Forrest’s life. He goes with the flow and lets life take him wherever the wind takes him. Forrest does not plan ahead into the future; instead he lives in the present moment and follows where his heart takes him, just like the feather.  

Question 2: How does the soundtrack contribute to the film?

The soundtrack plays a major role in this film because each song defines the time period in which the movie is taking place. The movie begins during Forrest’s childhood in the 1950’s when Elvis just began to emerge as a musical icon. Elvis Presley’s song, “Hound Dog,” plays on a television set that Forrest and his mother see as they are walking by a store, and Forrest’s mother says, “this is not for children’s eyes.” The mother’s statement historically matches with the older generation’s reaction to Elvis’ new, more scandalous style of music. Also, during the Vietnam War time in the film, legendary songs of that time period are played in the background before Forrest goes to war and while he is in combat. Before Forrest goes to war, he goes to see Jenny sing Bob Dylan’s famous song about peace and acceptance, “Blowing in the Wind.” While Forrest is away at war iconic war songs such as Creedence Clearwater Revival’s “Fortunate Son” play to define the time period in which they come from. These recognizable songs continue throughout the film and help audience members relate to or reflect on the different time periods in the film.

Tootsie

Movie: Tootsie, 1982; 116 min

Director: Sydney Pollack

Actors: Dustin Hoffman, Jessica Lange, Teri Garr

Summary: Actor, Michael Dorsey, cannot find work anywhere in New York City so he decides create an alter ego, Dorthy Michaels, and dresses up as a woman to land the job on a television soap opera. He soon falls in love with one of the actresses on the show, Julie Nichols, whose widowed father falls in love with Dorthy. A crazy love triangle forms and provides a comedic storyline to the film.

Question 1: How are women in the 80’s portrayed in the film? State specific examples from the film.

The 1980’s were a time for change in the roles of women. Women had equal rights but they were still treated differently from men. These differences are portrayed through the film. For example, when Dorthy (Michael) attempts to get a taxi, it does not stop until Michael uses his harsh man’s voice. It does provide comedy to the film because it is a man dressed as a woman, but this also shows how men have a more dominant role in the 1980’s society. In addition, Dorthy brings up that the television show producer only calls women by nicknames such as “Baby” and “Tootsie,” but he does not call men by any nicknames. As a man dressed as a woman and called nicknames, Michael realizes that the producer seems to be putting himself above women due to his condescending nicknames and he wouldn’t dare to call another man by a nickname. Dorthy becomes openly against the nicknames and asserts her power as an independent woman who wants to be called by her real name. Julie’s father is also one of the men who sees men as stronger than women. He says that, “Bulls are bulls and roosters don’t lay eggs.” This statement directly shows how he believes that women should keep to their own roles and that men should keep to their own roles. This idea was probably common in the 1980’s and the film raises attention to the issue from a comedic standpoint.

Question 2: Analyze the differences in mise en scene (wardrobe and make-up) between Dorthy and Julie.

 Julie and Dorthy are both very different women. Julie is very natural, wearing little makeup and comfortable clothes, while Dorthy (Michael) wears heavy makeup and always dresses up. This contrast is interesting because Julie is a real woman and Dorthy is actually a man. Michael does happen to have to wear a great deal of makeup in order to hide his masculine features and to be able to pull off being a woman. When Dorthy comes to dinner at Julie’s apartment, the contrast in wardrobe especially shows because Dorthy gets all dressed up and Julie comes to the door in sweats and a sweatshirt. Julie seems to be more of a man looks wise compared to Dorthy because she wears little to no makeup and does not seem to be extremely preoccupied with her appearance. Julie’s attitude shows that someone can still be beautiful without makeup and fancy clothes, things that women were usually expected to wear.

Chinatown

Movie: Chinatown, 1974; 131 min
Director: Roman Polanski
Actors: Jack Nicolson, Faye Dunaway


Summary: J.J. Gittes, a private investigator, investigates an adultery case and soon finds himself in an investigation of a murder involving water. The murder is of Mr. Mulwray, a man who works for the Los Angeles water department.


Question 1: Choose a specific shot to describe, and analyze its plot significance.
Towards the beginning of the film, when the plot is just beginning to form, Gittes spies on Mr. Mulwray through a pair of binoculars. A series of shots alters between Gittes looking through his binoculars and Mr. Mulwary walking around a dry riverbed. Except, the shots of Mr. Mulwray are framed to look as if he is being seen through a binocular lens. This frame can take multiple purposes. It gives the audience a view of Mr. Mulwray through Gittes’ perspective. The binoculars give a closer view of the man, but they also provide an constricted view as well. The black binocular frame limits the audience’s sight of what is happening around Mr. Mulwray. This constricted view represents how little Gittes actually knows about Mr. Mulwray at this point in the plot. The shot also foreshadows something hidden and some sort of conspiracy. Not only does the binocular lens frame break the repetition of unframed shots in most films, but it also provides further insight into the plot of the film.


Question 2: What is the significance of the all white bedroom?
In the midst of chaos from the water conspiracy investigation, Gittes and Evelyn Mulwray find passion towards each other. One night after a near-death encounter, the two spend the night at Mrs. Mulwray’s house and there is a scene in her all white bedroom. This bedroom is a perfect example of mise en scene because is portrays multiple meanings. For one, the color of the room completely contrasts its owner because white typically signifies innocence, except Mrs. Mulwray does not seem very innocent. It is odd, however, that the room is entirely white. It suggests that she is completely innocent, yet nobody is completely innocent so this is suspicious. The complete white room can also take an alternate meaning; it can suggest that she is not innocent at all even though she comes off as innocent. The absence of innocence in the room serves as a foreshadowing mechanism for Mrs. Mulwray’s deep secret that is later revealed, showing proving that she really has no innocence at all.

Sound of Music

Movie: The Sound of Music, 1965; 174 min

Director: Robert Wise

Actors: Julie Andrews, Christopher Plummer

Summary:

Maria, a free spirited nun, takes on the role of governess for seven over-disciplined children of an ex-military man. At first the children reject Maria, until she introduces them to a childhood of much more freedom and to the art of music. As the movie progresses, the children and their father gain a passion for music and a newfound love for Maria.

Question 1: How is lighting used throughout the film? Give specific examples.

Throughout the film, lights are used to portray a deeper meaning in the story and in each shot. Lights are also used to draw in the audience’s eye to where they should focus at a each point in the film. For example, when Marie leaves the monastery, there is a high contrast in lighting. When she is still inside the monastery, there is less lighting, making the shot darker. But when Marie leaves the monastery, there lighting becomes brighter. This contrast in lighting indirectly portrays the freedom Marie gains when she leaves the constraints on her creativity from the monastery. When she leaves the darkly light monastery, she enters the brighter outside world and goes into t a new world of freedom for her creativity. Another example of the use of lighting in the film is when Liesl and her boyfriend meet outside in the garden. The scene is lit with a single light coming from a lamppost. The light focuses on the two young lovers, portraying the happiness and light-heartedness of young love. The darkness over everything except for the two also creates a sense that they are living in the moment and nothing else outside that moment matters. These contrasts in lighting both indirectly portray an idea in the film.

Question 2: What is the significance of the color green in the movie?

One dominant color that especially stands out is green. The green can have multiple meanings within the story. Green can portray nature, which is important to Marie because it contributes to her creativity and gives her inspiration for her music. The movie begins with Marie dancing and singing in the countryside with green mountains all around. The green color gives depth to the beautiful Austrian countryside, and makes the audience want to be there in the movie. Green also portrays life: life in nature and life in the children. Marie makes the children play clothes out of green curtains. These play clothes all the children to spend time in nature and play like normal children. In this sense, the green play clothes represent childhood and vitality. Also, green can represent money, which plays an important role in the movie because Captain Von Trapp has a great deal of money. This money influences the entire family and plot, and its great influence is shown through the dominance of green throughout the film. 

Bicycle Thief

Movie: Bicycle Thief, 1948; 93 min

Director: Vittorio De Sica

Actors: Lamberto Maggiorani, Enzo Staiola, Lianella Carell, Vittorio Antonucci

Summary:

An Italian man needs a bicycle in order to carry out his job. When his bicycle is stolen, he and his son set out to find it and the person who stole it.

Question 1: What aspects of Italian Neo-realism are exhibited throughout the film? State specific examples.

            Throughout the film, both thematic and visual realist techniques are exhibited. For example, a majority of the camera shots are in deep focus. When the man is walking through the streets looking for his bicycle, everything is in focus to show the audience that everything going on in the background is important. The story is also focused around daily activities. It revolves around an average, Italian man who must work in order to provide for his family. The movie shows the busy streets, men working, children wandering the streets, and many more daily activities. The film has a lose structure which leads the plot to evolve slowly. Also, through the man’s struggles in searching for his bike, the audience has a compassionate feeling towards the man and his situation. An effect of realist movies is usually evoking compassion for the characters in the film.

Question 2: What effect does the “endless” ending have on the audience’s perception of the film as a whole?

            The typical ending to realist films is the “endless” ending, which is apparent in Bicycle Thief. The film follows a man as he desperately searches for his bicycle and the man who stole it. In the end, the man attempts to steal someone else’s bicycle but is caught. His son witnesses the entire thing, and the man feels ashamed that he resorted to stealing from someone else. The film ends with the man crying and holding his son’s hand as they walk with a crowd. The viewer can see the backs of the crowd, but it is unknown where they are going. This makes the ending endless because the audience has no idea what will happen next, just like the man does not know his future. This type of ending makes the audience think beyond the end of the film. It makes the viewers wonder what will happen next, and it keeps them thinking about the film after it finishes.

Bicycle Thief and Italian Neo-realism

Italian Neo-realism

Bicycle Thief

            The film, Bicycle Thief, made during the peak of Italian Neo-realism, effectively portrays the realist movie structure. The movie follows a hard-working man through his struggle to retrieve his stolen bicycle. Realist elements such as loose film structure and deep focus can be seen throughout the film. For example, the plot revolves around the life of a man who works hard in order to make money to provide for his family. His job of putting up posters around the city requires a bicycle to travel around more effectively. In order to buy a bicycle for his job, the man must sell sets of sheets from his house. Many people were at the trading place, trying to sell their belongings in exchange for money. This everyday aspect of life during this time period was portrayed in the film. On the first day of his job, the man’s bicycle is stolen. The plot evolved slowly towards the beginning of the film, and then once the man’s bicycle was stolen, the plot of the movie became apparent. The man’s determination to retrieve his stolen bicycle and his struggles in the process evoke the audience’s sympathy for the character. In order to do this, the director takes a compassionate point of view on the unfortunate situation and obstacles the man must overcome in desperation to find his bicycle. The film focuses on societal issues such as poverty when, at the beginning of the film, a group of men stand around waiting for a job. During this time, there were not many jobs available and if was difficult to find a job stable enough to provide for a family. The bicycle is so important to the man because it allows him to carry out his work and provide for his family.

             In addition to the realist thematic aspects of Bicycle Thief, the realist camera shots are also seen in the movie. A majority of the scenes are in deep focus, with everything in the background as clear and as sharp as the characters. This makes the viewers understand that the setting is an important contribution to the storyline and the plot. For example, whenever the man walks in the streets in search for his stolen bicycle, everything is completely in focus to show that that bicycle could be anywhere and the man must keep his eyes open for any clues. The deep focus keeps the audience’s focus away from only the main character and makes them look all around the scene just as the man must do when searching for his bicycle. Also, the shots are put together in a lose structure with minimal technology such as editing and special effects. The minimal editing and camera cuts, gives a more realistic, natural feeling to the film. The minimal technology keeps the audience focused on the daily routines and plot of the film, instead of on special effects. The final realist aspect of Bicycle Thief remains the classic, “endless” ending. At the end of the film, the man attempts to steal someone else’s bicycle out of desperation, except, he is caught in the act. The film ends with the man and his son walking side-by-side, the man crying out of shame, into a large group of people. Nobody knows where the group is walking to, making the audience wonder what will happen to the man and his family. The ending leaves the audience heavily thinking about the film and its significance by giving such an honest and transparent concluding scene.