Screen Notes

Screen Notes: It Happened One Night


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Screen Notes: A Single Man

Over twenty five thousand years of human evolution and still the most illusive concept known to man and woman continues to alludes the human race. Physics, the notion of multiple dimensions, life beyond earth, what is the meaning of life...all of these questions trivial in nature yet met with a general understanding of scientific explanation. That one concept which continues to illude men and what women I believe are beginning to understand as equally complex...sexuality. If there is a film theory which truly strikes at the heart of human sexuality and its intricate complexities, it would most certainly be cinephilia. At face value sexuality is mistakenly dismissed as simple and relatively straightforward given a forthcoming and open individual. But once you get past all those little layers and walls you realize how complex and different individuals can be, especially when it comes to there sexual exploits and dare I say desires. Colin Firth's character in A Single Man is at times subjected to this oversimplification in the loss of his lover and sixteen year partner. I believe a truly cinephilic moment which defines the film as a whole is the level of complexities which occur throught out it even though the timeline is over the course of a single day. A single man in a single day frought with haunting memories of a dead lover, faced with overzealous competing new ones, and a general disposition of utter manic depression. The scene in which Julianne Moore's character confronts Colin Firth and questions him on why he basically cannot let go of the memory of his dead lover and embrace the love that she is willing to give him truly tanscends our preconceived notions of sexuality. It begins to ask us questions on what we believe to be the culturally accepted and safeguarded notions of sexuality and begins to expose layers of intimacy which can be shared between one human being and another regardless of gender or sexuality. Essentially A Single Man is hardly as simple a story or film as its title would suggest and truly excites the leading proponents of cinephilic theory by exploring the various conditions of sexuality in modern society.
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Screen Notes: Melancholia

I have to admit I have never been a fan of Kirsten Dunst and in fact I do everything within my power as a conscious human being and lover of film to avoid anything she might be credited in. Now with that said I did thoroughly enjoy Eternal Sunshine of the Spotless Mind, albeit she had only a minor supporting role in the film her performance was considerably convincing and I did manage to muster up some level of empathy for her very fragile and utterly sad performance. As a child actress I certainly tolerated her role with much maligned opinion to her performance in Interview with a Vampire, but that tolerance derives for a love for Brad Pitt and exceptional respect for Tom Cruise. Now with those exceptions out of the way I always viewed Ms. Dunst as an actress capable of just short of her much publicized potential and have instead greeted her work with much contempt. Melancholia to put it simply has changed my opinion...it is possible to watch a movie starring Kirsten Dunst without the painstaking urges to violently through objects at the screen. With that said though I still cannot bring myself to appreciate Ms. Dunst performance, but I can say that I have found a new love, and small obsession, with director Lars von Trier. It is without doubt that his skill and abilities truly elevate Melancholia to a greatness which both critics and audiences can appreciate. Much of my appreciation admittedly stems from his use of dual narratives in which the focus of the film is not entirely squared on Dunst's character and we get to enjoy the wonderful performance by Charlotte Gainsbourg. The opening sequence was of particular notice to me as a slow motion montage truly highlights and draws attention to every shot, providing emphasis and making me the viewer feels a sense of urgency and importance even in the face of incredibly slow moving objects. The score was also incredibly effective and while it occasionally felt somewhat redundant and unoriginal at times, it did provide me queues as a member of the audience of when something important or pivotal were about to occur. In terms of editing the film certainly creates the feeling of a slow build and departs form contemporary postmodern norms of rapid transitions and fast pace editing. This is certainly the mark of an author who departs from the successful techniques used by say Chris Nolan, or David Fincher; instead von Trier carves out a little piece of cinematic haven just for himself and has created something very original yet somewhat familiar.

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Screen Notes: Psycho

Now I am not going to sit here and tell you I was scared when I saw Psycho for the first time, quite the contrary in fact. Were there moments in which the suspense was so great that it left the hairs on my forearm on edge and Gosse pumps more defined then brail...sure, yea I felt that, but scared, never. But maybe I wasn't supposed to be scared by this film, maybe Alfred Hitchcock wanted me to experience cardiac arrest instead of an outright heart attack when watching his film. Mostly it has to do with he fact that the film is so obviously dated and it is difficult for someone born in what can be considered a postmodern era to appreciate the subtleties and conventions of the modern era's version of suspense. This in no way is meant to belittle Hitchcock in any way, shape, or form...quite the contrary in fact. I still felt something when I watched it and I certainly appreciate the film for its conventions in suspense and its exquisitely clean use of techniques in the filmmaking process. I will also acknowledge that to this day no greater suspense film has been created. While I have maybe gotten greater chills or jumps from more contemporary suspense films, Hitchcock's Psycho took suspense film to a place of transcendence which has not been surpassed in nearly four decades and is instead needlessly reproduced in other forms. Given the critical acclaim and general outrage which accompanied the premier of the film, it is obvious Psycho took the suspense genre to a place in which it could never look back. The film itself defied certain accepted social norms within the era of its production, yet so seamlessly and brilliantly maintained technical and formalist integrity. Whether it be his clean use of shot reverse shot, exquisitely timing in using a montage, or his own creative control over the sound and original score for the film...Hitchcock has created a masterpiece of his own control and vision. As an auteur Hitchcock truly provides justice to the concept and has crafted a film which is so simple and is never over complex, yet the intricacies and techniques involved and the overall plot development is so complex and rich it is no wonder he had such respect from not only his peers but from critics and theorist as well. The shower scene in which Marion is stabbed by Mrs. Bates is by far one of the most recognizable and generation defining moments of the film, but it is without doubt the reveal of Norman Bates psychosis which truly creates a moment of cinematic revolution both in conceptualizing a plot and the process of filmmaking.

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Screen Notes: Midnight in Paris

Look anytime you come across a Woody Allen film do not be taken off guard or in any way surprised that you have watched something of such subtle and understated brilliance that it baffles you into believing you are not sophisticated or quippy enough to understand his films. Do not be bewildered or in anyway shocked that this minimalist and understated director has made you second guess yourself on what truly is a ROMANTIC COMEDY...you know one of those films that truly catches the essence of love whilst still managing to find those awkward, uncomfortable, unforgettable, and sometimes embarrassing moments that comes along. Well those are the movies which Woody Allen truly excels and the film Midnight in Paris is no less than sheer brilliance and another gem in the collection of Allen's repertoire. So a question was asked under the auspices of viewing Midnight in Paris...what can film do that other mediums cannot. Well considering that film is limited in only two ways, the first being budget constraints and the second being one's imagination, it would seem that given the right amount of money and a creative enough filmmaker, like let’s say Woody Allen, then film can do everything that other mediums cannot. It can provide a text and visual aid to a story in ways no other medium can begin to fathom and transports an audience to a place even they could not begin to dream of. Midnight in Paris is just one of those films and it transports its audience throughout the decadence of modern French history and culture whilst introducing us to some of literatures and films greatest heroes. Essentially film defies death and transcends the physics which binds our body to the earth and a linear timeline. It allows our minds, our imaginations to journey to places we could never truly see or touch. Film lets us meet those people we loved without ever touching and brings us to a place of pure and unabated expression. Those endless nights with your eyes straining to get through that next line of literary greatness espoused from the mind of Hemingway is but a desperate taste of what it would have been like to meet him. Instead Allen invites you to join Owen Wilson's character Gil to guide you and introduce you to the man himself. Albeit he is only a character imagined and placed on screen by our beloved director, he is still a physical manifestation of the personality and character Hemmingway was known to have and in the safe confines of the silver screen I am allowed a privilege as an audience member to believe that to be a reality and truth onto itself.

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Screen Notes: Hugo

Hugo is one of those films which comes along only every once in a while and truly engages the audience on a level akin to pure childhood joy. From opening shot rushing through the train station to the "big reveal," Hugo has a transformative effect on any audience member who truly loved film growing up or simply yearned after any great adventure as a child. Essentially if you watch Hugo and don't get those butterflies in the pit of your stomach from sheer joy and excitement, then you probably had a pretty rough childhood growing up and you have my sympathies. But fear not, seek out that inner child if he or she did suffer from some despondent or disillusioned youth and embrace this film as a vehicle in which you may live vicariously through the engine of imagination. Beside all the extravagancies and the exquisite shots done for the "3D effect" the most shocking and astonishing part of Hugo came in its credits...Directed by...Martin Scorsese? That old guy who made Raging Bull? You mean that same guy who gave me some of the greatest times of my life in high school, hanging with my closest friends on a Saturday night replaying Goodfellas fourty five times over again? You mean that guy directed this beautifully crafted and blissful piece of cinema? Gangs of New York, Taxi Driver, and...The Departed? Yes, yes, and yes. This man who so sophisticatedly and brilliantly crafted this true piece of Hollywood art reminded me of what it meant to be a pure hearted twelve year ago yearning for that adventure I never quite had. Besided the obvious sentiments of childhood in this children’s film, Scorsese also delivers on what seems to be a promise to himself...showing the world how much he truly loves film and how important film can be. The story is essentially centered on discovering the isolated and exiled great magician and director Melies. Scorsese masterfully weaves together some of Melies greatest feats of cinema and truly portrays his love for not only the man but for his work.

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Screen Notes: The Prestige

· Christopher Nolan's breakthrough for an adapted screenplay other than his "The Dark Knight" trilogy

· Set toward the end of the 19th century...also the era in which film was born and the same time frame in which Meleis introduces "magic" into the filmmaking process

· Much attention should be given to editing techniques throughout the film

oThis use of editing to create a feeling of illusion and magic being witnessed by the audience while following the narrative of the film which is about two bitter rival magicians

oNolan uses his editing techniques to capture the essence of not only the era but of the magic tricks themselves

· Upon first viewing the film it truly is a disjointed feeling and somewhat confusing

· The second viewing helped clarify and bring a level of understanding to the editing techniques and through the lens of formalism greater clarity is established

· Borden and Angier's relationship devolves organically and Nolan does an exceptional job in not only transmitting this to the page but also the film reel

· The level of control Nolan has over the filmmaking process is truly astonishing...he is not only the director but also the lead editor and writer for the film

oThis level of creative control truly elevates Nolan to the status of auteur...having complete control of his expression and viewpoints put on screen

· Obsession is a theme which is tangible throughout the film...both Borden and Angier are nearly driven to madness in their attempts to become the greatest at their respective crafts

oAngier goes so far as to abandon the memory of his dead wife, shoots of the fingers of his bitter rival, goes half way around the world in pursuit of Borden's secrets, and even drowns several dozen of his clones

oBorden sacrifices his own wife via suicide, loses his two fingers (twice, "wink, wink"), and lives a life of deceit and shadows

· After the second viewing of the film an idea came to me

oPerhaps Angier and Borden are manifestations of Nolan's consciousness

oPerhaps a battle wages in his own mind between the integrity of the craft of filmmaking and the deep, yearning desire to be the entertainer who is beloved and admired by the audience

oPerhaps Borden is a version of himself which seeks out and perfects his craft no matter what the cost

oAngier is the socially and politically savvy version of himself who goes out and ventures into the industrial Hollywood film complex and comes back with a wide smile and new financing to pursue the process of bringing his imagination to reality.

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Screen Notes' Children of Men

• Intense introspective look at a destopian future devois of any possibility of birth
• the story is centered around a man who has lost his child and subsequently his wife
• the wife now fights for a revolutionary group beset to overthrow the government
• Clive Owen plays a brilliant role
• Captures a sense of desperation and weakness whilst maintaining a screen presence of strength and stability
• The plot drips with irony and a helathy sense of skepticism toward governments that turn to certain elements of fascism as a means of securitizing a devolving situation
• Julian Moore, while brief in her role, does an excelent job of entrenching both Clive Owen's character and the audience into this sense of desperation
• Director and writers do an excellent job of portraying a neutrality of opinion to both the government and rebel perspectives
• Neither is truly good and instead display behaviors similar to the ideas associated with despondent downtrotten and generally hopeless distopian society

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Screen Notes: The Hurt Locker

• Scene: Opening scene in which Staff Seargent Thompson is killed by an IED
• Slow motion technique used to capture the dramatic and devastating effect of a detonated IED
• Kinetic energy of the blast is detailed in slow motion as it reverberates of metal, moves over the sand, and eventually catches up with a sprinting Staff Seargent Thompson
• Bigelow uses jump cuts to capture the reaction of the environment and the characters directly involved
• In what should take only seconds to take place, the explosion is slowed down so that Bigelow may capture the destruction force and carnage of a detonated IED
• A brief flash of blood squirts into the visor of Staff Seargent Thompson's visor once the blast finally reaches him
• Scene: Specialist Eldridge's reaction to Staff Seargent Thompsons Death
• Though it becomes evident Specialist Eldridge is traumatized by the death of Staff Seargent Thompson's death he sits playing a a war video game in a virtual trance
• Specialist Eldridge's psychologist sits with him, occupying the same frame
• The psychologist probes Specialist Eldrige with questions as the actor expresses a calm and direct tone toward the Specialist
• Specialist Eldridge then finally cracks and grabs his rifle when asked what more could he have done to save Staff Seargent Thompson: he looks down the sights and repeats over and over when he pulls the trigger saying Seargent Thompson is alive, and when he releases the trigger he says Thomspson is dead. Bigelow is expressing an evident paradox that exists in war in which life is preserved through death
• Scene: Specialist Eldrige's kidnapping
• As the Detonation squad attempt to seek out those responsible for detonating an IED in a remote village in the middle of the night Specialist Eldridge is captured
• Here Bigelow uses a more realistic camera shot slection, following the two soldiers as they sprint down alley's and race to save their freind
• The lighting is dark and very poor to capture the sense of feeling lost and unable to find Specialist Eldridge in a moment of chaos

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Screen Notes: Journey in Italy

• 1st Order
• Opening shot of a vehicle driving down a long and empty road
• it is daylight out
• Rural area with open land on one side and a small hill peppered with billboard advertisements and traffic signs on the other
• the camera shot is from the perspective of the occupants in the car looking forward or just the front of the vehicle itself
• 2nd Order
• An inviting yet somber Talian singer saranades the audience along their journey
• the camera shakes as if the audience were in the vehicle
• The camera and audience move forward on the road, into the film, and into the story itself
• 3rd Order
• the proverbial beginning to the film is mirrored by the beginning of a journey down a winding, long, barren road
• alone the audience ventures with the occupants of the vehicle on an odyssey they are unaware of

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Screen Notes: Grapes of Wrath

• Brilliant opening shot of Tommy walking alone down open mid-west road
• Tommy makes his first stop at Cross Roads truck stop asks for a ride to his desired destiniation
• Dialogue between Roy and Tommy in truck is simple, strait-forward, yet subtle and somewhat subversive in its intent
• Shot of Roy's perspective looking out at Tommy through the truck door is poignant and captivating
• Tommy on his way home encounters two sets of characters in the midst of a phase in their lives which has been significantly impacted by economic woes
• The preacher seems to have lost his faith and taken to the drink, seemingly homeless
• It is obvious the Grapes is filmed in studio but the lighting and sound effect truly captures the rural, isolated, dreary, and bleak midwest that is filled with colorful characters
• Candle lighting effect when Tommy stands in his abandoned home incredibly chilling and haunting
• Seemless yet clear flashback treatment
• Film captures life in the mid-west in the midst of a corporate takeover of the farming industry, can drive a man mad or at least question his sanity
• Yet there are clearly two sides to the story with the man in the tractor just as desperate as the man having his home being demolished
• "Graveyard Ghost," shell of a former man who lost everything unsure of his madness
• Dream of Grapes brings life to the old couple at the supper table
• Clear drive and desrie to move out west for a better life

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Screen Notes: Masculin, feminin

When watching Godard's Masculin, feminin it is clear that his vision and creative control invokes his non-conformist approach to film making. By the time Godard placed the final touches on his overture to unconventional film making, there had been a well established culture in film which relied heavily on a structured, progressive narrative with a beginning, middle, and end. Yet throughout Masculin, feminin these norms of film are blatantly ignored or disregarded. A most telling example of Godard's non-conformity would be in the opening sequence which has no real establishing shot, nor any clear introduction to the character in the first shot. Is he the protagonist, antagonist, or maybe just a supporting character filling screen time until the plot continues to develop. Other instances of unconventional film making include the seemingly random destinations and encounters the 'main character' encounters, and the audience is left to feel that it is just moving along in real time with this very strange, and idiosyncratic character who has little regard for social norms; just like Godard's approach to film making. Another moment which stood in stark contrast from conventional film making was a scene in which two characters are immersed in dialogue and as a means of emphasis Godard literally places flash cards of text on the screen mid-scene. Godard certainly proves he can make a film which abandons certain film norms on every level whether it be plot development, editing, or just shooting the film itself.