The Graduate was an interesting film to say the least. It could also be pretty funny at times, but with the possible potential such a premise presents, the writers fell short. Luckily Mike Nichols, the director, was able to save the film from an otherwise dismal failure with simply amazingly well done shots. Of course, it also helps to have such a talented cast.
The film begins at a party thrown for our title character, the graduate, Ben Braddock, played superbly by Dustin Hoffman. Our next character, the brilliantly seductive Mrs. Robinson, throws the plot forward by asking Ben for a ride home. Once there she then slowly begins roping Ben into her devious designs. This is probably the only really well written scene in the movie; the exacting system of staged events Mrs. Robinson uses to seduce Ben is simply phenomenal. Ben however does not think so and after an uncomfortable talk with Mr. Robinson, is finally able to escape.
The movie slows for a bit as we see an excellent montage of Ben’s summer exploits, most of which include lounging about the pool and sleeping with Mrs. Robinson. Finally, however, the plot begins to move on again with the entrance of Elaine Robinson, whom Mrs. Robinson has forbidden Ben to see. Ben agrees to Mrs. Robinson demands, but is eventually forced to take her out by his parents. Ben first tries to get rid of her, driving like a maniac and then taking her to a strip club, but after Elaine starts to cry, Ben simply cannot bring himself to go through with his plan. Explaining everything, but not really mentioning any names, Elaine forgives him and they both end up having a pretty good time.
Mrs. Robertson, however, is furious and attempts to tell Elaine everything, but is beaten to the punch by Ben, who wants to explain to Elaine himself. This unfortunately just leads to disaster, and after being kicked out of the Robinson household, he settles for stalking Elaine as she goes about her business. Eventually, Elaine leaves to go back to school, sending Ben into a lethargic state of depression. This does not last, however, and with a sudden goodbye to his parents, he travels to UC-Berkley, in hopes of finding Elaine and getting her to marry him.
This new plan though, also falls through as Elaine has already been proposed to by another man, one whom her mother deems much more acceptable. Ben, however, refuses to give up, even after heated encounters with both of Elaine’s parents. Searching for Elaine, Ben finds only a note of farewell, explaining that Elaine had decided to marry the other man. Still refusing to admit defeat, Ben travels across the state in pursuit of Elaine, hoping to stop the wedding ceremony. After a few mishaps and a few small stabs at hilarity, Ben finds the wedding, and proceeds to attempt to stop it. Fighting off nearly the entire wedding party and assorted guests, Ben and Elaine manage to break free and escape onto a public bus. The movie then ends, quite un-romantically, with the camera focusing on the eloping couples’ uncomfortable faces and an escalating soundtrack.
Although this film did not really have an ulterior message relative to the counter culture movement, it certainly had some themes previously unheard of. Most prominent of course is the entire premise, which focuses mainly on an affair with a married woman. This complete destruction of morality previously epitomized by the American viewer is what truly makes this film part of the counter culture movement. Additionally, there are several other issues present at the film that also would have been something of a disgrace among older films. This includes things such as: the fact that the Robinsons were married due to a child out of wedlock, the seeming lack of importance of an education, the basic idiom of “if it feels good do it”, the apparent idiocy of parents, and of course someone sleeping with an older woman. While this film certainly is not an One Flew over the Cuckoo’s Nest, all of these disparaging themes do come together to provide evidence of when this film was made.
As for the actual quality of the film, its most evident failing is, as mentioned before, the writing. There were just so many places where situational comedy could have put the film into an entirely new bracket, but the writers simply fail to present. Much of the dialogue, while getting the point across, is utterly lacking in any sort of entertainment value what so ever. With a character like Mrs. Robertson, seductive, demanding, and cunning, interacting with a character such as Ben, naive, clumsy, and completely lacking common sense, there should have been much more humorous dialogue. Once again the writers fail to deliver.
It is definitely testament to Mr. Nichols ability to direct, to be able to use such a sorry story, I mean some bits did not even make sense, and tell it in a way that is actually marketable. Taking advantage of the excellent actors he had at his disposal, he was actually able to create some humor, just by focusing on certain mannerisms and voice inflections. Another astounding display of talent was his use of the camera. Even more so than the actuality of bringing the story to life, the shots he used were extremely innovative. That is probably the one thing that I actually found attractive about the film, using glass tables, mirrors, and even furniture to create some really interesting camera angles.
Overall, the film was pretty good. The lack of any real meaning, however, did it no favors. Much of the time a film will focus too much on a given message, and as a result the film will lose much of its value as a story. By the same token, a film lacking in any real message, simply does not have any real value. And with a lack of adventure, comedy, or horror elements, the film is not really that entertaining. In the end, The Graduate is worth a viewing, simply to see the superb acting and excellent camera shots, but I would probably never watch it again.
Thursday, March 11, 2010
Wednesday, March 10, 2010
The Thing From Another World: A Cultural Review
This was an extremely well written film, in regards to the suspense sections at least. It would have been, perhaps, one of the most superbly written films in the genre at the time, except for one hindering quality. It focuses too much on the propagandic elements of the movie. If the writer had spent half as much time devoted to suspenseful moments, instead of subtle insinuations towards the Soviets, it would have made a much better film.
The story begins when the crew of an Antarctic air force base discovers a mysterious crash site near the base. Investigating the site they discover a circular object underneath the ice. In typical militaristic fashion, they try and uncover it with explosives. Essentially destroying the discovered craft, they do, however, manage to safely uncover some sort of living creature frozen in the ice. Bringing it back to the base, they attempt to contact an authority figure on the matter, but, naturally, a storm sets in, effectively closing them off from the rest of the world. The commanding officer, Pat, decides to keep the thing frozen until base command can be reached, much to the distress of the lead scientist on base, Dr. Carrington. Unfortunately, the young officer charged with watching the creature covers the block of ice with a blanket, in actuality an electric blanket. The thing, of course, escapes and proves invulnerable to the man’s bullets.
After the rest of the base is alerted, they run to watch the thing fighting off the bases’ sled dogs. The thing kills them and escapes, but not without leaving behind an arm for the group of scientists to properly examine. The plot thickens as Dr. Carrington discovers that the creature is actually plant based rather than animal based, constantly interrupting himself with various announcements of what he could discover from such an advanced life form. The rest of the base seem unconvinced however, and plot to destroy the creature. They then begin searching the base to no avail. Dr. Carrington however discovers evidence of the thing in the greenhouse and decides to wait for its return, hoping to learn from it. This naturally leads to disaster and the death of a couple of the base crew. They finally capture the thing back inside the greenhouse, but begin to prepare for another assault, realizing that the thing will not be held for long.
The action escalates with Pat’s discovery that Dr. Carrington is actually growing some of the creatures inside his laboratory. He does not have long to be mad, however, due to the fact that the thing has managed to cut the fuel lines, plunging the base in to sub zero temperatures. The crew confronts the thing again, this time slightly more prepared and actually manage to fend it off, nearly burning it death by lighting on fire using kerosene. Running along the same train of thought, the crew decides to try and burn it to death again, this time using electricity. Setting up a high voltage walkway, in hopes of trapping the creature in a high powered arc of electricity, the crew begins to wait.
The creature finally appears and the crew begins to back down the hallway, successfully tricking the thing onto the booby trapped walk way. Dr. Carrington enters the scene attempting to rescue the creature, only to have the thing nearly shatter his neck. The thing falls right into the well hidden trap, and without a moment’s hesitation Pat triggers it, and it slowly shrivels into a lifeless husk. The movie then ends with a report to civilization from a reporter on the scene, ending the movie with one last not so subtle line regarding the “imminent” Soviet invasion.
The directing is probably this movie’s saving grace. While most of it is rather mediocre, there are some definite highlights; the way that the crew actually finds the shape of the thing’s ship is probably one of the best. I have to admit that that was pretty good. The suspense scenes probably make up most of the others. They really do get your heart pumping for brief stints of time. Besides that though, once you add in some off the rather unfortunate discrepancies, such as the unrealistic base props and the excessive amount of sub characters, the end result is mediocrity.
The acting also leaves a lot to be desired, while a step up from a true B film, the movie still does not take advantage of good actors. The three leads, Pat, his girlfriend, and Dr. Carrington are all ok actors, but the lack of true believability does not do the film any real favors. Not only that, but the mass of support characters really seems to take them all down a notch into the relative state of extra-hood. The writing, on the other hand, truly is pretty good.
The dialogue is excellent, and I did not notice anything particular gregarious in the plot, but nothing spectacular either. Like I mentioned earlier though, the constant attempts at subliminal messaging the vileness of the Soviet nation, truly does harm to the writers ability. He should not have let that become such a major focus of the film, but I suppose it kept the McCarthy fanatics off his back. Another example of how ridiculous fanaticism only harms a culture’s ultimate progression.
As I mentioned previously, the references to communism is really blatant. The first evidence of this is, of course the whole invasion by an alien species. But, realistically that could be the premise for any number of movies. The first truly blatant reference is when Dr. Carrington discovers the truth regarding the thing’s classification. Speaking of how completely mindless and how lacking in emotions the thing is, but, how it still has an astounding ability to advance in scientific discoveries. One of the second references is once again told through Dr. Carrington when he speaks of “how the only way to beat this thing is through science”, a clear allusion to the race again the Soviets in scientific discoveries.
Other themes throughout the film include the constant threat of being complete overrun by this life seeking, furiously replicating thing, once again making reference to the suppose imminent invasion from Russia. Another one is the fact that in nearly every confrontation but the last, the crew underestimates the thing’s ability, in reference to the government’s warning to never underestimate the Soviet’s ability. Finally, the movie actually comes to a close with one last thinly veiled reference to the Soviets. This is delivered by the news reporter on base telling the people of America to constantly “watch the skies”, as if America needed to expand on its paranoia any further.
All in all the film was worth watching, once at least. It is unfortunate that the writer had to so heavily taint his material with propaganda as to suffocate the film so. Truly a tragedy, for it had such promise. The 1980 remake took an entirely different route, a better one, in my opinion, but lacking the original’s stellar writing. In the end, The Thing from another World is a remarkably forgettable film.
The story begins when the crew of an Antarctic air force base discovers a mysterious crash site near the base. Investigating the site they discover a circular object underneath the ice. In typical militaristic fashion, they try and uncover it with explosives. Essentially destroying the discovered craft, they do, however, manage to safely uncover some sort of living creature frozen in the ice. Bringing it back to the base, they attempt to contact an authority figure on the matter, but, naturally, a storm sets in, effectively closing them off from the rest of the world. The commanding officer, Pat, decides to keep the thing frozen until base command can be reached, much to the distress of the lead scientist on base, Dr. Carrington. Unfortunately, the young officer charged with watching the creature covers the block of ice with a blanket, in actuality an electric blanket. The thing, of course, escapes and proves invulnerable to the man’s bullets.
After the rest of the base is alerted, they run to watch the thing fighting off the bases’ sled dogs. The thing kills them and escapes, but not without leaving behind an arm for the group of scientists to properly examine. The plot thickens as Dr. Carrington discovers that the creature is actually plant based rather than animal based, constantly interrupting himself with various announcements of what he could discover from such an advanced life form. The rest of the base seem unconvinced however, and plot to destroy the creature. They then begin searching the base to no avail. Dr. Carrington however discovers evidence of the thing in the greenhouse and decides to wait for its return, hoping to learn from it. This naturally leads to disaster and the death of a couple of the base crew. They finally capture the thing back inside the greenhouse, but begin to prepare for another assault, realizing that the thing will not be held for long.
The action escalates with Pat’s discovery that Dr. Carrington is actually growing some of the creatures inside his laboratory. He does not have long to be mad, however, due to the fact that the thing has managed to cut the fuel lines, plunging the base in to sub zero temperatures. The crew confronts the thing again, this time slightly more prepared and actually manage to fend it off, nearly burning it death by lighting on fire using kerosene. Running along the same train of thought, the crew decides to try and burn it to death again, this time using electricity. Setting up a high voltage walkway, in hopes of trapping the creature in a high powered arc of electricity, the crew begins to wait.
The creature finally appears and the crew begins to back down the hallway, successfully tricking the thing onto the booby trapped walk way. Dr. Carrington enters the scene attempting to rescue the creature, only to have the thing nearly shatter his neck. The thing falls right into the well hidden trap, and without a moment’s hesitation Pat triggers it, and it slowly shrivels into a lifeless husk. The movie then ends with a report to civilization from a reporter on the scene, ending the movie with one last not so subtle line regarding the “imminent” Soviet invasion.
The directing is probably this movie’s saving grace. While most of it is rather mediocre, there are some definite highlights; the way that the crew actually finds the shape of the thing’s ship is probably one of the best. I have to admit that that was pretty good. The suspense scenes probably make up most of the others. They really do get your heart pumping for brief stints of time. Besides that though, once you add in some off the rather unfortunate discrepancies, such as the unrealistic base props and the excessive amount of sub characters, the end result is mediocrity.
The acting also leaves a lot to be desired, while a step up from a true B film, the movie still does not take advantage of good actors. The three leads, Pat, his girlfriend, and Dr. Carrington are all ok actors, but the lack of true believability does not do the film any real favors. Not only that, but the mass of support characters really seems to take them all down a notch into the relative state of extra-hood. The writing, on the other hand, truly is pretty good.
The dialogue is excellent, and I did not notice anything particular gregarious in the plot, but nothing spectacular either. Like I mentioned earlier though, the constant attempts at subliminal messaging the vileness of the Soviet nation, truly does harm to the writers ability. He should not have let that become such a major focus of the film, but I suppose it kept the McCarthy fanatics off his back. Another example of how ridiculous fanaticism only harms a culture’s ultimate progression.
As I mentioned previously, the references to communism is really blatant. The first evidence of this is, of course the whole invasion by an alien species. But, realistically that could be the premise for any number of movies. The first truly blatant reference is when Dr. Carrington discovers the truth regarding the thing’s classification. Speaking of how completely mindless and how lacking in emotions the thing is, but, how it still has an astounding ability to advance in scientific discoveries. One of the second references is once again told through Dr. Carrington when he speaks of “how the only way to beat this thing is through science”, a clear allusion to the race again the Soviets in scientific discoveries.
Other themes throughout the film include the constant threat of being complete overrun by this life seeking, furiously replicating thing, once again making reference to the suppose imminent invasion from Russia. Another one is the fact that in nearly every confrontation but the last, the crew underestimates the thing’s ability, in reference to the government’s warning to never underestimate the Soviet’s ability. Finally, the movie actually comes to a close with one last thinly veiled reference to the Soviets. This is delivered by the news reporter on base telling the people of America to constantly “watch the skies”, as if America needed to expand on its paranoia any further.
All in all the film was worth watching, once at least. It is unfortunate that the writer had to so heavily taint his material with propaganda as to suffocate the film so. Truly a tragedy, for it had such promise. The 1980 remake took an entirely different route, a better one, in my opinion, but lacking the original’s stellar writing. In the end, The Thing from another World is a remarkably forgettable film.
The Big Sleep: A Cultural Review
The Big Sleep was a confusing film to say the least, but then again, most hardboiled detective films are. It was definitely not as dark nor as sexually based as other film noir examples, for it had a relatively happy ending, was not extremely jarring, and lacked the truly dark and dirty feel of many others. But, compared to My Man Godfrey I suppose it was quite horrifying. All in all however, I found Casablanca to be slightly more favorable in my mind, simply because I could understand it a little better and it had a much stronger message than The Big Sleep.
Now, normally I start out with a brief synopsis of the film, but do the movies utter lack of any cohesive elements I must admit that I was completely lost about halfway through. I suppose this is one of the characteristics of film noir and another reason the dark films of today are not classified as such, that sort of screenplay simply is not accepted anymore. The audience of today wants a movie they can, if not easily, at least possibly follow. However, I now know why film noir was both popular and unpopular in its time. I could see where the film was certainly enjoyable, the superb action sequences and the constant hilarity of the many sexual innuendos were two of its most appealing qualities, previously unseen in most films at the time. By the same token I am sure that were many other people not as drawn to these new qualities that would be more susceptible to be turned off by the films confusing nature. I myself did very much enjoy the film, for the exact reasons mentioned above. In fact if I were living in the time period I am sure that I would be one to continue to view these types of films simply to see these exciting new qualities. Today, however, the film loses some of its value due to the mass of other films that pull off the same effect, without the element of confusing writing. Still it was good.
The main character, played by Humphrey Bogart, is introduced as the typical private eye hired by Gen. Sternwoood to investigate a case of blackmail. Agreeing Bogart is thrown into an overly complicated plot with an ever increasing amount of suspects, motives, and additional crimes. Our ill fated detective is led to Gieger’s bookstore, a supposed front for more illicit activities. Failing to converse with Gieger on account of his own sexually exploits, Bogart is forced to follow him home. He arrives too late, however, as upon arrival Gieger is killed by a mysterious attacker. Finding Carmen Sternwood, subject of the blackmail and younger daughter of Bogart’s employer, he takes her home, after failing to force her to reveal the killer. He then returns to Geirger’s home, but is surprised to find the body missing.
The plot thickens as another detective reveals that the Sternwood’s chauffer has been found at the bottom of a lake or something similar. Our female main, Vivian, makes her presence known in the story by telling him the blackmailers are now after her and have asked for 5,000 dollars. It is at this point that Carmen finally reveals the killer, a man named Brody. Following the lead Bogart visits Brody, surprised to find both Vivian and Gieger’s female assistant. Apparently, Vivian was going to pay Brody with money she borrowed from a kingpin by the name of mars, who coincidentally had harassed our main earlier that day. After a tense and pretty nonviolent struggle in which everyone pulls out a gun, Bogart finds the photos, but is interrupted by a knock at the door. Brody, answering, is shot, which compels Bogart to chase after him. Bogart catches the mysterious shooter, whom, upon capture, explains that it was actually the chauffer that killed Geiger, Brody just seized the opportunity to steal the photos and blackmail the Sternwoods himself.
Now the film seems all wrapped up, Bogart figured out who the killer was, got back the incriminating photos, and explained everything to the police, but the movie is only half over. This is when the film really gets confusing, but the action escalates, so it’s all good. From what I can tell Bogart suspects something about Vivian so he follows her to a gambling joint, where she mysteriously wins a lot of money. He is then jumped by two men, but is saved by a, very short lived, supporting character by the name of Jones. Jones is then bumped off by one of the Kingpin’s men, who is pretty creepy by the way, while Bogart waits so that he can follow him. Needless he say, he does, but, of course, is captured by the murder. Interestingly enough, they decide not to kill him, and leave the house, giving Vivian enough time to save him, just before they can escape though, the murder and accomplice return, where Bogart defeats them.
The movie ends with the confrontation between Bogart and the kingpin. The two converse in a tense fashion, each explaining to the other how they are going to kill the other one. Naturally, Bogart outwits the villain and the day is saved, for it ends up being that the criminal was responsible for everything. Finally, while very un noir like, Bogart and Vivian tell each other how much they like each other, kiss, and the credits roll.
It seemed to be the film was an extremely “light” noir film. It lacked much of the dark lighting common to most noir films. This could be the fact that much of the plot involved characters of the upper or middle class, so the film did not take place in as much seedy underworld settings as others. Additionally, the film did not have an exceptionally tragic ending, while it certainly lacked the happy feeling of everything being all tied up in the end, it did end with the bad guy vanquished and both mains surviving. It was, however, still a film noir.
The most prominent evidence of this was the women. After reading so much about it you think I would have been less surprised, but man. It seemed like nearly every female character the main came in contact with was an absolutely shameless slut. While not exactly femme fatal, in the deadly sense, the sex object message was still there. I mean the first scene, Carmen comes in, wearing a skirt that would be stretching sensibilities even today, and just begins flirting with Bogart like there is no tomorrow. This is light years away from Irene in My Man Godfrey, or even Ilsa with her gun in Casablanca. From book store proprietor to taxi cab driver, nearly every girl throws herself on the detective. I must say though that the taxi driver scene was absolutely priceless. But still, it seemed like every conversation involving a young woman ended with sexual connotations, even today we do not see such blatant innuendo.
Additionally, the film did have a couple other evidences proving it worthy of the noir caste. The violence being one, still a far cry from today, compared to other films of the era it was rather unprecedented. In this film violence was definitely meant to be a part of the film, where as in Casablanca, the violence was barely noticed as that was not meant to be substantial in itself. I mean in this film everyone had a gun. As I mentioned before, the confusion was definitely there as well, while the film did not have an over excessive amount of weird camera angles and such, it was jarring. Many of the plot lines did not seem to have ends and the movie itself left no room for the absent mind, not even for a second. One would probably have to sit and watch the film with a finger on the rewind button to fully understand all the happenings. Oh well, to each his own.
In the end though, the movie was still pretty good. The director did very well in the fact that the film was based on a hardboiled detective novel, and didn’t shock the audience so much the film became un enjoyable. Additionally, I am sure it was difficult to make a film adaption of such a book with such restrictive censorship and such. Truly this film is a shining example of the noir class. If you can use shining and noir in the same sentence.
Now, normally I start out with a brief synopsis of the film, but do the movies utter lack of any cohesive elements I must admit that I was completely lost about halfway through. I suppose this is one of the characteristics of film noir and another reason the dark films of today are not classified as such, that sort of screenplay simply is not accepted anymore. The audience of today wants a movie they can, if not easily, at least possibly follow. However, I now know why film noir was both popular and unpopular in its time. I could see where the film was certainly enjoyable, the superb action sequences and the constant hilarity of the many sexual innuendos were two of its most appealing qualities, previously unseen in most films at the time. By the same token I am sure that were many other people not as drawn to these new qualities that would be more susceptible to be turned off by the films confusing nature. I myself did very much enjoy the film, for the exact reasons mentioned above. In fact if I were living in the time period I am sure that I would be one to continue to view these types of films simply to see these exciting new qualities. Today, however, the film loses some of its value due to the mass of other films that pull off the same effect, without the element of confusing writing. Still it was good.
The main character, played by Humphrey Bogart, is introduced as the typical private eye hired by Gen. Sternwoood to investigate a case of blackmail. Agreeing Bogart is thrown into an overly complicated plot with an ever increasing amount of suspects, motives, and additional crimes. Our ill fated detective is led to Gieger’s bookstore, a supposed front for more illicit activities. Failing to converse with Gieger on account of his own sexually exploits, Bogart is forced to follow him home. He arrives too late, however, as upon arrival Gieger is killed by a mysterious attacker. Finding Carmen Sternwood, subject of the blackmail and younger daughter of Bogart’s employer, he takes her home, after failing to force her to reveal the killer. He then returns to Geirger’s home, but is surprised to find the body missing.
The plot thickens as another detective reveals that the Sternwood’s chauffer has been found at the bottom of a lake or something similar. Our female main, Vivian, makes her presence known in the story by telling him the blackmailers are now after her and have asked for 5,000 dollars. It is at this point that Carmen finally reveals the killer, a man named Brody. Following the lead Bogart visits Brody, surprised to find both Vivian and Gieger’s female assistant. Apparently, Vivian was going to pay Brody with money she borrowed from a kingpin by the name of mars, who coincidentally had harassed our main earlier that day. After a tense and pretty nonviolent struggle in which everyone pulls out a gun, Bogart finds the photos, but is interrupted by a knock at the door. Brody, answering, is shot, which compels Bogart to chase after him. Bogart catches the mysterious shooter, whom, upon capture, explains that it was actually the chauffer that killed Geiger, Brody just seized the opportunity to steal the photos and blackmail the Sternwoods himself.
Now the film seems all wrapped up, Bogart figured out who the killer was, got back the incriminating photos, and explained everything to the police, but the movie is only half over. This is when the film really gets confusing, but the action escalates, so it’s all good. From what I can tell Bogart suspects something about Vivian so he follows her to a gambling joint, where she mysteriously wins a lot of money. He is then jumped by two men, but is saved by a, very short lived, supporting character by the name of Jones. Jones is then bumped off by one of the Kingpin’s men, who is pretty creepy by the way, while Bogart waits so that he can follow him. Needless he say, he does, but, of course, is captured by the murder. Interestingly enough, they decide not to kill him, and leave the house, giving Vivian enough time to save him, just before they can escape though, the murder and accomplice return, where Bogart defeats them.
The movie ends with the confrontation between Bogart and the kingpin. The two converse in a tense fashion, each explaining to the other how they are going to kill the other one. Naturally, Bogart outwits the villain and the day is saved, for it ends up being that the criminal was responsible for everything. Finally, while very un noir like, Bogart and Vivian tell each other how much they like each other, kiss, and the credits roll.
It seemed to be the film was an extremely “light” noir film. It lacked much of the dark lighting common to most noir films. This could be the fact that much of the plot involved characters of the upper or middle class, so the film did not take place in as much seedy underworld settings as others. Additionally, the film did not have an exceptionally tragic ending, while it certainly lacked the happy feeling of everything being all tied up in the end, it did end with the bad guy vanquished and both mains surviving. It was, however, still a film noir.
The most prominent evidence of this was the women. After reading so much about it you think I would have been less surprised, but man. It seemed like nearly every female character the main came in contact with was an absolutely shameless slut. While not exactly femme fatal, in the deadly sense, the sex object message was still there. I mean the first scene, Carmen comes in, wearing a skirt that would be stretching sensibilities even today, and just begins flirting with Bogart like there is no tomorrow. This is light years away from Irene in My Man Godfrey, or even Ilsa with her gun in Casablanca. From book store proprietor to taxi cab driver, nearly every girl throws herself on the detective. I must say though that the taxi driver scene was absolutely priceless. But still, it seemed like every conversation involving a young woman ended with sexual connotations, even today we do not see such blatant innuendo.
Additionally, the film did have a couple other evidences proving it worthy of the noir caste. The violence being one, still a far cry from today, compared to other films of the era it was rather unprecedented. In this film violence was definitely meant to be a part of the film, where as in Casablanca, the violence was barely noticed as that was not meant to be substantial in itself. I mean in this film everyone had a gun. As I mentioned before, the confusion was definitely there as well, while the film did not have an over excessive amount of weird camera angles and such, it was jarring. Many of the plot lines did not seem to have ends and the movie itself left no room for the absent mind, not even for a second. One would probably have to sit and watch the film with a finger on the rewind button to fully understand all the happenings. Oh well, to each his own.
In the end though, the movie was still pretty good. The director did very well in the fact that the film was based on a hardboiled detective novel, and didn’t shock the audience so much the film became un enjoyable. Additionally, I am sure it was difficult to make a film adaption of such a book with such restrictive censorship and such. Truly this film is a shining example of the noir class. If you can use shining and noir in the same sentence.
Tuesday, March 9, 2010
The Omen (2006): A Review
The Omen, or at least this version, was written by David Seltzer and directed by John Moore. The film, as I alluded to above, is indeed a remake and, according to public reception, is a pale shadow of the original. Although I have not seen the 1976 version, after viewing the 2006 edition, I would certainly be inclined to agree. This film, unfortunately, just completely misses the mark.
After a brief introduction to the prophecy regarding the omen, the movie then moves on to an Italian hospital, where the main character, Robert Thorn, is anxiously awaiting the birth of his son. The birth, however, does not go as planned and his wife, Katherine, not only loses the child, but also is damaged in away that may very well prevent future pregnancies. Robert, traumatized by this fact, agrees to adopt another infant recently orphaned in the hospital. We are then introduced to Damien, who is, unbeknownst to his parents, the spawn of Satan. Thus the plot is set, and the story begins.
As the film moves on, we are given the background information on our two mains. Robert works for a United States ambassador stationed in Italy, while Katherine is a at home mom trying her best to adapt to her surroundings. Soon after, the family moves to London, where Robert will perform as the ambassador to England, following the death of his boss. Once in England the drama is turned up a notch as we see Damien’s mother slowly beginning to suspect that her son is far from normal. We are then subsequently introduced to two new characters, one a worried priest, the other a curious reporter. The priest, present at the birth of Damien, tries to convince Robert of the danger he faces, and subsequently moves the plot forward. The reporter, while nothing special in himself, takes on the position of pushing the story forward, after the priest is removed. Finally, our last supporting character is introduced. After Damien’s last nanny’s tragic death, a new one is found, while seemingly perfect to Robert, she actually becomes Damien’s protector in the days ahead. As the movie nears its half way point, the story continues to take a dark twist as Katherine, after a series of strange events, truly begins to believe there is something wrong with her son. Robert’s own plot line also becomes slightly more insidious, as he receives another dire warning from our priest and our reporter makes a startling discovery.
Robert’s troubles increase after a dramatic meeting with the priest, as his wife slowly falls to madness, frightened to death by their own son. This is brought to a terrific climax, as Katherine’s worst fears are realized. We next see her in a hospital, near death, after an accident brought about by Damien and his nanny protectorate. Robert is at a loss, his wife in the hospital and his mind still reeling from his meeting with the priest. After the priest meets his end, his place is taken by the reporter, Keith Jennings, who calls Robert with a most troubling discovery. After Keith convinces him that something must be done, Robert follows the urging of our late priest and travels to Rome, in hope of finding the one man that might be able to help them. After several scenes of startling revelations and small spots of action, Keith and Robert discover the location of their mysterious helper, marred only by the news of Katherine’s death. Upon meeting their mysterious benefactor, however, the drama heightens as Robert finds out what he must do to save the world. He must kill his only son. Robert tries to run from this horrid fact, but is stopped short upon the Keith’s untimely death.
Spurned by the Keith’s death, Robert returns to London, where he must do the unthinkable, kill his son. Hope drives him, for he clings to the fact that if his son does not have the cursed mark of Satan, he will not have to go through with the task set before him. His hope, however, is short lived and upon the realization that his son is, in fact, the spawn of the devil, the final drama comes to climax. Robert begins his hurried race to the church, fighting possessed nannies and well intentioned police along the way to the final battle between father and son. Reaching the church just in time, he hurls Damien onto the altar, intent on destroying the evil he has raised. But, in the end, love overcomes Robert’s determination, and Damien, his last trick played out, wins the day. The movie then ends with Robert’s burial and one final look, at the triumphant Damien.
As I mentioned above, this film just completely misses the mark. The writing was nearly identical to the first, so the real problem was the directing. While really, the film is not horribly directed, the pantheon of small mistakes and missed opportunities come together and, in the end, ruins the film. Most horror films today are grouped into two categories, gore and suspense. This film aimed for both and as a result missed both. It simply was not scary.
The gore that the movie showed, failed to shock, because it was so easy to see coming. The director actually slowed time to show exactly what was happening to, in the end, cause the variety of freak accidents. The problem was, the viewer was not in the least surprised, because you knew exactly what to expect. Moore would have been much better off to have left the speed alone, and let the audience gasp a little bit, even if the audience was slightly confused as to what took place. After all, not knowing what is going on is scary in itself. The style of direction used would have been much better placed for one tragic scene in a different type of movie, rather than in a horror film.
The suspense was also a letdown, a large part of which is due to the soundtrack being so out of sync with what was going on. A key factor in this type of movie is to have a soundtrack that reflects what is going on in the film to heighten the fear. This movie failed rather spectacularly in this. Another few missed opportunities, were the nightmare scenes. They were too surreal; you knew she was dreaming. Part of what makes a film scary is the unknown, when you know that a given situation is not real, it takes a significant part of the scary away. When everything seems normal, and then, suddenly you know it’s not, and then just as suddenly you realize it was all a dream is scary. The calm, FEAR, then calm again, albeit a slightly raised heart beat, is what is needed in a horror film.
Unfortunately the one truly, jump out of your seat scene, is the final one. It is sad that the director finally gets his act together in the final scene. If he had only so successfully filmed the rest of the movie like he did there, I have no doubt that this would have been a truly scary movie. As Robert captures Damien to take him to the church and the subsequent scenes after, the music finally synchronizes with the rest of the film. The action is shot perfectly, keeping you right on the edge of your seat, with the demented nanny popping up to force you to jump back into them again. The acting is perfect, Damien finally seeming like the innocent child he is supposed to be, with the evil that is his true self lurking just out of sight, caught only in short glimpses. This is really the movie’s only saving grace, just barely keeping it from being a complete waste of time.
In the end, I would have to stand by my earlier statement; the movie simply is not scary. While it does have a few memorable parts, really just the last one, it just cannot compete with other films of its genre. Hopefully, this will not be the last of the Omen films though. It really is quite the idea. Maybe in the future another brave soul might try and breathe life back into the franchise, and give us something that truly makes us sleep, a little less soundly.
After a brief introduction to the prophecy regarding the omen, the movie then moves on to an Italian hospital, where the main character, Robert Thorn, is anxiously awaiting the birth of his son. The birth, however, does not go as planned and his wife, Katherine, not only loses the child, but also is damaged in away that may very well prevent future pregnancies. Robert, traumatized by this fact, agrees to adopt another infant recently orphaned in the hospital. We are then introduced to Damien, who is, unbeknownst to his parents, the spawn of Satan. Thus the plot is set, and the story begins.
As the film moves on, we are given the background information on our two mains. Robert works for a United States ambassador stationed in Italy, while Katherine is a at home mom trying her best to adapt to her surroundings. Soon after, the family moves to London, where Robert will perform as the ambassador to England, following the death of his boss. Once in England the drama is turned up a notch as we see Damien’s mother slowly beginning to suspect that her son is far from normal. We are then subsequently introduced to two new characters, one a worried priest, the other a curious reporter. The priest, present at the birth of Damien, tries to convince Robert of the danger he faces, and subsequently moves the plot forward. The reporter, while nothing special in himself, takes on the position of pushing the story forward, after the priest is removed. Finally, our last supporting character is introduced. After Damien’s last nanny’s tragic death, a new one is found, while seemingly perfect to Robert, she actually becomes Damien’s protector in the days ahead. As the movie nears its half way point, the story continues to take a dark twist as Katherine, after a series of strange events, truly begins to believe there is something wrong with her son. Robert’s own plot line also becomes slightly more insidious, as he receives another dire warning from our priest and our reporter makes a startling discovery.
Robert’s troubles increase after a dramatic meeting with the priest, as his wife slowly falls to madness, frightened to death by their own son. This is brought to a terrific climax, as Katherine’s worst fears are realized. We next see her in a hospital, near death, after an accident brought about by Damien and his nanny protectorate. Robert is at a loss, his wife in the hospital and his mind still reeling from his meeting with the priest. After the priest meets his end, his place is taken by the reporter, Keith Jennings, who calls Robert with a most troubling discovery. After Keith convinces him that something must be done, Robert follows the urging of our late priest and travels to Rome, in hope of finding the one man that might be able to help them. After several scenes of startling revelations and small spots of action, Keith and Robert discover the location of their mysterious helper, marred only by the news of Katherine’s death. Upon meeting their mysterious benefactor, however, the drama heightens as Robert finds out what he must do to save the world. He must kill his only son. Robert tries to run from this horrid fact, but is stopped short upon the Keith’s untimely death.
Spurned by the Keith’s death, Robert returns to London, where he must do the unthinkable, kill his son. Hope drives him, for he clings to the fact that if his son does not have the cursed mark of Satan, he will not have to go through with the task set before him. His hope, however, is short lived and upon the realization that his son is, in fact, the spawn of the devil, the final drama comes to climax. Robert begins his hurried race to the church, fighting possessed nannies and well intentioned police along the way to the final battle between father and son. Reaching the church just in time, he hurls Damien onto the altar, intent on destroying the evil he has raised. But, in the end, love overcomes Robert’s determination, and Damien, his last trick played out, wins the day. The movie then ends with Robert’s burial and one final look, at the triumphant Damien.
As I mentioned above, this film just completely misses the mark. The writing was nearly identical to the first, so the real problem was the directing. While really, the film is not horribly directed, the pantheon of small mistakes and missed opportunities come together and, in the end, ruins the film. Most horror films today are grouped into two categories, gore and suspense. This film aimed for both and as a result missed both. It simply was not scary.
The gore that the movie showed, failed to shock, because it was so easy to see coming. The director actually slowed time to show exactly what was happening to, in the end, cause the variety of freak accidents. The problem was, the viewer was not in the least surprised, because you knew exactly what to expect. Moore would have been much better off to have left the speed alone, and let the audience gasp a little bit, even if the audience was slightly confused as to what took place. After all, not knowing what is going on is scary in itself. The style of direction used would have been much better placed for one tragic scene in a different type of movie, rather than in a horror film.
The suspense was also a letdown, a large part of which is due to the soundtrack being so out of sync with what was going on. A key factor in this type of movie is to have a soundtrack that reflects what is going on in the film to heighten the fear. This movie failed rather spectacularly in this. Another few missed opportunities, were the nightmare scenes. They were too surreal; you knew she was dreaming. Part of what makes a film scary is the unknown, when you know that a given situation is not real, it takes a significant part of the scary away. When everything seems normal, and then, suddenly you know it’s not, and then just as suddenly you realize it was all a dream is scary. The calm, FEAR, then calm again, albeit a slightly raised heart beat, is what is needed in a horror film.
Unfortunately the one truly, jump out of your seat scene, is the final one. It is sad that the director finally gets his act together in the final scene. If he had only so successfully filmed the rest of the movie like he did there, I have no doubt that this would have been a truly scary movie. As Robert captures Damien to take him to the church and the subsequent scenes after, the music finally synchronizes with the rest of the film. The action is shot perfectly, keeping you right on the edge of your seat, with the demented nanny popping up to force you to jump back into them again. The acting is perfect, Damien finally seeming like the innocent child he is supposed to be, with the evil that is his true self lurking just out of sight, caught only in short glimpses. This is really the movie’s only saving grace, just barely keeping it from being a complete waste of time.
In the end, I would have to stand by my earlier statement; the movie simply is not scary. While it does have a few memorable parts, really just the last one, it just cannot compete with other films of its genre. Hopefully, this will not be the last of the Omen films though. It really is quite the idea. Maybe in the future another brave soul might try and breathe life back into the franchise, and give us something that truly makes us sleep, a little less soundly.
Casablanca: A Cultural Review
First off, I must say that this is easily one of the best movies I have watched in a long time. The film is a perfect mix of suspense, action, romance, and wit, something hard to come by in today's mainstream. The director uses excellent film techniques, including many unforgettable close-ups, and the writing left nothing to be desired. It is easy to see why such a film is claimed to be a classic, for it to enthrall audiences for close to seventy years is quite the accomplishment.
The movie begins with the death of two German couriers, killed for the priceless letters of transit they hold. The next scene takes place in a night club, owned by our first main character Rick Blaine, a former American patriot. Rick is entrusted with the letters by a rogue selling them to the highest bidder, but when the rogue is subsequently shot, the letters become Rick’s. The plot thickens as our second main, and Rick’s former lover, enters the scene, escorted by her rebel husband.
The movie continues with the explanation of Rick and Ilsa’s past. Telling the story of how the two fell in love, and how the two split up. For when Ilsa first fell in love with Rick she had no idea her husband was still alive. When she did she left Rick without notice, leaving him the bitter and cynical man he is shown to be in the film. Several more characters are introduced, including: Sam, the piano player of Rick’s night club, he knew both Rick and Ilsa when they were together, Major Stasser, a German officer intent on getting the missing letters back, and Louis, a corrupt chief of police assisting both Rick and Stasser, whoever seems most inclined to prevail at the time.
The action continues as Rick is confronted by Victor, Ilsa’s husband, criminal kingpin, Louis, and Strasser, all suspecting Rick has the tickets, and all trying to get him to give them up. Finally, after a tense confrontation with Ilsa, Rick decides on a plan of action. He will convince Louis to free the jailed Victor, convincing Lousi that he will set Victor up for a much more serious crime, therefore giving Louis a much higher status among the Germans. He then double crosses Louis, forcing him to assist in their escape at gunpoint. Arriving at that the airport, a major twist in presents itself as Rick convinces Ilsa, who was going to stay with him, to go ahead and board the plane, telling her she will eventually regret it if she does otherwise.
Finally, we reach the climax of the film as the rebel carrying plane takes off, and Strasser, tipped off by a perturbed Louis, arrives, intent on stopping the plane. The movie comes to a close as Rick, forced to shoot Stasser to keep his lover safe. Louis, switching sides once again, takes the suspicion off Rick, seeing that he has nothing to gain by supporting the Nazis. Rick, following Louis off the runway, ends the movie with one of the most memorable lines in film history: "Louis, I think this is the beginning of a beautiful friendship”.
This movie is, as I said before, quite amazing, the perfect mix of nearly everything. One can definitely tell the film was made in America, however. One of the main themes in the film, in actuality the entire plot, is the perfect country that is America and how important it was to get there. One scene after another one sees people pining about how much they want to go to the America, how amazing it will be when they get there, the freedom it provides. It almost gets to a point where it gets a little sickening, but manages to not cross that line. Another point the film tries to make, while not so blatantly as the first, is the fact that America should get involved in the war. The message is quite subtle, but it is definitely there. It lacks the “in your face” affect that The Great Dictator had, but somehow, I think this method is slightly more effective in the long run.
As for the directing, it, like the rest of the film, is excellent. Many of the camera angles that are presented have hitherto been relatively unused. One particularly compelling technique is the level of close up that the director achieved, while still maintaining the films overall flow. The scene in which Ilsa pulls a gun out is a good example, getting right up into the characters faces, watching them think. One must also congratulate the actors in this, however, for that kind of skill is to be heartily commended. Another of piece of evidence proving Curtiz to be the great director he is, is simply the overall flow of the film. This like I mentioned before is evident in many different scenes, where much of the time a films flow is interrupted by a certain touch of plot or various technique. He holds together the film very well, something not extremely easy given the suddenness of tempo change presented throughout the film.
Another kudos to be given to the film, is for the excellent use of music to help create the overall effect of the film complete. Besides the soundtrack, which is near perfect in itself, several other elements are used with great effect. First is the ability of the character Sam to play, this allows for many different and useful techniques to be used, not only to set a given mood in a creative fashion, but to assist in characterization as well. Another element is the inspiration of patriotism, which we can see in the scene where the night club clientele out sing the Germans in a war of national anthems. We see this much today, with the adding of our own national anthem or other patriotic song into films, to pluck that patriotic chord within us all.
In the end, this movie takes its place as one of the most highly regarded films of its era. Its use of subtle propaganda, moralistic victories, and patriotic themes, give it the perfect elements for a film made during the Second World War. I must admit that I have found older films to be lacking, but Casablanca truly shows that a film can be amazing no matter what year it was created. I for one cannot think of any improvements to be made.
The movie begins with the death of two German couriers, killed for the priceless letters of transit they hold. The next scene takes place in a night club, owned by our first main character Rick Blaine, a former American patriot. Rick is entrusted with the letters by a rogue selling them to the highest bidder, but when the rogue is subsequently shot, the letters become Rick’s. The plot thickens as our second main, and Rick’s former lover, enters the scene, escorted by her rebel husband.
The movie continues with the explanation of Rick and Ilsa’s past. Telling the story of how the two fell in love, and how the two split up. For when Ilsa first fell in love with Rick she had no idea her husband was still alive. When she did she left Rick without notice, leaving him the bitter and cynical man he is shown to be in the film. Several more characters are introduced, including: Sam, the piano player of Rick’s night club, he knew both Rick and Ilsa when they were together, Major Stasser, a German officer intent on getting the missing letters back, and Louis, a corrupt chief of police assisting both Rick and Stasser, whoever seems most inclined to prevail at the time.
The action continues as Rick is confronted by Victor, Ilsa’s husband, criminal kingpin, Louis, and Strasser, all suspecting Rick has the tickets, and all trying to get him to give them up. Finally, after a tense confrontation with Ilsa, Rick decides on a plan of action. He will convince Louis to free the jailed Victor, convincing Lousi that he will set Victor up for a much more serious crime, therefore giving Louis a much higher status among the Germans. He then double crosses Louis, forcing him to assist in their escape at gunpoint. Arriving at that the airport, a major twist in presents itself as Rick convinces Ilsa, who was going to stay with him, to go ahead and board the plane, telling her she will eventually regret it if she does otherwise.
Finally, we reach the climax of the film as the rebel carrying plane takes off, and Strasser, tipped off by a perturbed Louis, arrives, intent on stopping the plane. The movie comes to a close as Rick, forced to shoot Stasser to keep his lover safe. Louis, switching sides once again, takes the suspicion off Rick, seeing that he has nothing to gain by supporting the Nazis. Rick, following Louis off the runway, ends the movie with one of the most memorable lines in film history: "Louis, I think this is the beginning of a beautiful friendship”.
This movie is, as I said before, quite amazing, the perfect mix of nearly everything. One can definitely tell the film was made in America, however. One of the main themes in the film, in actuality the entire plot, is the perfect country that is America and how important it was to get there. One scene after another one sees people pining about how much they want to go to the America, how amazing it will be when they get there, the freedom it provides. It almost gets to a point where it gets a little sickening, but manages to not cross that line. Another point the film tries to make, while not so blatantly as the first, is the fact that America should get involved in the war. The message is quite subtle, but it is definitely there. It lacks the “in your face” affect that The Great Dictator had, but somehow, I think this method is slightly more effective in the long run.
As for the directing, it, like the rest of the film, is excellent. Many of the camera angles that are presented have hitherto been relatively unused. One particularly compelling technique is the level of close up that the director achieved, while still maintaining the films overall flow. The scene in which Ilsa pulls a gun out is a good example, getting right up into the characters faces, watching them think. One must also congratulate the actors in this, however, for that kind of skill is to be heartily commended. Another of piece of evidence proving Curtiz to be the great director he is, is simply the overall flow of the film. This like I mentioned before is evident in many different scenes, where much of the time a films flow is interrupted by a certain touch of plot or various technique. He holds together the film very well, something not extremely easy given the suddenness of tempo change presented throughout the film.
Another kudos to be given to the film, is for the excellent use of music to help create the overall effect of the film complete. Besides the soundtrack, which is near perfect in itself, several other elements are used with great effect. First is the ability of the character Sam to play, this allows for many different and useful techniques to be used, not only to set a given mood in a creative fashion, but to assist in characterization as well. Another element is the inspiration of patriotism, which we can see in the scene where the night club clientele out sing the Germans in a war of national anthems. We see this much today, with the adding of our own national anthem or other patriotic song into films, to pluck that patriotic chord within us all.
In the end, this movie takes its place as one of the most highly regarded films of its era. Its use of subtle propaganda, moralistic victories, and patriotic themes, give it the perfect elements for a film made during the Second World War. I must admit that I have found older films to be lacking, but Casablanca truly shows that a film can be amazing no matter what year it was created. I for one cannot think of any improvements to be made.
Monday, March 8, 2010
Rouge, A Review
This is an extremely well done film, both written and directed by Greg Mclean. Using basic plot elements and real life situations to provide the bulk of the tension and suspense, it strays away from the more traditional methods of many horror films of today. Ultimately, Rogue supplies near constant suspense, all the while providing a detailed description of the human mind stripped of its natural inclination to be the hunter, instead of the hunted.
The movie starts out with scenes from the outback and some of the wildlife native to the same. The title credits roll a wildebeest is eaten and, finally, the movie begins. The main protagonist is portrayed as a young travel writer for some unnamed, and therefore unimportant, magazine. As he and the other unlucky tourists board the ill fated tour boat, we are introduced to our second protagonist, a sunny and comfortable tour guide named Kate. As the tour runs its course, the quirks and perks of our casts’ characters our revealed, while, incidentally, we learn about the salt water crocodile and view more of the Australian ecosystem. The movie then starts building momentum, as a several flares are seen somewhere upriver. Thus ends the first third of the movie.
As the cast move farther up river into, as Kate says “sacred territory”, the movie begins to take a sharp turn into the dark. Although still focusing on the Australian scenery, it loses its happy Rescuers Down Under look, and begins to take on a much more sinister appearance. The tension eases as the wayward tourists realize that they can longer search for the source of the distress signals and must turn back. This ends most abruptly as the killer croc attacks the boat, forcing the cast to crash land on a small island near the river bank. The movie then begins its fast paced climb to the climax with the cast proceeding with a series of ill fated attempts to get off the island and to the relative safety of the shore.
Tensions rise as, one by one; the rouge crocodile picks them off. After a sufficient number of tourists have been eaten, the story moves on when our resourceful reporter finds a way to occupy the croc and give the others enough time to swim to safety. All the while putting himself in mortal peril of course. The plan works for only so long, with the result being the capture of our female main, Kate. The movie then begins to slow with the cast walking towards safety and our hero at a loss as how to proceed. Thus ends the second third of the film.
As our heroic writer walks through the dawn lit forest, we once again are immersed in the beautiful outback setting. Following Kate’s dog into an underground cave, filled with mud, tree roots, and, naturally, water. It is here he finds Kate, thoroughly mutilated and barely alive. Here the tension rises once more, as our inevitable climax draws near. For of course, the cave belongs to our mammoth crocodilian. As the beast enters and our hero hides, the climax arrives. A fierce battle ensues between the protagonist and the antagonist, concluding with the death of the killer croc and our hero’s narrow escape from death. Carrying the girl off into the sunset, the rest of the remaining cast is found, along with several rescue helicopters. After a brief dialogue between the mains, the camera pans out, the credits fade in and we assume that everybody goes back home without further trauma.
Greg McLean should be congratulated on his savvy approach to this film. Instead of focusing entirely on the fact that a monstrously sized crocodile is eating people, he brings a sort of gritty realism to the film by also focusing on the characters reaction to a monstrous crocodile eating people. Throughout the film each character, no matter how small, is shown that they are, in fact, a real person with a real personality. This brings a whole new element to the film. Not only do you have the horror aspect that you paid to see, but you also get to watch real people, how they tick, and then wait to see who in the group cracks first. This takes some of the pressure of the croc and therefore lessens the films reliance on its special effects.
As one would expect, most of the films special effects are used in conjunction with scenes concerning the killer crocodile for which the film is named. Unlike many horror films however, Rogue does not rely on special effects alone to scare and shock the viewer. While of course the film did rely on them to make the movie better, it did not rely on them to actually make the movie. This film wisely used CGI and animatronics as very effective supplements to add on to the excellent writing and realistic characterization that made the film so successful.
Mclean missed a few things, but that fact is buried well beneath all the things he hit right on, so really, such things do not matter. He did exactly what he intended and he did it very well. The two fold focus of suspenseful horror and real characterization was successful in a way remiss of a Stephen King novel. The tour boat sequences were an excellent way to bring the characters toward the action, but also to provide situations to further understand the characters themselves. While I have to admit that there were several missed opportunities on the island to heighten the drama and a few lacking transitions, the film was still excellent. Mclean put in his own touch with many breathtaking scenes of Australian scenery and an awesome soundtrack that significantly furthered both the suspense and thrill of the movie itself.
In the end the film’s excellence on nearly all levels must again be acknowledged. It did exactly what it was supposed to and left a genuine impression. The fact that the croc featured in this film was only about 22 feet in length; a full six feet shy of the longest croc recorded, is probably the scariest facet of the entire movie. Not only was this monster real, but it could be even bigger.
The movie starts out with scenes from the outback and some of the wildlife native to the same. The title credits roll a wildebeest is eaten and, finally, the movie begins. The main protagonist is portrayed as a young travel writer for some unnamed, and therefore unimportant, magazine. As he and the other unlucky tourists board the ill fated tour boat, we are introduced to our second protagonist, a sunny and comfortable tour guide named Kate. As the tour runs its course, the quirks and perks of our casts’ characters our revealed, while, incidentally, we learn about the salt water crocodile and view more of the Australian ecosystem. The movie then starts building momentum, as a several flares are seen somewhere upriver. Thus ends the first third of the movie.
As the cast move farther up river into, as Kate says “sacred territory”, the movie begins to take a sharp turn into the dark. Although still focusing on the Australian scenery, it loses its happy Rescuers Down Under look, and begins to take on a much more sinister appearance. The tension eases as the wayward tourists realize that they can longer search for the source of the distress signals and must turn back. This ends most abruptly as the killer croc attacks the boat, forcing the cast to crash land on a small island near the river bank. The movie then begins its fast paced climb to the climax with the cast proceeding with a series of ill fated attempts to get off the island and to the relative safety of the shore.
Tensions rise as, one by one; the rouge crocodile picks them off. After a sufficient number of tourists have been eaten, the story moves on when our resourceful reporter finds a way to occupy the croc and give the others enough time to swim to safety. All the while putting himself in mortal peril of course. The plan works for only so long, with the result being the capture of our female main, Kate. The movie then begins to slow with the cast walking towards safety and our hero at a loss as how to proceed. Thus ends the second third of the film.
As our heroic writer walks through the dawn lit forest, we once again are immersed in the beautiful outback setting. Following Kate’s dog into an underground cave, filled with mud, tree roots, and, naturally, water. It is here he finds Kate, thoroughly mutilated and barely alive. Here the tension rises once more, as our inevitable climax draws near. For of course, the cave belongs to our mammoth crocodilian. As the beast enters and our hero hides, the climax arrives. A fierce battle ensues between the protagonist and the antagonist, concluding with the death of the killer croc and our hero’s narrow escape from death. Carrying the girl off into the sunset, the rest of the remaining cast is found, along with several rescue helicopters. After a brief dialogue between the mains, the camera pans out, the credits fade in and we assume that everybody goes back home without further trauma.
Greg McLean should be congratulated on his savvy approach to this film. Instead of focusing entirely on the fact that a monstrously sized crocodile is eating people, he brings a sort of gritty realism to the film by also focusing on the characters reaction to a monstrous crocodile eating people. Throughout the film each character, no matter how small, is shown that they are, in fact, a real person with a real personality. This brings a whole new element to the film. Not only do you have the horror aspect that you paid to see, but you also get to watch real people, how they tick, and then wait to see who in the group cracks first. This takes some of the pressure of the croc and therefore lessens the films reliance on its special effects.
As one would expect, most of the films special effects are used in conjunction with scenes concerning the killer crocodile for which the film is named. Unlike many horror films however, Rogue does not rely on special effects alone to scare and shock the viewer. While of course the film did rely on them to make the movie better, it did not rely on them to actually make the movie. This film wisely used CGI and animatronics as very effective supplements to add on to the excellent writing and realistic characterization that made the film so successful.
Mclean missed a few things, but that fact is buried well beneath all the things he hit right on, so really, such things do not matter. He did exactly what he intended and he did it very well. The two fold focus of suspenseful horror and real characterization was successful in a way remiss of a Stephen King novel. The tour boat sequences were an excellent way to bring the characters toward the action, but also to provide situations to further understand the characters themselves. While I have to admit that there were several missed opportunities on the island to heighten the drama and a few lacking transitions, the film was still excellent. Mclean put in his own touch with many breathtaking scenes of Australian scenery and an awesome soundtrack that significantly furthered both the suspense and thrill of the movie itself.
In the end the film’s excellence on nearly all levels must again be acknowledged. It did exactly what it was supposed to and left a genuine impression. The fact that the croc featured in this film was only about 22 feet in length; a full six feet shy of the longest croc recorded, is probably the scariest facet of the entire movie. Not only was this monster real, but it could be even bigger.
The Great Dictator, A Cultural Review
The film begins in media res, during the end of World War I, in a fictional country. Chaplin, who plays both main characters, is introduced in his Jewish role as part of the military. As one can imagine, Chaplin begins with a rousing series of hilarious stunts and comedic situations. After a while however, Chaplin finds himself in a plane, which subsequently crashes, leaving him in a coma which is to last twenty years.
We are next introduced to Chaplin’s other role, that of the diminutive dictator of the land. Here he gives a rousing speech to the public, in which Chaplin blatantly begins his propagandic agenda, as Hinkle, the dictator, outlines his visions for the country, most of which are far from the individual freedoms of America. We then move back to the Ghetto where our little Jew has just woken up from his condition and returns to his shop. Not knowing what is going on he gets him self into many a situation. He can not win them all though, and he is finally caught, but is saved by one of his old friends from the war. The persecution stops, however, near the middle of the film. This is due to Hinkle wanting a loan from a Jewish banker.
At this point we see a lull in the action, giving time to further explore Hinkle’s character and give the Jews hope for the future. This is, of course, short lived, and soon everything returns to the way it was in the beginning. Next we are introduced to two more characters that help to move the plot along. The first is one of Hinkle’s officers, coincidentally the one that saved the Jew in the beginning, and another dictator, whom I can only imagine is a farce of Mussolini.
Thus we move on to the next part of the film, in which the Jews, and their new found officer friend, hide from the storm troopers and the two dictators solve their differences. The movie moves closer to its climax with the capture of Chaplin’s Jew and our treasonous officer, subsequent fleeing of the rest of the Jews, and Hinkle’s first invasion. Our two prisoners escape by impersonating actual officers and end up at Hinkle’s conquering speech. It is at this time that Chaplin, in a way, makes the movie into the masterpiece it is. For Chaplin the Jew and Chaplin the dictator, through ridiculously funny escapades, switch places. And at that moment, Chaplin addresses the audience himself, imploring them to fight, in any way they can, against the evils of dictatorship.
As I mentioned before, there are many times when the drama really takes away from the comedy. This is due to the fact that, it really would be a slight to the oppressed people in Germany to make light of their troubles in such a fashion. Therefore Chaplin gives them their due, and at the same time, tries to bring to light the reality of their suffering. Still, I would have to say it would have been funnier if he had not worried about all those pesky morals, just not as good.
The film is old, however. The lack of color, perfect picture, and dramatic special effects, does inhibit the film slightly. But really, it is a testament to the film maker that it still exists nearly a century later. I mean I am sure there were plenty of films made at the time, and I am sure they were alright in there fashion, but just not good enough to beat time. Plus it makes fun of the Nazis; everybody enjoys making fun of the Nazis. Now a days we would probably make fun of Middle Eastern terrorists instead, but it is still a pretty funny movie.
The film’s comedic elements were mostly composed with a definite slapstick style, as we can see with the multiple trips, crashes, and of course, frying pans to the head. The film did use a small smattering of situational comedy, for example, when everyone thinks the Jewish main is actually Hinkle. But I would argue that even some of the displays of situational comedy, had elements of slapstick. This can be seen in pieces like the coins in the pudding scene, where the hilarity is certainly situational, but still has a definite element of slapstick in the characters’ reactions.
Another important aspect of the film lies in the fact that is Chaplin’s first with verbal dialogue that you can actually hear. This certainly puts a new spin on his previous style, but one which he uses to great effect. You see, the variety of voices in itself can be funny, something that, obviously, was not used in previous films. A character’s voice also can be used to tell something about that character. The Jewish barber’s soft spoken verbage, versus Hinkle’s constant yelling, for example. But the most important aspect of using this technology, at least for this film’s purposes, is that it makes the ending speech possible. There is no way Chaplin could have gotten his message across in such a powerful fashion using inter-tiles.
All of these aspects come together to make the film into the popular piece that it was in the 1940’s and survive till today. Between Chaplin’s own unique style of comedy and the clamor over the new technology employed, there could be no doubt. Even more so than perhaps both of these things, the film was poking fun at Nazi Germany. That was perfect for the time period. That is what everyone was doing anyway, but then it was on the big screen. Everyone wanted to go see it.
In the end, the film remains a masterpiece in its own category. Not entirely comedic. Not entirely dramatic. Simply unique. Chaplin truly out did himself on this one. For the film not only entertains, but gives a message. A message of freedom, integrity, and the importance of both.
We are next introduced to Chaplin’s other role, that of the diminutive dictator of the land. Here he gives a rousing speech to the public, in which Chaplin blatantly begins his propagandic agenda, as Hinkle, the dictator, outlines his visions for the country, most of which are far from the individual freedoms of America. We then move back to the Ghetto where our little Jew has just woken up from his condition and returns to his shop. Not knowing what is going on he gets him self into many a situation. He can not win them all though, and he is finally caught, but is saved by one of his old friends from the war. The persecution stops, however, near the middle of the film. This is due to Hinkle wanting a loan from a Jewish banker.
At this point we see a lull in the action, giving time to further explore Hinkle’s character and give the Jews hope for the future. This is, of course, short lived, and soon everything returns to the way it was in the beginning. Next we are introduced to two more characters that help to move the plot along. The first is one of Hinkle’s officers, coincidentally the one that saved the Jew in the beginning, and another dictator, whom I can only imagine is a farce of Mussolini.
Thus we move on to the next part of the film, in which the Jews, and their new found officer friend, hide from the storm troopers and the two dictators solve their differences. The movie moves closer to its climax with the capture of Chaplin’s Jew and our treasonous officer, subsequent fleeing of the rest of the Jews, and Hinkle’s first invasion. Our two prisoners escape by impersonating actual officers and end up at Hinkle’s conquering speech. It is at this time that Chaplin, in a way, makes the movie into the masterpiece it is. For Chaplin the Jew and Chaplin the dictator, through ridiculously funny escapades, switch places. And at that moment, Chaplin addresses the audience himself, imploring them to fight, in any way they can, against the evils of dictatorship.
As I mentioned before, there are many times when the drama really takes away from the comedy. This is due to the fact that, it really would be a slight to the oppressed people in Germany to make light of their troubles in such a fashion. Therefore Chaplin gives them their due, and at the same time, tries to bring to light the reality of their suffering. Still, I would have to say it would have been funnier if he had not worried about all those pesky morals, just not as good.
The film is old, however. The lack of color, perfect picture, and dramatic special effects, does inhibit the film slightly. But really, it is a testament to the film maker that it still exists nearly a century later. I mean I am sure there were plenty of films made at the time, and I am sure they were alright in there fashion, but just not good enough to beat time. Plus it makes fun of the Nazis; everybody enjoys making fun of the Nazis. Now a days we would probably make fun of Middle Eastern terrorists instead, but it is still a pretty funny movie.
The film’s comedic elements were mostly composed with a definite slapstick style, as we can see with the multiple trips, crashes, and of course, frying pans to the head. The film did use a small smattering of situational comedy, for example, when everyone thinks the Jewish main is actually Hinkle. But I would argue that even some of the displays of situational comedy, had elements of slapstick. This can be seen in pieces like the coins in the pudding scene, where the hilarity is certainly situational, but still has a definite element of slapstick in the characters’ reactions.
Another important aspect of the film lies in the fact that is Chaplin’s first with verbal dialogue that you can actually hear. This certainly puts a new spin on his previous style, but one which he uses to great effect. You see, the variety of voices in itself can be funny, something that, obviously, was not used in previous films. A character’s voice also can be used to tell something about that character. The Jewish barber’s soft spoken verbage, versus Hinkle’s constant yelling, for example. But the most important aspect of using this technology, at least for this film’s purposes, is that it makes the ending speech possible. There is no way Chaplin could have gotten his message across in such a powerful fashion using inter-tiles.
All of these aspects come together to make the film into the popular piece that it was in the 1940’s and survive till today. Between Chaplin’s own unique style of comedy and the clamor over the new technology employed, there could be no doubt. Even more so than perhaps both of these things, the film was poking fun at Nazi Germany. That was perfect for the time period. That is what everyone was doing anyway, but then it was on the big screen. Everyone wanted to go see it.
In the end, the film remains a masterpiece in its own category. Not entirely comedic. Not entirely dramatic. Simply unique. Chaplin truly out did himself on this one. For the film not only entertains, but gives a message. A message of freedom, integrity, and the importance of both.
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