Waltz with Bashir - Film Review

Fig.1 Film Poster

Written and directed by Ari Folman, ‘Waltz with Bashir’ is a 2008 animated war documentary that explores Folman’s search for his lost memories during the 1982 Lebanon war. The film has been well received and won several awards including Golden Globe Award for Best Foreign Language Film. However due to the nature of the film carrying an anti-war message and the sensitive topic of the Lebanon war, the film has been banned in a number of Arab countries including Lebanon.  

The story follows Folman as he attempts to uncover his past, interviewing a number of both friends and fellow soldiers. The scripts in ‘Waltz with Bashir’ are from real interviews that took place, though actors have been used for those who did not want to appear in the film. Due to the sensitivity of the subject it is understandable why they did not take part in representing themselves. This leads to an underlying theme of loss of memory. It is something that is afflicted by the soldiers present in the film and to a further extent reaches out to the society of Israel.

It is unknown whether or not people of Israel have suppressed memories of the Lebanon war, in particular the massacres that took place at Sabra and Shatila. While forces associated with the Israel Defence Force may not have taken direct action against a specific group of people they may feel as if they assisted those who did. As critic Peter Bradshaw questions:

“Has Israel made a mass, semi-conscious decision to forget about the Sabra and Chatila massacres of the 1982 Lebanese war, in which Israeli forces allowed Christian Phalangist militia into Palestinian refugee camps to slaughter civilians?” (Bradshaw, 2008)

‘Waltz with Bashir’ suggests that perhaps the Israeli people have partially forgotten this troubled event. Feelings of the once prosecuted people, now partaking in the prosecution of another is shown. As of such feelings of guilt is strong but it is important to remember and learn from such an event.

Folman’s choice in style of animation has led to confuse a number of audiences. Looking at how natural and fluid the animation of the characters appears it is easy to understand why audience may think that rotoscoping was used. In reality Folman’s team employed several media packages including Adobe Flash and After Effects. In an interview Folman stated the reasons as to why he did not use techniques like rotoscoping,

“But, for me, rotoscoping has a big problem in conveying emotions. You see the technique, you see the drawings, and that takes your focus. If this film had been rotoscoped, it would have been hard for the audience to get emotional with the characters.” (Kaufman, 2008)

As the statement suggests it was especially important for the audience to connect with the characters. This is a personal story following multiple people who all experienced different traumatic experiences of a singular collective event. The choice in style was deliberate implying that the majority of Folman’s memories were not true to him. There is uncertainty in what is true and what is not. ‘Waltz with Bashir’s ending is simple yet very effective. In contrast to the graphic novel-esc animation, real hard-hitting footage of the bodies and remaining survivors from the massacre is presented as the film’s ending note.  The message is carried so well by animation critic, Roger Ebert comments:

“Folman is an Israeli documentarian who has not worked in animation. Now he uses it as the best way to reconstruct memories, fantasies, hallucinations, possibilities, past and present. This film would be nearly impossible to make any other way.” (Ebert, 2009)

Fig.2 Exaggeration Through Animation

It becomes increasingly clear that ‘Waltz with Bashir’ is a personal project carrying a lot of emotions from fear to anxiety. Folman, after his military career went onto travel the world discovering that he had some fascination with cinema. As a result Folman studied the subject and produced a number of documentaries afterwards. His history in making documentaries has allowed him to take a different approach that is typical in live-action films. His graduate film, ‘COMFORTABELY NUMB’ (1991) informs the viewer of his friends’ experience of panic and anxiety during the First Gulf War. It shows that ‘Waltz with Bashir’ is not the first war documentary he has created.

Using his experience in his first animated film, Folman was able to overall create a film that was well received by critics, giving a unique insight into the events described. 

Bibliography

Bradshaw, P. (2008). Waltz with Bashir. [Online] Available at: https://www.theguardian.com/film/2008/nov/21/waltz-with-bashir-folman [Accessed: 05/02/18]

Kaufman, D. (2008). How They Did It: Waltz With Bashir. [Online] Available at: http://www.studiodaily.com/2008/12/how-they-did-it-waltz-with-bashir/ [Accessed: 05/02/18]

Ebert, R. (2009). Waltz with Bashir. [Online] Available at: https://www.rogerebert.com/reviews/waltz-with-bashir-2009 [Accessed: 05/02/18]

Illustration list

fig.1 Film Poster. (2008) From: Waltz with Bashir. Directed by: Ari Folman [Poster] Israel: Sony Pictures Classic. At: http://www.the-match-factory.com/assets/gfx/images/films/w/waltz-with-bashir/artwork-waltz-with-bashir.jpg [Accessed: 05/02/18]

fig.2 Exaggeration Through Animation. Directed by: Ari Folman [Film Still] Israel: Sony Pictures Classic. At: http://www.animatormag.com/wp-content/uploads/2011/11/waltz-bashir.jpg [Accessed: 05/02/18]

Paprika - Film Review

fig. 1 film poster

Based off Yasutaka Tsutsui’s novel of the same name, ‘Paprika’ is a 2006 film directed by Satoshi Kon. The Japanese film takes cultural roots of its origin encompassing NEET culture, Maneki-nekos (lucky cats) and variation in character proportions. While the film’s plot is easier to follow the animation creates a more complex and confusing story. Never the less the style proves to be one of the defining features of the film. ‘Paprika’ follows Doctor Atsuko Chiba who must recover several stolen devices that allows one to enter another’s dream.

With the plot in mind it is possible to seed several themes into the story, one of which is more evident. In the words of the antagonist of the film, the chairman, “the dreams are horrified… that their safe refuge is destroyed by technology.” While it is clear that the chairman disapproves of new technology it also highlights the potential fear. There have been many films before that have explored technology getting out of hand, one of the more famous examples being ‘Terminator’ (1984). Despite being a far stretched technophobic example its represents a similar concept shown in ’Paprika’. The device while invented for the betterment of humanity proved powerful and in the wrong hands capable of great damage. This falls into the long and arduous debate of whether or not technology should become so powerful. The device itself proves so, without limitations it can merge both reality and dreams. The dream aspect is well portrayed though kon’s choice in medium.

fig.2 an example of the dream world

The story is portrayed through the use of animation in the style of anime (synonymous to Japanese culture), mixing 2D and 3D elements. This form of animation is a product that is commonly associated with NEET culture as mention above. A culture that has been recognised as a rising issue in society as industry targets mostly males of ages up to 30. Due to the harsh circumstances and expectations of Japanese society it is easier for some to find escape in media and indulging in animation and its associated products. Despite this the anime style has been able to portray a number of individual and unique styles. Variation in character proportions, movement and design gives anime a large expanse in ways of expressing itself.

Tsutsui’s world is presented in a manner of various playful colours mixed in with a large amount of morphology. This is heavily present throughout the dream sequences as inanimate objects come to life and the abstract begins to intrude the real world. Animation has been used to tell many stories some more ordinary than others, in the case of ‘Paprika’ the medium is used to great effect in shaping and describing the dream world. The style is also well known for the 1988 film ‘Akira’ which proposes a number of mad and explosive moments. ‘Paprika’ is not too dissimilar in this manner. The two worlds of reality and dreams are well defined with reality being far more mundane contrasted by the dramatic dream world. Critic Alex Naylor describes kon as ‘an engineer of delirious, dizzy trips through the psyche, but a spiky, tough social critic too’ (2008) which is evident in this particular piece of work.

Since the 2006 film there was plans of a live adaptation, directed by Wolfgang Petersen. However the animation provides a unique style to the story that a live-action retelling cannot recreate, limiting the amount of creative choices possible. This became evident when Christopher Nolan’s ‘Inception’ (2010) was released during the early stages of development of Petersen’s film. It appears that due to the similar natures of the concepts Petersen stopped progress as its success as a more original film would have been restricted. This further provides support that animation played a pivotal role in the film.

The director, Satashi Kon sadly passed away in 2010 before he could complete his next work ‘Dreaming Machine’. Never the less it is clear that Kon has a strong image that he has planned for each of his work being able to execute and direct his team to fulfil his dream. Critic Paul Jackson comments on this ‘renowned for injecting a staggering level of lived-in detail into each of his compositions’ (2008) moving on to describe how much detail each shots contains.  

Bibliography 

Jackson, P. (2008). Paprika. [Online] Available at: http://www.midnighteye.com/reviews/paprika/ [Accessed: 28/01/18]

Naylor, A. (2008). Paprika: the stuff of dreams for. [Online] Available at: filmgoershttps://www.theguardian.com/film/filmblog/2008/jun/17/paprikathestuffofdreamsfo [Accessed: 28/01/18]

Illustration list

fig. 1. Film Poster [Online] Available at: http://img.moviepostershop.com/paprika-movie-poster-2006-1020689313.jpg [Accessed: 28/01/18] 

fig. 2 An example of the dream world [Online] Available at: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-VCQcLnj4q8UlUstfIHjNlXlZtLnmyPNEh_eTSsvnQ-njBWSDZQVq7z9bEdV5rLrQDaj496tsAmTN5ie-4BdqyF91K-hB4Iaduciycs1NQ_zXB1kL7FyFmXmV6QNsudHnxCXnJBQrLoov/s1600/paprika.jpg [Accessed: 28/01/18]

Mary and Max - Film Review

fig.1 film poster

“Mary and Max” is a 2009 Australian film directed by Adam Elliot. The film starts in 1976 and runs throughout the 70s and 80s, presenting an important factor to the story. While the piece contains moments of laughter the story remains bleak evoking powerful emotions. Even the colour scheme itself reflects this with greys and muddy browns. But never the less Elliot’s film could be described as a potent one.

There is a unique quality in Elliot’s film thanks to the sound design chosen. Over the duration of the animation there are very few spoken words by the characters. Instead action speaks louder than words with each character model capable of portraying a wide range of expressions including anger and embarrassment. Accompanying the footage is the playful and contrasting sound track helping to prepare the audience ahead as the film begins to evoke melancholy feelings.

The film covers a number of themes including loss of family, friendship and mental disabilities. However one particular theme that stood out was ‘coming of age’. It can be debated that this is not the core theme of the film; perhaps ‘coming of age’ is not the complete and correct term. It is more accurately described as maturing and finding one’s place in the world. It may seem strange that this is what could be taken from “Mary and Max” as there are numerous underlying themes, some of them more adult than others.  

Mary and Max could be seen as children who never grew up but retain adult privileges. As Max’s past is delved into it is apparent that he was always lonely, isolated and shunned. At the age of 44 this has not changed. He indulges in his two guilty pleasures chocolate and ‘Noblets’ a child’s television show that exists in Elliot’s universe. Mary also has a similar indulgence of sweet treats and the show hinting towards the child-like innocence shared between the two. It is because of these common traits the two are able to get on so well forming the strong bond even with the physically distance between them. 

Max only matures when he is able to make the realisation that people are ‘imperfect’, his gift to Mary of children’s toys resembles Max moving beyond his child-like fascination. This theme is more apparent for Mary as the film takes place over her physical change from a child to an adult. Ultimately she finds her place in the world as a responsible mother. Other themes support the ‘coming of age’ as ‘death’ challenges the characters and ‘friendship’ helps both Mary and Max find where they belong.

This is reflected in the medium used for this film. Rather than opting for live action or traditional hand-drawn animation Elliot used Claymation, a style often related with “Wallace and Gromit”. Alongside being synonymous to “Wallace and Gromit”, Claymation is often related to children’s cartoons. The innocence in the style mirrors that of the main characters. Despite the nature of Claymation there is a rather eerie sense that is applied in the form of the dark colour schemes chosen.  Film critic Andrew Pulver describes the style as “sickly-cute, alarmingly grotesque, and right-on at the same time – often in the very same scene” (Pulver, 2010). It is obvious that Mary and Max belong to separate worlds, (somehow making the all-important connection as friends) as Max’s world is grey and Mary’s muddy tones of brown. Even the use of a narrator in this particular fashion also harks back to old childhood cartoons.

fig. 2 Max’s grey world and Mary’s muddy brown one

One of the other important themes presented in the film surrounds mental disabilities in particular Asperger’s. As Max has Asperger’s during the 70s he is often looked over by society. Psychology was a comparatively recent science when compared to the likes of physics and biology. With the current understanding and wide spread knowledge it is hard to imagine how such people were dismissed.

Film maker Adam Elliot has received over 100 film awards and for good reason. The majority of his works have a bittersweet tone which is true in “Mary and Max”. Refusing to work with major film companies, each of his films require a long process and shot independently. His first known film ‘Uncle’ (1996) had a total run time of around 6 minutes. With each passing film Elliot extended the duration of his animations with ‘Harvie Krumpet’ his 2003 film having 23 minutes of run time. Alongside the duration Elliot also pushed the way his content moved his audience emotionally. This is evidenced in an interview where he stated, “After Harvie Krumpet, I wanted to tackle something longer and meatier” (Desowitz, 2009) and as the interview continues it is clear that Elliot is not driven by money but instead passion. He wants to provoke the audience and engage them. 

“I try to make films with depth, substance; films that deeply engage, move and make the audience think” (Desowitz, 2009)

While the film retains strong elements it is restricted to being screen at film festivals. In the end “Mary and Max” is a sad tale that has received positive reviews from both critics and audience alike winning several awards. 

Bibliography

Desowitz, B. (2009). ‘Mary and Max': Elliot and Clayography. [Online] Available at: https://www.awn.com/animationworld/mary-and-max-elliot-and-clayography [Accessed 19/01/18]

Pulver, A. (2010). Mary and Max – review. [Online] Available at:
https://www.theguardian.com/film/2010/oct/21/mary-and-max-review [Accessed 19/01/18]

Illustration list

Fig. 1 Film poster. [Online] Available at: http://img.moviepostershop.com/mary-and-max-movie-poster-2009-1010550958.jpg [Accessed 19/01/18]

Fig.2 Max’s grey world and Mary’s muddy brown one. [Online] Available at: https://agoodmovietowatch.com/wp-content/uploads/2013/08/mary-and-max-together.jpg [Accessed  19/01/18]

What We Do in the Shadows - Film Reivew

fig.1 film poster

“What We Do in the Shadows” is a 2014 comedy directed by Jemaine Clement and Taika Waititi. The film follows four vampires in documentary style footage. It centres itself on observing on how the traditional vampire fits into modern society. The use of documentary style footage in this fashion can be referred to as a mockumentary, essentially a documentary based on fictional events.

This allows the camera to follow rather odd and supernatural situations which opening up new ways to create comedic effect. This ‘what if’ scenario would not have the same success that it does without the use of wild imagination. It is simply absurd to think that blood sucking vampires mange to cooperate in a rational house share, the modest home acts as a contrast to the castles and mansions that we normally associate to the creature. “What We Do in the Shadows” has a serious, informative tone that is held throughout, reflecting the nature of a documentary. Normally this is used to convey insight into rare spectacles and present new knowledge. In terms of “What We Do in the Shadows” there is no exception (although the footage is fictional).

The film represents the concept that a good idea is more important than funding and is done so exceedingly well. Jokes are well thought out and perfectly timed often reflecting the difficulty with the vampires’ ability to adapt to the modern world. At the end of the day the directors are able to make good effect of the concept as the story remains relatively simple. These collective beings have a simple of task of taking each day as it goes. Without the supernatural factors the story could be described as normal (maybe even plain).

The use of camera crews operating on a closer level gives insight to a rather dark, gory if not creepy world of vampires. As a result, film makers are able to set up satirical and macabre jokes ensured to challenge anyone’s perception of the mythical creature. The design of the characters has them retaining their old eccentric clothes. Alongside their wardrobes their mind set is also out-dated requiring the assistance of servants which breaks down the powerful and fearful image that a vampire might have once held.

“While one vamp uses a modern convenience like eBay to "do my dark bidding," the rest rely exclusively on their limited intelligence and human servants. So it's only fitting that they've only recently become the subjects of a "Real World"-style reality show documentary.” (Abrams, 2015) 

This comes out as amusing as an audience can relate to the characters to some degree. What the characters go through are mostly tasks that ordinary including washing dishes, having house meetings and going to clubs. These experiences are amplified with extraordinary elements adding a layer of complexity to the situation. The characters themselves are presented in an amusing manor and develop as the story progresses making it easy for the audience to sympathise with them. The primary vampire Viago seeks love but also cannot stand mess, ironically creating one whenever he feeds. 

fig.2 Viago after feeding on his 'guest'

With a relatively small budget of 1.6 million US dollars the film was able to make a profit of 6.9 million and earn a number of critic’s approval.

Bibliography

Abrams, S. (2015). WHAT WE DO IN THE SHADOWS. [Online] Available at:  https://www.rogerebert.com/reviews/what-we-do-in-the-shadows-2015 [Accessed: 17/01/18]

Illustration list

Fig.1 film poster [Online] Available at: https://d32qys9a6wm9no.cloudfront.net/images/movies/poster/18/185e48a43c7f63acf74b1bd58827b510_500x735.jpg [Accessed: 17/01/18]

Fig.2 Viago after feeding on his ' guest' [Online] Available at: https://moviesfilmsandflix.files.wordpress.com/2015/05/what-we-do-in-the-shadows-blood.jpg [Accessed: 17/01/18]

Mad Max: Fury Road - Film Review

fig.1 Mad Max: Fury Road Poster

Directed by George Miller “Mad Max: Fury Road” is an Australian/American film standing as the fourth instalment in the “Mad Max” series. Set in an alternate universe, Australia is decimated with people trying to survive in the after math of an unexplained post-apocalyptic event. 

“Mad Max” is a film that has been typically related with crazy, action-packed road wars. “Fury Road” in particular has been praised for its increased use of practical effects. In a time where it is cheaper, faster and safer to use CGI to recreate practical effects it is clear why audience found this niche appealing. This feature has also received positive response from critics such as Brian Tallerico, 

“Upping the stakes with promises of vehicular mayhem on a level commensurate with what modern CGI audiences have come to expect.” (Tallerico, 2015) 

Even without reading the reviews it is clear a great emphasise has been put of arrangement and coordination of practical effects. This ranges from the acrobatics of the war-boys (who were added on top of the real action) to the cars being crushed and scrapped. 

fig.2 Furiosa and Max Ready to shoot

“Fury Road’s” origins can be found far from the million dollar film it is today. Miller’s first “Mad Max” film was completed in 1979, set a few years into the future where Australia is on the verge of collapse. The setting justified the seeming mad stunts pulled by the team with little to no regards to safety. Its budget was estimated at a meagre 350,000 to 400,000 Australian dollars (around 280,000 to 320,000 US dollars) in comparison to the 150,000,000 US dollar budget of “Fury Road”. The original piece can be placed within the B-movie bracket as it relied heavily on its concept rather than using a large amount of funds.

“While the first Mad Max was essentially a stripped-down Roger Corman revenge movie (high on concept, low on budget)” (Kermode, 2015) 

This proved successful and moved the “Mad Max” into the big pictures resulting in two sequels. 

Over the course of cinema, exploitation of various subjects of film has been used to draw in a larger audience in an attempt to reap greater profits. Exploits include those of nudity, monster horror, slasher horror and so on. Due to the nature of these exploitation of cinema it is popular to use such tactics in B-movies. This is due to the low budget that B-movies often have, making it difficult to create profit through the use of well-known and relevant cast, exotic locations or even impressive CGI. These exploitation allow smaller companies to produce relatively cheap films that could create a profit.  

The use of cars to draw a bigger audience in has been regarded as ‘carsploitation’. More so in the past, cars (especially the rugged ones from “Mad Max”) have been related to male culture. Typically seen as an icon of masculinity, cars play a pivotal role in the “Mad Max” series transporting survivors in the wasteland. It is only in the latest rendition of “Mad Max” that challenges this view with Miller making the progressive choice of having a female protagonist. This choice could be described as a bold one with long-time fans of the original three films expecting Max to once again rise to the status of road warrior. The story rotates around the female protagonist, Furiosa rather than the supposed Max. It is suggested that Furiosa’s position is either equal or higher than that of Max proving that she could take on opponents larger than herself. While this one female character partakes in the blood and violence the wives have a different appearance at the start being sexualised and seen as ‘breeders’. It definitely raises eyebrows due to the sensitive nature of rape and helps to bring light to an often avoided area in society. 

Overall “Mad Max: Fury Road” brings back use of traditional means of effects forming authentic and adrenaline filled scenes. The narrative of the film remains simple; it has the cast drive out and back again however it is the complexity of the situations and characters that bring the needed layers to the film. “Fury Road” is a welcome remake to the series that has helped to open and challenge gender issues. 

Bibliography 

Kermode, M. (20

15). Mad Max: Fury Road review – beware of battle fatigue. [Online] Available at: https://www.theguardian.com/film/2015/may/17/mad-max-fury-road-review-mark-kermode [Accessed: 14/01/18]

Tallerico, B. (2015). MAD MAX: FURY ROAD. [Online] Available at: https://www.rogerebert.com/reviews/mad-max-fury-road-2015 [Accessed: 14/01/18]

Illustration List

Fig.1 [Online] http://www.joblo.com/movie-posters/2015/mad-max-fury-road#image-32807 [Accessed: 14/01/18]

Fig.2 [Online] https://disabledpeoplesassociation.files.wordpress.com/2015/09/furiosa-mad-max.jpg [Accessed: 14/01/18]

Creature from the Black Lagoon - Film review

fig.1 film poster

Released in 1954, ‘Creature from the Black Lagoon’ is an American 3D horror film. While the film has been rated as a B-movie, ‘Creature from the Black Lagoon’ has a cult following. It is now being considered a classic but has been well received upon its release. Directed by Jack Arnold, ‘Creature from the Black Lagoon’ attempts to pave way for a new monster in the film industry. The “Gill-man” manages to match the other major monsters, such as Dracula, in terms of atmosphere. Despite having relative success, the film still retains the inherent flaws of a B-movie.

The film has been recognised for being a B-movie for a number of qualities. This category of film has been regarded as low budget and typically inferior in quality when compared to contemporary cinema. B-movies have been typically used to fill a niche in the market. Low budget films can be produced and sold cheaply allowing them to be viewed by a larger majority of people. Typically these films follow a certain structure using stock characters alongside gimmicks to help sell the film. ‘Creature from the Black Lagoon’ is no exception. In this case the gimmick is the use of 3D effects, something that is still considered a gimmick to this day (even with the advances in technology).

Stock characters also make an appearance, the most obvious being the damsel, in the form of Kay Lawrence and the sensible hero, David Reed. Following the theme of obsession similar to that of Captain Ahab (Melville, 1851) is the fanatical Mark Williams. The character which once had great ambitions quickly turns to blind obsession, chasing the creature to his bitter end. As a result of this the story can be easily read. The damsel in distress will be unable to defend herself and held by the antagonist for the hero to save. There is little character development beyond the given stock personality. This means that the characters themselves are not the focus of the film but instead the interactions with the creature. The biggest focus of the film appears to be cinematography of the footage itself.

During early parts of the film the camera is carefully positioned to ensure the creature is never fully exposed early on. Instead this affair is drawn on creating far more tension, helping to create atmosphere. The monster of the film retains a certain quality of 1950s monster (a man dressed up as best as possible). However the costume designs remains impressive for the time holding the impression of a scaly, aquatic menace.  Helping the monster feel at home is the Florida Everglades, a location chosen for its surrounding. The wild atmosphere makes it a more appropriate home for the monster as it is able to blend in easily with the weeds and water lodged setting. The water has an important role in the film in terms of cinematography.

‘Creature from the Black Lagoon’ makes great uses of its underwater camera shots. Footage used is often clear enough to see the characters, motions and actions. Not only do they help to develop the story but also build tension as the characters have entered the Gill-man’s territory. The water helps to build on the concept that we are foreigners to the water. There is a darkness below that we are yet to explore leading to the secrets being hidden.

“The underwater sequences are particularly memorable, while the scene where Adams swims alone with the creature watching from below plays upon all our fears of what may lurk beneath the sea.”(Sellers, no date)

 The camera follows the creature as he stalks Kay Lawrence nearly stealing her away. This memorable shot has gone on to inspire iconic scenes from ‘Jaws’ (1975 Spielberg). Spielberg’s own camera also follows the shark from the depths as it stalks its victims. While the use of close ups during the underwater scenes are used it is still difficult to read the situation at hand or even the expressions of the characters. 

With the characters unable to express themselves properly underwater the film makes good use of dramatic music to make up for this limitation. However the consistent use of the loud orchestral music becomes apparent as it is used at the slightest hint of the creature quickly losing its impact on the audience. Never the less the score is easily remembered as it is played over and over again.    

In conclusion the ‘Creature from the Black Lagoon’ is a film that has a cult following and has gained success for its atmosphere. The film does well using its assets as a B-movie to help build a strong and tense atmosphere.  

Sellers, R. (no date) Creature from the Black Lagoon – review | cast and crew, movie star rating and where to watch film on TV and online. Available at: http://www.radiotimes.com/film/fqkdfw/creature-from-the-black-lagoon/ (Accessed: 6 November 2017).

Lord of the Rings - Film Review

fig.1

Directed by Peter Jackson 'The Lord of the Rings: The Fellowship of the Ring' is the first of a trilogy based on J. R. R. Tolkien's epic high fantasy novel. Loved by both fans and critics this first film takes the audience through the fictional land of Middle Earth. 'The Fellowship of the Ring', sets up the fantasy world and the impending doom of Middle Earth. The second fleshes out the individual characters, developing them and the third film resolves all the issues present. Peter Jackson's interpretation remains extremely faithful to Tolkien's book even with the limitations of translating the story into a visual media. Despite leaving out beloved characters such as Tom Bombadil. 

Regardless of the fact the resolve of the overall arc is held within the third film 'Return of The King', 'The Fellowship of the Ring' can still convey parts of the Hero's Journey. The concept of the hero's journey can be very well adapted to 'The Lord of the Rings' and in appropriate fashion as it has its roots from old myths, legends and story tales. Tolkien's books themselves have been written as such and appears as an old tale fitting in with this journey. 

1. Ordinary world: The main protagonist, Frodo, is living happily in the shire with little to no care. Food is lavish and enjoyed by the hobbits who have no need to defend themselves. 

2. The call to adventure: Gandalf initiates the adventure by calling upon Frodo for his help. It is requested by the wise old wizard to go out and deliver the ring to Rivendell so that it can be later destroyed. 

3. Refusal of the call: At first Frodo is unwilling to go on such a quest as the quest is too large for such a small hobbit. 

4. Supernatural aid: Along the way towards Rivendell Frodo is assisted by his old friend Sam Gamgee alongside Aragon and mysterious figure who appears cloaked in black.

5.Crossing the threshold: It is when Frodo reaches Rivendell that his real adventure begins. Frodo is given the choice to return to the shire, resuming his normal life but instead rises to the aid of those who would form the fellowship of the ring. 

6. Belly of the whale: When entering the mines of Moria the fellowship of the ring enter a more physical representation of a belly. Being forces down the dark depths of the tunnels the group encounter a large number of creatures who they must fight off.

7. The road of Trials: The group continue to counter various opponents including orks and the balrog that kills Gandalf.

8.The meeting with the goddess: Frodo upon reaching Rivendell is told the future by Galadriel.

9. Woman as temptress: In the case of Frodo he is tempted by the power of the ring and the ring itself tries to seduce Frodo into giving up the quest to destroy it.

10. Atonement with the father: While not directly applicable to Frodo, Aragon must go on and confront the legacy set by his ancestry foreshadowed as he examines the sword at Rivendell. 

11. Apotheosis: There are several points where characters gain a god-like power including when Frodo puts on the ring at the pub however Gandalf's power is shown as he fights the balrog. This displays the power and damage he can inflict, far more than a mortal man. 

12. The ultimate Boon: Frodo receives gifts from Bilbo among which are sting, a sword that glows when near orks and mithral chain mail.  

From this point on the hero's journey is more closely linked to the second and third film as they hold more resolve to the three films. 

13. Refusal of the return: Frodo unable to return to his normal life in the shire as he has seen to much strife and death opts to leave middle earth with the elves. 

14. The magic flight: During what appears to be the end of Sam and Frodo on top of mount Doom Gandalf and the eagles lift the two into the air towards safety. 

15. The crossing of the return threshold: Aragon launches a last ditch effort to attack and distract Sauron and destroy the ring. 

16. The master of two worlds: Frodo is able to come back to the shire for a brief while alongside the other hobbits living as he once did before, writing his book. 

17. The freedom to live: Aragon rules over the land of Gondor creating a era of peace in which those who live in middle earth can do so with little to worry about war.

While the films have been well received it has also been criticised for a lack of strong female protagonists from the start. Strong female characters such as Galadriel, the elf-queen are shown but have little role. As stated by critic Peter Bradshaw, "their roles are marginal - this movie is a men-only affair" (Bradshaw, 2001), this further highlights the issue. However the issue can be traced back to the source material of the books, Tolkien himself regarded the lack of strong female characters and has regretted such choices. 

Despite this, the film remains visually appealing with the use of lush landscapes and amazing CGI, "Jackson has used modern special effects to great purpose in several shots, especially one where a massive wall of water forms and reforms into the wraiths of charging stallions." (Ebert, 2001). The use of such well done CGI in amalgamation with the beauty of the natural landscapes helps to bring Tolkien's fantasy world to life often capturing the viewers gaze with its strong and romantic scenery. This was realised with the help of Alan Lee who helped with the concept art. Supported by the costume design fit for its elves, hobbits, orks, human, dwarfs etc. the world of middle earth feels right, solid and full with history.  

Moments of tension are broken with pockets of fast paced combat as the heroes of the story are constantly being chased down through the land. The scale and the opposing force are realised setting up the story for the next films. At this point the film ends with great damage done to the group of heroes leaving the audience uncertain of their future fate.

Overall Peter Jackson's work has led to a spectacular translation of the original books doing Tolkien's work justice. 
 

Bradshaw, P. (2001) The Lord of the Rings: the Fellowship of the Ring | Film | The Guardian. Available at: https://www.theguardian.com/film/2001/dec/14/lordoftherings1 (Accessed: 2 October 2017).

Ebert, R. (2001) ‘Lord of the Rings: The Fellowship of the Ring Movie Review (2001) | Roger Ebert’. Available at: http://www.rogerebert.com/reviews/lord-of-the-rings-the-fellowship-of-the-ring-2001 (Accessed: 3 October 2017).

fig.1, the-lord-of-the-rings-fellowship-of-the-rings.jpg (1000×1561) (no date). Available at: https://wtfbabe.files.wordpress.com/2012/09/the-lord-of-the-rings-fellowship-of-the-rings.jpg (Accessed: 2 October 2017).

Close Encounters of the Third Kind - Film Review

fig.1 film poster

“Close Encounters of the Third Kind” is a 1977 film directed by Steven Spielberg that won a number of rewards and can be described as the positive outlook on intelligent life beyond Earth. With a budget of 20 million dollars the film was a financial success grossing a total of 337 million dollars worldwide. The film has left an impression on today’s media having a number of references including one in 2009’s “Monsters vs Aliens”. This can be attributed to the memorable use of sound and music that has been written by John Williams and original concept of communication through such sound.

The story follows Roy Neary, an electricity line repairman who lives a relatively ordinary life. At the beginning of the film Roy is seen with his family of 3 children and a wife. A single event changes this as he encounters a UFO. This leaves Roy with a burn on his face and is drawn to a location known as the devil’s peak. As a result of trying to make sense of the previous events he befriends a woman who together they investigate the UFO sightings further. In the end Roy ultimately leaves his life on Earth to start anew with the extra-terrestrial visitors.  

While the film is classed as a science fiction film it is easy to get lost in the sense of adventure and mystery that Spielberg provides. Strangely the film opens with a scene looking at a team of scientists who are investigating a series of events that are unexplained. The transition between the two on-going events of Roy’s life and the team may seem confusing at first but they soon being to fill each other’s gaps, fulfilling one half of each other’s story. Spielberg has the two events run alongside each other to provide enough information and mystery to draw the audience in creating questions that are explained in the film’s finale. One example of this is the use of two scenes, one of the science team playing the different sounds that make up the alien language and the other of Barry Guilder, a 3 year old boy who plays the alien tune on a glockenspiel without hearing it beforehand. As a viewer the small amounts of information provided helps to provoke questions that must be answered. Why does Roy have vivid memories of the Devils Peak? Why does Barry know the alien tune? Spielberg has directed the film in a way that retains the audience’s attention until the finale.

Continuing with the theme of adventure and mystery “Close Encounters of the Third Kind” makes use of a greater number of special effects in comparison to films beforehand. Alongside the original film Spielberg also released another version consisting of several more scenes, some of which are new and others that were not used in the first version. Probably the most notable change that has been made by Spielberg is the ending. The final resolve that is given to the audience and the one that answers all the questions made is shown in the form of a large UFO with a large city like structure contained within. The audience who have watched the film to the end are rewarded with beautiful scenes of the alien ships.

fig.2 ship outside

The protagonist in question is that of a strange nature. When looking at the story without acknowledging the extra-terrestrial factor the audience may see a man who is ignores his duties as a husband and father. Using the UFO sightings as a way to escape his life Roy’s actions can also be seen in another light. As stated by Errigo “But take away the sci-fi, the spectacular sound and light show, and what remains is compassionate, classic human drama of an ordinary man in extraordinary circumstances who makes a difficult odyssey” (Errigo,A. 2009), Roy is simply find a place of belonging.

Finally, not only does the “Close Encounters of the Third Kind” take a look at intelligent life beyond Earth from a 70’s perspective but does so in a hopeful manner. Contradicting today’s expectations of aliens in media, this film presents the vistors in a calm and peaceful attitude. It plays upon the more hopeful expectations of the era with all of humanity being capable of cooperating in peace to reach out towards space. When looking at the context of the time it appears that the united goal of moving humanity into space as one may instead be a dream to aspire to. Along with the advancements that humanity has made from the 60s to the 70s conflict was an on-going issue, most notably the Cold War and the Vietnam War. It was an era of uncertainty yet the film looks beyond this in hope of peace. As a result Spielberg has created a film that has managed to captivate its audience throughout the years.

Bibliography

Errigo, A. (2000) “Close Encounters of the Third Kind Review”

http://www.empireonline.com/movies/close-encounters-third-kind/review/ (accessed 04/03/17)

Ebert, R. (1980) “Close Encounters of the Third Kind”

http://www.rogerebert.com/reviews/close-encounters-of-the-third-kind-1980 (accessed 04/03/17)

Bradshaw, P. (2016) “Close Encounters of the Third Kind review – a must-watch director's cut”

https://www.theguardian.com/film/2016/may/26/close-encounters-of-the-third-kind-review-a-must-watch-directors-cut (accessed 04/03/17)

Illustration List

fig.1 film poster

https://upload.wikimedia.org/wikipedia/en/b/ba/Close_Encounters_of_the_Third_Kind_(1977)_theatrical_poster.jpg (accessed 04/03/17)

fig.2 film scene

https://i.ytimg.com/vi/59iKRfdMRn0/maxresdefault.jpg (accessed 04/03/17)

Duel - Film Review

fig.1 film poster

Directed by Steven Spielberg, “Duel” is a 1971 thriller film. Being Spielberg’s first film it has set up a string of his early movies that will follow his theme on masculinity and its decline in the modern world. “Duel” has been recognised for its use of tension and suspense. Alongside grabbing the audience’s attention “Duel” has been essential to Spielberg’s future films in contributing to elements traditional seen in his work.

The film follows David Mann, the protagonist as he provokes a truck driver. This results in the attempted murder of Mann by the mystery driver. In the end Mann stands up to the driver, confronting him leading to the driver’s death. While the film follows David Mann in his trip across the country and his near death experience it ultimately expresses how men are caged in modern society. This is a concept that has been carried over in a number of Spielberg’s early films in comparison to his later films depicting his change in accordance with his own family life.

The concept of the caged man is expressed within the very first scenes of the film as Mann drives from his home to the desert. The safe city life contradicts that of the desert where Mann is far from society its sanctuary. He steps away from his normal life that he is used to into that of the desert, foreign and hostile with little for people or creatures to survive on.

Spielberg continues with the theme as name given the main character is a statement of the status of men in itself. With the name Mann it is quite clear that the character has been labelled to represent the majority of men who have been reduced to living a plain life.

This message is added to as Spielberg makes use of diegetic sound from the radio of the car. While it can be difficult to distinguish the words the radio frequently makes comments on issues that are presented to men in a modern world. This is a component used Spielberg to great effect to add to the underlying issues expressed without outright stating it.

“These and a few whimsical conversations from a call-in radio show are really all the character development the movie provides” (Maslin, J. 1983)

In context with the time the film was released, the 70s was a time of change in correlation with gender equality. The life style of America began to change with more and more women openly protesting for a change in the way they live their lives. As a result women closed the gap in difference between the sexes gaining equal opportunities as men. A possible outcome would have been that men would feel threatened by this change and that their very masculinity was at risk.

In terms of story writing “Duel” is very simple as the plot is linear, Mann angers a driver (who is never revealed) and proceeds to get chased down by him. There is very little to support the story as the driver simply gets angry without any real justification spending countless hours hunting Mann. However this displays how effective tension and suspense can be at holding an audience’s attention. With little to no explanation the film is held together with the strong use of camera work and tense scenes of fast cars and action.

Very little dialogue is actually used to convey the story and instead action fulfils the task of storytelling. This is assisted through the use of camera angles to direct the audience. One good example of this is when the truck is depicted. It is clear that the audience is supposed to fear this vehicle as the type of shot used is a low angle shot. This makes the truck appear more imposing which is combined with the size of the vehicle giving a menacing appearance.

fig.2 low angle shot of truck

Altogether “Duel” is the first of Spielberg’s films and as of such has opened up his career as a film director. The film itself is a strong example of how camera work and tension can be used to great effect opening up the film direction for future films such as “Jaws”.

Bibliography

Freer, I. "EMPIRE ESSAY: Duel Review"

http://www.empireonline.com/movies/empire-essay-duel/review/ (accessed 03/03/17)

Lyne, C. 

https://www.theguardian.com/film/2015/may/09/duel-spielberg-blu-ray-release (accessed 03/03/17)

Maslin, J. "'SPIELBERG'S 'DUEL,' FOUR-WHEEL COMBAT"

http://www.nytimes.com/movie/review?res=9804EFD81138F936A25757C0A965948260 (accessed 03/03/17)

Illustration List

fig.1 film poster

http://www.impawards.com/1971/posters/duel.jpg (accessed 03/03/17)

fig.2 

http://s1185.photobucket.com/user/soycanalla/media/movies/duel2.jpg.html

Jaws - Film Review

fig.1 film poster

Directed by Steven Spielberg, ‘Jaws’ is a 1975 American thriller film that is based upon Peter Benchley’s 1974 novel under the same name. The film consists of a number of iconic features including the sound track which is easy recognisable even in today’s culture.

Based within the fictional town of Amity Island the plot is relatively simple following a police officer who is responsible with the safety of the town’s people. During the film a great white shark starts attacking locals which forces Martin Brody, the protagonist to act, ultimately killing the shark at sea. 

Firstly looking at the film in context with its time period ‘Jaws’ is a particularly important step in the development of the summer block buster. The thrill of being scared by a large and deadly force of nature was one that drew people back for more and as a result created a sizable profit. In contrast to the majority of the films previously made, ‘Jaws’ had been marketed with a large budget. A total of 1.8 million US dollars were spent on promoting ‘Jaws’ as a result it became the new highest-grossing film at the North American box office. The film has played a pivotal role in the way media has been used to sell and promote films. From this it is now common place for companies to invest sizable amounts of money in order to sell a film to gather a profit. 

Despite having a fairly straight-forward plot Spielberg was capable of creating a rather detailed and gripping story. Alongside being well advertised the film was able to have a lasting impact upon the viewers. Pitched as a thriller ‘Jaws’ retains its jumps and thrills through the use of a number of techniques used and small details are left behind. A memorable use of camera work in this film is featured within the beginning of the film. The shark is hinted as stalking its first victim. With the use of first person point of view the camera gives a direct view of the shark giving a predator’s view and an impending sense of doom for the selected victim. Combined with the sound track of increasing volume and tempo a sense of unease and tension is created.

One of the biggest features in the film is the shark itself; name Bruce by the film team the robotic creature suffered from a number of mechanical problems. While the animatronic shark did cause delays and an increase in budget it also posed another problem as it did not look authentic in clear focused shots.  However this was used problem was remedied by Spielberg by reducing the amount of shots containing the entire shark. This only helped to create more suspense and was used to great effect. The lack of shark makes it only more shocking when its full size and strength is displayed. Alongside camera angles a number of other devices are used to hide the shark. This included the use of water and lighting. As the camera retained a more plastic property in terms of how it moved through the scenes it is often found that it dips between above and under water. 

Not only is the film effective at creating tension through sound design and camera work it is also capable of telling a strong story. With the core of the plot focusing on the shark the film can be broken into two parts. 

“The first half is more or less an unsophisticated version of Enemy of the People”, “The second half is Three Men in a Boat against the great white killer” (Malcolm, D. 1975)

Following how Spielberg treated his films during his earlier years Jaws revolves around how a single figure steps up and reclaims his man-hood. The protagonist Brody is at first seen as a person in a high position doing menial tasks to satisfy the town’s people. It is in this first half we see Brody being pushed around to conform with the society that he lives in, forsaking the duty he has been charged with (the safety of the town) to satisfy the mayor.

“He's actually scared of the water, doesn't like to swim and, when he sees the giant shark swim past the boat for the first time, we believe him when he informs Quint, very sincerely, "We need a bigger boat."” (Ebert, R. 1975)

At first afraid, Brody eventually confronts the shark in its own territory. Shown as an act of a heroic nature, Brody treks into a foreign land to defeat the monster. It is by his own hands that he kills the shark stepping away from the comfort of home, family and land. Using the water as a metaphor Spielberg is capable of creating two different environments. On land man has no need to struggle and fight to survive and thus have their man-hood removed. On the other hand the water alone is a difficulty that must be overcome and so man has to fight in order to stay alive and retain his status as a man. 

In the end Jaws is a monster film that makes great use of suspense, containing a number of scares that grips the audience leaving an everlasting impression on today’s media.

Bibliography 

Ebert, R. 1975 “Jaws” 

http://www.rogerebert.com/reviews/jaws-1975 (accessed 03/03/2017)

Malcolm, D. 1975 “Steven Spielberg's Jaws review”

https://www.theguardian.com/film/2016/dec/22/jaws-steven-spielberg-1975-review-derek-malcolm (accessed 03/03/2017)

Haflidason, A. 2001 “Jaws (1975)”

http://www.bbc.co.uk/films/2000/07/14/jaws_review.shtml (accessed 03/03/2017)

Illustration list
fig.1 film poster
https://upload.wikimedia.org/wikipedia/en/e/eb/JAWS_Movie_poster.jpg (accessed 03/03/2017)

Psycho - Film Review

fig.1 film poster

Directed by Alfred Hitchcock, ‘Psycho’ is a 1960 American horror film that is well recognised and received film even in today’s society. Based upon Robert Bloch’s book under the same name, ‘Psycho’ was completed under a low budget yet retains a large number of memorable scenes. An example of this is the famous shower scene, married to the distinct sound track of unsettling notes. This film in particular stands out from the rest of Hitchcock’s films like ‘Rear Window’ and ‘Vertigo’ that utilise a larger budget and so relies less on expansive and complex sets and scenes.

The film starts by following Marion Crane, a real estate secretary who steals a large sum of money. After running away we see the psychological effects it has on Marion as it impacts upon her nerves. She eventually reaches a motel where she is murdered. From this point on the story follows her sister, Lila and Marion’s boyfriend, Sam. They attempt to trace down the location of Marion resulting in the discovery of Norman’s split personality.

With the film being directed by Alfred Hitchcock it is no surprise that ‘Psycho’ is full of suspense. Achieved through using Hitchcock’s formula of providing the sufficient amount of information the film is capable of holding the audience’s attention. "Hitchcock devotes his full attention and skill to treating them as if they will be developed for the entire picture” (Ebert, R. 1998). ‘Psycho’ has been written with the first half following a character that is killed off later in the film. While this is a convention that is not commonly used today it is used to great effect by Hitchcock. From the start the camera is led to believe that the main protagonist of the film is Marion the camera takes up her point of view through a variety of features. These include over the shoulder shots, close ups and non-diegetic dialogue.  For instance while Marion is driving the audience can hear her mind wonder and imagine the conversations taking place in her head. The increase of noise and blinding imagery describe the psychological stress building up without explicitly telling the audience.

fig.2 Marion driving car through rain

The camera pans keeping the brick of money and Marion fresh in the audience’s mind hinting towards her train of thought. 

fig.3 camera focuses on money

Throughout the first portion of the film the audience is encouraged to form attachments towards this character leading to an altogether more shocking death. This forces the viewers to transfer their invested emotions from Marion to Lila and Sam.

Hitchcock was also far bolder in terms of imagery that was being shown. The famous shower scene would not have been considered suitable for screens at the time. While considered tame by today’s standards the scene consisted of a naked women and the use of violent imagery and blood. This questioned the norm of cinema standards at the time.

“That had more than a hand in redefining the role of the spectator in terms of mainstream cinema, most notably perhaps in the famous shower sequence which re-explored the nature of cinematic voyeurism.” (Wood, D. 2000)

Following Hitchcock’s concept of information being key he ensures that the viewer’s attention is directed to essential components of the story. Alongside conveying the Marion’s thoughts through merely directing the camera angle, Hitchcock is able to withhold information with a number of carefully planned shots.

As always the biggest surprise is left towards the end and ‘Psycho’ is no exception. Incorporating psychology into the film, Hitchcock has managed to create a twist that reflects upon the split personality of a broken man. While better understood by the greater public today psychological issues such as multiple personality disorder was not well known at the time of the film’s release. Leading to what is often discussed as the film’s low point the penultimate scene takes up a much slower pace lacking the suspense that is shown by the rest of the film and would be seen as unnecessary in this age. Despite this the final monologue that is given by Norman’s other personality leaves the audience on the edge of their seats as the camera focuses in on his face and the personality changes to something far more sinister. In all ‘Psycho’ has retained its psychological horror factor and is easy recognisable even 50 years later from its original release.

Bibliography

Ebert, R. (1998) 'Psycho'

http://www.rogerebert.com/reviews/great-movie-psycho-1960 (accessed 31/01/17)

Grant, R. (1960) 'Psycho: Archive review'

https://www.theguardian.com/film/2010/oct/22/psycho-hitchcock-archive-review-horror (accessed 31/01/17)

Wood, D. (2000) 'Psycho (1960)'

http://www.bbc.co.uk/films/2000/12/13/psycho_1960_review.shtml (accessed 31/01/17)

Illustration list

fig.1 'psycho' film poster

http://24.media.tumblr.com/tumblr_md2wvk9i5A1qh35m6o1_1280.jpg (accessed 31/01/17)

fig.2 

http://1125996089.rsc.cdn77.org/wp-content/uploads/2011/10/psycho021.jpg (accessed 31/01/17)

fig.3

http://alivingston.qwriting.qc.cuny.edu/files/2011/12/money-psycho.jpg (accessed 31/01/17)

Rope - Film Review

fig.1 film poster

‘Rope’ is a 1948 American film, directed by the "master of suspense", Alfred Hitchcock. Despite having negative reviews at the time of its release ‘Rope’ has been recognised as a significant film, being one of the first major films to replicate the use of a single take.

The film revolves around two characters, Brandon Shaw and Phillip Morgan, who have committed what they believed to be the perfect crime. The story follows the two as they try to ensure that no one knows about the murder that has taken place in their home. Eventually the two are caught, the body in the room discovered and authorities closing in on the building, it is clear there is no escape.

As a result of being based upon Patrick Hamilton’s 1929 play under the same name the film retains a number of components. Including the fact that the film draws inspiration from the real life murder committed by Leopold and Loeb. Using a twisted logic the two thought with their “superior” intellect they could commit the perfect crime which made the headlines of many of the newspapers in America.

Because of this the film was not shown in all states due to how recent the murders have been. This would have been preferred by Hitchcock as he referred to ‘Rope’ as a “failed experiment”. The unique feature of this film, the single shot, allows for a different take in film. Recording in a “single” shot gives a more theatrical feel adding towards the sense of a play. However it can be argued that the single take has not been used to its full potentials. Never the less ‘Rope’ has been regarded as "one of the most interesting experiments ever attempted by a major director working with big box-office names” (Ebert, R. 2008).

With Hitchcock’s biggest strength being suspense it is no surprise that the film revolves around this element. In this scenario it is the evasion of the killers from being caught that creates the tension. On occasion an event would arise alarming the audience adding to the effect. Hitchcock himself has implied that by giving information to the audience a film can give suspense; while the lack of knowledge may create fear in men the right amount can create tension.

The film from the very start has been written with this in mind. By starting from the murder the information is already presented in front of the viewers with the killing already underway. The next important piece of information presented by Hitchcock is the location of the body.

By imitating a single take the film provides a strong template for providing knowledge, essential to Hitchcock he also takes great care in ensuring that the information is easily accessible to the viewer. This is evidenced by the way the actors and the camera interact with the scene in order to draw attention towards certain objects or actions. A clear example of this is when Brandon Shaw, one of the murderers, twists a revolver at an unnatural angle revealing the loaded chamber. This alone draws focus onto both the character’s conviction to kill and capacity to kill increasing the stakes. Without even committing the act of killing the audience’s attention has been captured and from this point on the tension is kept high all though giving information. The audience’s attention is taken in “the only way to uncover the truth is to keep watching” (Hutchinson, P. 2012). To assist in this the camera focuses in on the object of interest insuring that the viewer knows what to take in.

fig.2 loaded gun is presented to the audience

“Murder in the movies is usually more about motive than consequence. The bad guys have it coming, and killers are much more interesting before they start repenting their crimes. But Rope rejects that formula by taking inspiration from a real-life murder, a particularly cold-hearted one, and rubbernecking on its aftermath.” (Hutchinson, P. 2012)

 One interesting factor that has carried on from the play is the psychological reason that has driven the act of murder. The concept of a higher being draws focus upon real life situations where the same moral has driven heinous acts. Throughout the film we can see the two rationales represented through the two murderers as one represents the moral compass, the other a cold guilt-free ideal. Altogether Hitchcock’s ‘Rope’ uses a number of devices in an experimental method to portray tension and suspense while also questioning the mortality of taking another one’s life.

Bibliography

Ebert, R. (1984) 'Rope' Available at: http://www.rogerebert.com/reviews/rope-1948 (accessed 26/01/2017)

Hutchinson, P. (2012) 'My favourite Hitchcock: Rope' Available at: https://www.theguardian.com/film/filmblog/2012/jul/27/my-favourite-hitchcock-rope (accessed 26/01/2017)

Bosley, C. (1948) 'THE SCREEN IN REVIEW; ' Rope,' an Exercise in Suspense Directed by Alfred Hitchcock, Is New Bill at the Globe' Available at: http://www.nytimes.com/movie/review?res=980DE3D81630E03BBC4F51DFBE668383659EDE (accessed 26/01/2017)

Illustration list

fig.1 Rope film poster
http://img.moviepostershop.com/rope-movie-poster-1948-1010272233.jpg (accessed 26/01/2017)
fig.2 Rope. (1948) directed by Alfried Hitchcock [https://www.youtube.com/watchv=mEuPy4doa3c]