tag:blogger.com,1999:blog-6445419395343010732024-03-12T21:19:00.938-07:00The Stuff That Dreams Are Made Of...TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.comBlogger65125tag:blogger.com,1999:blog-644541939534301073.post-59682503127245234982022-03-13T16:56:00.006-07:002022-03-13T16:56:49.106-07:00I was lost, now I am found. Follow me on Instagram @edificeoffilm<p>Growing-up, I was always confused when adults said they loved something when they were young, but you never saw them actively doing it, or reading about it in their adult life. Their response of not having time or life getting in the way always seemed like an excuse, which sometimes it is. But now I'm 31 and I finally understood what they were saying in the passed 5 years. Whether you intend to or not, you passions and interests, the things that you loved so much before, which possessed all your free time, slowly fizzle and fade into the background of your personality, as work and adult worries consume everything. It's miserable. </p><p>Since that realisation I've tried to claim back those interests in small amounts. Being stuck in a country which doesn't fee like home during a pandemic hasn't helped, nor has not knowing what career I want to pursue and working 6/7 day weeks leaves very little free time or energy for anything I enjoy.</p><p>But I want that to chance. I subscribed to Disney Plus about a year ago and I've discovered so many discoveries about the music, the animators, the history of the studio... the difference this made to my mood did more than any anti-depressants. </p><p>I love film, I love the studio era, and Hitchcock, and the Godfather films, and the Lord of the Rings, and movie scores, and literature.... all of these passions stemmed from one love alone: the films of Disney. </p><p>At the end of the Snow White video cassette, once the film ends, a documentary on the making of the film played automatically. I enjoyed it so much, even as a child. This was in the mid-90s. Then in the early 00s, with the release of DVDs, I watched The Making of Sleeping Beauty on the special features of the DVD. Equally fascinating. I didn't spend my pocket money on clothes, or sweets, or going to the cinema, or anything social when I was 15. I spent it on movie soundtracks, some around 17 pounds each which isn't cheap. Then when I was 16 and passed my GCSE exams. I didn't ask for money to go on holiday and get drunk on a beach, I asked to purcahse some 2 pound DVDs on Amazon of films I'd heard of, like Sunset Boulevard, A Place In The Sun, and the Marlene Dietrich collection.</p><p>But as I said, adult life gets in the way. and if you're lost and confused and suffering from depression in your 20s, in a job you dislike 80% of the time, you forget who you are and become this working machine robotically doing your job every day, eating, bingeing Netflix and sleeping. </p><p>Those days are over and I have re-discovered my love for the world of film, the arts, music, and & of course Disney. I may re-start this blog but in the meantime, just whilst I am re-adjusting, I have started an Instagram account, just to post snaps of the latest fact or bit of information about film which I have learned that day. </p><p>If you are interested then please follow. Thank you for your time. Claudia </p><p><a href="https://www.instagram.com/edificeoffilm/" target="_blank">@edificeoffilm</a></p>TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com0tag:blogger.com,1999:blog-644541939534301073.post-30351092352471253682017-01-26T07:30:00.002-08:002017-01-26T10:24:13.701-08:00La La Land: Classic Film References<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj96-u8rx3sCVft09xncHzEEIomDRMLN4k85W1xZoeDrlKuwHjNcEQT96EdcPBKzRwuAGvllAKiO6lafFF9skJfl6pwSVJjgAtzEPl7Zk57PdE3aPKXAoZPuxRggPBUF7-vwLzSWAdt32Am/s1600/1.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj96-u8rx3sCVft09xncHzEEIomDRMLN4k85W1xZoeDrlKuwHjNcEQT96EdcPBKzRwuAGvllAKiO6lafFF9skJfl6pwSVJjgAtzEPl7Zk57PdE3aPKXAoZPuxRggPBUF7-vwLzSWAdt32Am/s400/1.jpeg" width="270" /></a>Since the release of <i>La La Land </i>(2016)<i>,</i> articles and videos have circulated the internet naming the numerous film references dotted throughout the picture. Being a musical and a homage to musicals from the golden age of Hollywood, one expected to see inspiration from classics such as <i>Singin' in the Rain </i>(1952) and <i>An American in Paris </i>(1951) at least, but what the makers of <i>LLL</i> have done is incorporate so much more. Not just references from musicals but from other classic films and even modern musical successes.<br />
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Personally I did enjoy <i>La La Land</i>. It is a stunning picture to behold with a lovely score, and a charming tribute to the classic Hollywood musical. My main issue with the film was the songs: I didn't leave the cinema with the songs in my head and I wasn't humming them the following day or searching for them online (usually a sure sign of whether the songs are stand-out). The score itself is gorgeous, but with the exception of 'City of Stars', lyrically I feel the songs aren't catchy or memorable enough. Also the story itself falls a little flat halfway through but I felt the ending saved it. Stone and Gosling were strong leads (minus perhaps Gosling's singing). With everyone raving about the film I was expecting it to be much more disappointing, however, it was better than I expected. I'd definitely recommend it to anyone who enjoys musicals, it's certainly enjoyable and has a feel-good vibe. Is it the masterpiece that critics are hailing though? I wouldn't say so, not by a long shot, but it does treat viewers to some sumptuous imagery. No doubt it will win many of the awards it is nominated for this season - if there's two things Hollywood loves to reward it's 1.) films about Hollywood, and 2.) films that make Hollywood look good.<br />
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Here are some of my favourite references that can be found in Damien Chazelle's, <i>La La Land</i>:<br />
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<b><span style="color: #b4a7d6;"><i>Vertigo</i> (Alfred Hitchcock, 1958)</span></b><br />
One of my favourite films, <i>Vertigo</i> is spellbinding in so many ways and Hitchcock loves using colour/lighting to create the mood in his films. The scene in question here is in the hotel room where Jimmy's Stewart's character is waiting for Kim Novak's transformation - where the light from a green neon sign outside filters softly into the room creating an eerie and ominous feeling. <i>LLL</i> uses the same green lighting to great effect - both drawing us in and warning us of impending trouble in a less creepy/sinister situation but still a serious/unpleasant one.<br />
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<b><span style="color: #b4a7d6;"><i>It's a Wonderful Life </i>(Frank Capra, 1946)</span></b><br />
Another film starring James Stewart, (maybe Chazelle is a fan of him too). This one hasn't been confirmed and I've yet to see anyone else point it out, but this scene where we see a struggling Seb get fired at Christmas reminded me of George Bailey's Christmas Eve breakdown in<i> It's a Wonderful Life</i>. Both characters are filmed with their hair dishevelled, looking exhausted, spent, and helpless, and having hit rock bottom in a bar at Christmas.<br />
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<b><span style="color: #b4a7d6;"><i>An American in Paris </i>(Vincente Minnelli, 1951)</span></b><br />
There are multiple times in which<i> LLL</i> references this Gene Kelly classic. The legendary ballet sequence was a triumph in cinema and the peak of both Kelly and Vincente Minnelli's artistic geniuses. In the film, Kelly plays a painter in Paris, and so they use a rustic, French-style painting background for the majority of the ballet sequence. It gives off a dreamy and romantic ambience, which is another reason I assume <i>LLL </i>uses it in this particular scene. The same scene also reminds me of the 'Love Is Here To Stay' number which Kelly performs with Leslie Caron next to the River Seine.<br />
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<b><span style="color: #b4a7d6;"><i>Broadway Melody of 1940</i> (Norman Tauroug, 1940)</span></b><br />
It's amazing how much something so simple as a dark background, twinkling lights, and a shiny floor to mirror it all can create such a magical setting. <i>LLL</i> uses it as the backdrop for the perfect first date and it has to undeniably be inspired by the 'Begin the Beguine' number performed by Fred Astaire and Eleanor Powell in <i>Broadway Melody of 1940</i>. It's a stunning setting and showcases both dancers dramatically. Even when Astaire and Powell have other performers and musicians in the scene sporadically, it feels like they are the only souls in the world. That's the feeling <i>LLL</i> captures in the scene with Stone and Gosling, swirling and twirling in a galaxy of stars.<br />
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<br />TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com4tag:blogger.com,1999:blog-644541939534301073.post-89513573246128460002017-01-20T11:47:00.000-08:002017-01-26T07:39:34.475-08:00Marlene Dietrich // Elsa Mars<div style="text-align: center;">
<b><span style="color: #b4a7d6;">BEWARE! THERE ARE SPOILERS IN THIS ARTICLE!</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicFYAMk9VYQLh3wk6FjesyZ6YFF6RW6jWhOusKRtevviSvtc6gyIxSd7WLJLRxSJZcOCenhPc2r4n0FyD2mgB5R7irjEmUnlUM3KEghsk6EMXmZPvOK3Z1g_uIP2mUguvFWJeeUo6l2rS2/s1600/538b4a34d9e965307fd2c23a9e25dbd2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicFYAMk9VYQLh3wk6FjesyZ6YFF6RW6jWhOusKRtevviSvtc6gyIxSd7WLJLRxSJZcOCenhPc2r4n0FyD2mgB5R7irjEmUnlUM3KEghsk6EMXmZPvOK3Z1g_uIP2mUguvFWJeeUo6l2rS2/s400/538b4a34d9e965307fd2c23a9e25dbd2.jpg" width="266" /></a>Television show <i>American Horror Story </i>is no stranger to using faces and stories from Hollywood as it's inspiration for characters and episodes. One of the most striking and obvious examples is the character of Elsa Mars and the real-life Hollywood legend, Marlene Dietrich. Played by Jessica Lange in season 4 - 'Freak Show' - Elsa is a German woman who is desperately waiting to achieve her dream of stardom, for she encountered misfortune early in her career which she blames for not achieving fame. Instead, she spends the rest of her life managing a freak show - a maternal figure for the other performers but she remains bitter over the career and happiness she was robbed of.<br />
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The show itself spells out that Elsa is a rival of Marlene's - both from the same era and making films in Germany at the same time, but Marlene achieved stardom and iconic status, whereas Elsa was left behind. There are several verbal references to Marlene in the series:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhEzdOp3U4gg84Zu2oW5oyAYRV9CWbWqFYPnOp6GagTfP-68ytsE_JXeibzrNAbECLfSQZV7QO9eqjPCWITbfy2bUaWZwn69Onl42rtTK8tYkFO0sgRJXXIe54fKc5hwZXkiZ-3UqShOcC/s1600/S4promo2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhEzdOp3U4gg84Zu2oW5oyAYRV9CWbWqFYPnOp6GagTfP-68ytsE_JXeibzrNAbECLfSQZV7QO9eqjPCWITbfy2bUaWZwn69Onl42rtTK8tYkFO0sgRJXXIe54fKc5hwZXkiZ-3UqShOcC/s320/S4promo2.jpg" width="261" /></a></div>
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<span style="color: #d9d2e9;">'Marlene. That bitch. She stole my career,' </span></div>
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<span style="color: #d9d2e9;">- Elsa, episode 4, 'Edward Moordrake: Part 1'</span></div>
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<span style="color: #d9d2e9;">'Do you want to hear about Marlene?' </span></div>
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<span style="color: #d9d2e9;">- Elsa, episode 5 - 'Edward Moordrake: Part 2'</span></div>
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<span style="color: #d9d2e9;">'If you ask me, change your act. Marlene did it better,' </span></div>
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<span style="color: #d9d2e9;">- Receptionist to Elsa. episode 13, 'Curtain Call'</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgelRF-Ur-W_VAby8eZP-HDuI-3yCPLjofn-0NNQhlzElxNZB6zLl31v4bS57EozUjE3odfTQ-DxBr_ONPVJEYpuaUeG9XXXHtICFGh6ROntsOd3sFanpzlYb1eZvWW_dUixIa2Og8_a6G0/s1600/09127ec0611c5698ca05651730fa2917.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgelRF-Ur-W_VAby8eZP-HDuI-3yCPLjofn-0NNQhlzElxNZB6zLl31v4bS57EozUjE3odfTQ-DxBr_ONPVJEYpuaUeG9XXXHtICFGh6ROntsOd3sFanpzlYb1eZvWW_dUixIa2Og8_a6G0/s320/09127ec0611c5698ca05651730fa2917.jpg" width="238" /></a>Aside from those several lines, there is no disputing the similarities between Elsa Mars and Marlene Dietrich. I have to commend the attention to detail that the producers, costume designers, and all the team behind the scenes put into creating a character so similar to Marlene. Having seen most of her films and regarding her as one of my favourite actresses, I recognised so many outfits that were almost identical to what Marlene would have worn. Of course, credit goes to Jessica Lange who absolutely nails the Dietrich mannerisms, gestures, facial expressions, and not forgetting, that unmistakable voice. Low, sensual, and not able to pronounce her 'r's, Lange gets everything spot on without seeming like a Marlene Dietrich impersonator. </div>
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I have gathered some images from the series and Marlene's films/photographs to showcase exactly how much of Marlene Dietrich inspired the role of Elsa Mars. </div>
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<span style="color: #b4a7d6;"><b><u>1.) Performing outfit.</u></b> </span>There are hundreds of reasons people admire and adore Marlene Dietrich, but what she will always be remembered for is performing in a top hat and tails. Making it acceptable and fashionable for women to wear trousers, Dietrich owned the androgynous look and even today, her influence can be seen in fashion, music and film. Elsa nearly always performs in a tuxedo, but if she doesn't, she's in a fancy dress with some sort of fur/feather scarf - just like Dietrich did later in her career.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2aeX4-y7hQF73j_2sUlLXYP8XLZJgok4_gflbNkH0FSzFBCWkXbR2CIlgAn5nBNqZ1b5Xqrnse6M3WB9iQnGGbHx2sbzK2hekARGnjcUz7uswxos04Ovj5PiQGpCKmfVjTFDD-tgq6YEH/s1600/marlene-dietrich--cary-grant.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2aeX4-y7hQF73j_2sUlLXYP8XLZJgok4_gflbNkH0FSzFBCWkXbR2CIlgAn5nBNqZ1b5Xqrnse6M3WB9iQnGGbHx2sbzK2hekARGnjcUz7uswxos04Ovj5PiQGpCKmfVjTFDD-tgq6YEH/s320/marlene-dietrich--cary-grant.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Blonde Venus</i> (1932)</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcc09URk3DIgmeXxizSDXOUIAr6e7PGNPsSdCrynrz5GwM-aB9s6dg2FJ93ljWaTJHzw6ccEryy7rQUL93Q9u0Cqn_LhmPk1jiKklowOy-7NeEIz8r5mWQl-vrKo9YlSlqQKe_wDBPNHXZ/s1600/Screen+Shot+2017-01-20+at+11.54.54.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcc09URk3DIgmeXxizSDXOUIAr6e7PGNPsSdCrynrz5GwM-aB9s6dg2FJ93ljWaTJHzw6ccEryy7rQUL93Q9u0Cqn_LhmPk1jiKklowOy-7NeEIz8r5mWQl-vrKo9YlSlqQKe_wDBPNHXZ/s320/Screen+Shot+2017-01-20+at+11.54.54.jpg" width="320" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqtvMGOK6N-BKhSr6uaYCcNwPWmUw8ERT_ZsJe5xhAOnCt5Fzb-j0KGDymq_vxWrCstt9KSFBGrx5MWkwvcvGPw5VV8B4UIx32p04r_fthzJ6vwuXP38x_zRWXa2jXL_Z636P2sUp2dIWz/s1600/tumblr_n70wc8m1071rp4tw6o1_500.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqtvMGOK6N-BKhSr6uaYCcNwPWmUw8ERT_ZsJe5xhAOnCt5Fzb-j0KGDymq_vxWrCstt9KSFBGrx5MWkwvcvGPw5VV8B4UIx32p04r_fthzJ6vwuXP38x_zRWXa2jXL_Z636P2sUp2dIWz/s320/tumblr_n70wc8m1071rp4tw6o1_500.jpg" width="246" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Live performance (maybe London 1972)</td></tr>
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<u><b><br /><span style="color: #b4a7d6;">2.) Androgyny & Pockets. </span></b></u>Dietrich's wearing of traditionally masculine clothing spilt over from her performances and she was often photographed wearing trousers and shirts. One key Dietrich mannerism is she would walk with her hands in her trouser pockets - both shoulders back and hips forward. She also looked very much at home in military uniform, whether onscreen or supporting allied troops at the European front during the Second World War. Casual yet authoritative, Dietrich looked every inch the movie star without the luxurious dresses.<br />
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<tr><td class="tr-caption" style="text-align: center;">Publicity still for <i>Seven Sinners (1940)</i></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaA4hA8jUyjqSn2oVOXr2XEIgop4F_BwcNt1cszvOGKFxckNrbkTnVh4-7-fzZoR2bzsIXSHRhnrHxy2n1oldpiplljO75gpiwZcCxrJA8Wj76y6xCzAQ2s-X6G8iTtXDN-937wiHoXBL6/s1600/Screen+Shot+2017-01-20+at+12.20.52.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaA4hA8jUyjqSn2oVOXr2XEIgop4F_BwcNt1cszvOGKFxckNrbkTnVh4-7-fzZoR2bzsIXSHRhnrHxy2n1oldpiplljO75gpiwZcCxrJA8Wj76y6xCzAQ2s-X6G8iTtXDN-937wiHoXBL6/s320/Screen+Shot+2017-01-20+at+12.20.52.png" width="320" /></a></div>
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<b><u><span style="color: #b4a7d6;">3.) Feathers & Fur. </span></u></b>There is no excuse for people to wear real fur and feathers, and I do hate it. But of course back in 1930s-60s, it was a staple of glamour and wealth. Every Hollywood star wore fur and feathers in some fashion, and <i>AHS</i> have certainly taken note of that (I hope they used fakes). Even the few images I found of Dietrich wearing sunglasses, a turban, or a dressing gown, Elsa had her very own version in <i>AHS</i>. Although the name Dietrich was synonymous with glamour, it wasn't uncommon for her to be filmed with little make-up, a dressing gown, pyjamas, and doing chores. <i>AHS</i> have taken note of this too and did the same with Elsa. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijR5C1fncgB7FX3-YqJfGh1DoPGo4VlyueWfWJNfsZ_hi01cUH6ylVt1mf18iOKui1OA-OTor_P6nn0CtUMXC6RxVMm2lfbPx-6IbhNxOTbFUeG2zAkWO6jkn7CV0yHJc-0VmZoPMVi56X/s1600/fcr-stage-fright-2590_zps78bd72c6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijR5C1fncgB7FX3-YqJfGh1DoPGo4VlyueWfWJNfsZ_hi01cUH6ylVt1mf18iOKui1OA-OTor_P6nn0CtUMXC6RxVMm2lfbPx-6IbhNxOTbFUeG2zAkWO6jkn7CV0yHJc-0VmZoPMVi56X/s320/fcr-stage-fright-2590_zps78bd72c6.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Stage Fright</i> (1950)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>The Shanghai Express </i>(1932)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7FgpJPvh8-7UpX779bVEVzY6tN4ovmdhW-ngQ1KMdVTcWakmPx4AkzzgtOZKEckTdsUWyFPZUfA_EdV6_aSt18KU6P33QyuI61_18SQLI-y2ijdAeEWqZt5QKyMXTc5sZutjIlkeH63gB/s1600/07219be8136314fe4b6e6ba1f2d.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7FgpJPvh8-7UpX779bVEVzY6tN4ovmdhW-ngQ1KMdVTcWakmPx4AkzzgtOZKEckTdsUWyFPZUfA_EdV6_aSt18KU6P33QyuI61_18SQLI-y2ijdAeEWqZt5QKyMXTc5sZutjIlkeH63gB/s400/07219be8136314fe4b6e6ba1f2d.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Stage Fright</i> (1950)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i style="font-size: 12.8px;">Stage Fright</i><span style="font-size: 12.8px;"> (1950)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisPm1PyBrddxP9j-aqUioH80d4gq6-YIgw43X_VvtGoGGESnwK4PwQTkOxK26M-VfSN0mVTdxq2U8GXhPa31HFco0ZE_iMS08cwNGE-I3CXX-XEuCznVitN8RrrL-rX4Xy_lVQLRqz0cXm/s1600/Shanghai+Express+%252B+Marlene+Dietrich+%252B+feathers+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisPm1PyBrddxP9j-aqUioH80d4gq6-YIgw43X_VvtGoGGESnwK4PwQTkOxK26M-VfSN0mVTdxq2U8GXhPa31HFco0ZE_iMS08cwNGE-I3CXX-XEuCznVitN8RrrL-rX4Xy_lVQLRqz0cXm/s400/Shanghai+Express+%252B+Marlene+Dietrich+%252B+feathers+3.jpg" width="400" /></a></td></tr>
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<tr><td class="tr-caption" style="font-size: 12.8px;"><i>The Shanghai Express </i>(1932)</td></tr>
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<tr><td class="tr-caption" style="font-size: 12.8px;"><i>The Shanghai Express </i>(1932)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMB5-OplZaoOiHSgzrEEwQDdmcq7OXVjIhyphenhyphenWvfkfX87rS3fWbUaqmcBDo9ZACCXSsVlaoWdJt-suX0BUSMRd7j18dGTncSnuNJrjgP5oX9rFrnP4DC0l-aXyz8oERXojVNaFHDfSzlXmNb/s1600/film0407.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMB5-OplZaoOiHSgzrEEwQDdmcq7OXVjIhyphenhyphenWvfkfX87rS3fWbUaqmcBDo9ZACCXSsVlaoWdJt-suX0BUSMRd7j18dGTncSnuNJrjgP5oX9rFrnP4DC0l-aXyz8oERXojVNaFHDfSzlXmNb/s400/film0407.jpg" width="291" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Blonde Venus</i> (1932)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggYlbfPMClHihH5ABu9HNTHuwBsVX8klriEpUFN_P9B7hyphenhyphenkoEgoRvPXTQ3C3dcD7mWTzO_4LmgYtzMSKzzTCwxo9jy8AtLBW4aXWDunkThwlMbxIfzinKp0-blsc3KQdG-rzBrlFBKqLzy/s1600/film0103.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggYlbfPMClHihH5ABu9HNTHuwBsVX8klriEpUFN_P9B7hyphenhyphenkoEgoRvPXTQ3C3dcD7mWTzO_4LmgYtzMSKzzTCwxo9jy8AtLBW4aXWDunkThwlMbxIfzinKp0-blsc3KQdG-rzBrlFBKqLzy/s400/film0103.jpg" width="321" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>A Foreign Affair </i>(1948)</td></tr>
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<u><b><span style="color: #b4a7d6;">4.) Platinum Blonde. </span></b></u>Throughout most of the series Elsa has a lightish brown/red colour to her hair, much like Dietrich in her first Hollywood films. For the majority of her career, Dietrich had light blonde hair but there was a short period of time where she went for a harsher, more platinum blonde. <i>AHS</i> use this colour for Elsa's flashbacks to when she was in Germany and when she first started managing the freak show in Florida. </div>
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<b><u><span style="color: #b4a7d6;">5.) Film scenes. </span></u></b>There are some definite inspirations from Dietrich's film performances dotted throughout the series, especially her iconic scenes from <i>The Shanghai Express (</i>which has been recreated many times in popular culture - most notably, Madonna in her song, 'Vogue'). But even Dietrich's lesser known films seem to be given a shout-out in <i>AHS</i>. A definite nod is made to her focus on concerts and performances during the 1950s and 1960s, some of which were televised. This was the perfect inspiration for Elsa's eventual success as a television star. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja1v_jG9WWS9Dg3frUPAWtEh95fgz0vAIZhxY5FYbZcqCPyGfaZ7CzFMBO1vXxTqVmQRIURPxMIiUWs2kuqa5G4XgnMj7dh1pTate13M5NA0wGJRKgtnlxQkLCci5ccfjUZI4sAeMBOiaP/s1600/Annex+-+Dietrich%252C+Marlene+%2528Shanghai+Express%2529_03.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja1v_jG9WWS9Dg3frUPAWtEh95fgz0vAIZhxY5FYbZcqCPyGfaZ7CzFMBO1vXxTqVmQRIURPxMIiUWs2kuqa5G4XgnMj7dh1pTate13M5NA0wGJRKgtnlxQkLCci5ccfjUZI4sAeMBOiaP/s400/Annex+-+Dietrich%252C+Marlene+%2528Shanghai+Express%2529_03.jpg" width="390" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Iconic - Dietrich in <i>The Shanghai Express </i>(1932).</td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>The Shanghai Express</i> (1932)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>The Devil is a Woman</i> (1935)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Dietrich - the singer/performer.</td></tr>
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<span style="color: #b4a7d6;"><b><u> 6.) Cigarettes.</u></b> </span>And finally, nearly every movie star back in studio era Hollywood was smoking in most of their scenes. But no one smoked a cigarette like Dietrich. Showing off her already prominent cheekbones and oozing both a sinister and sensual air, <i>AHS</i> made the most of this for the character of Elsa (mind you, every character Lange plays in each <i>AHS</i> series is constantly smoking.)<br />
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<br />TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com0tag:blogger.com,1999:blog-644541939534301073.post-43965933789789819492014-01-30T16:36:00.002-08:002014-02-11T07:57:20.107-08:00Romantic scenes that get me every time...BEWARE! SPOILERS!<br />
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Seeing as Valentine's Day is approaching... whilst pondering the other day about my favourite romantic scenes in films, it came to my attention that most of them weren't actually in my favourite romances themselves. I love <i>Roman Holiday</i>, <i>Camille</i>, and <i>Sliding Doors</i>, but there's no pivotal moments in those which beat the ones I am about to list. I love those as a whole, but there are other films, not necessarily romances, where gentlemanly gestures, happy endings, or cute encounters bring a tear to my eye. There are countless moments and films to choose from, so please don't tell me I've forgotten any. So here they are, in no particular order.<br />
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<span style="color: #b4a7d6; font-size: large;"><i>Rebecca </i>(1940)</span><br />
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I love Hitchcock, I love <i>Rebecca</i>, and I love the spookiness of Manderley and the creepiness of Mrs. Danvers, but my favourite scenes of the entire film are in the first half hour as Joan Fontaine and Laurence Olivier strike up a relationship. There are some great moments and lots of humour. One scene I love is where the pair go dancing one evening. Typical of Hollywood, there is a dance floor dotted with couples, a pond reflecting the twinkling stars of night, and Olivier is dancing with lovely Fontaine. Fontaine is facing the camera - her eyes look around at this beautiful setting, she looks like she can't believe her luck, and closing her eyes, allows herself to be swept off her feet. Cutting to Olivier, he notices she has her eyes closed and smiles because he can see she is having a dream of a time. Cutting back to Fontaine - she slowly opens her eyes to find handsome Olivier smiling back at her. Caught off guard and looking slightly shy, she composes herself and smiles back. No need to be embarrassed - she is just too happy. Here is the <a href="http://www.youtube.com/watch?v=Qws75LN1dug" target="_blank">scene</a> at 4 minutes in if you want to check it out. </div>
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<span style="color: #b4a7d6; font-size: large;"><i>Laura</i> (1944)</span><br />
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<i>Laura</i> has so many great things about it. Perfect script, perfect cast, perfect music, perfect mystery... the perfect noir! There are a lot of subtle talents in the film that make it work. One of those is Dana Andrews and Gene Tierney. I love the interrogation scene. Detective McPherson (Andrews) knows that Laura (Tierney) isn't being completely honest with him. He knows she is innocent but he also knows she is hiding something. He questions her constantly, trying to make her come clean, and the harder he tries, the closer he gets to her. The interrogation reaches such intensity that he is sitting on the table right in front of Laura, bowing over her he is almost pleading that she be honest with him (he wants her to be innocent). Laura hears what he is saying and I believe she hears the unusual concern in his voice for her, she looks up into his eyes. Now in a dangerously close position, Andrews pulls himself away with much force and walks around to the other side of the desk - making sure there is a solid barrier between them. I love how he has to pull himself away to stop doing anything unprofessional.<br />
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<span style="color: #b4a7d6; font-size: large;"><i>Sabrina</i> (1954)</span><br />
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One of the first "old" films I ever watched, <i>Sabrina</i> always says 'classic Hollywood glamour' to me. Even though I think the film falls a little flat when Sabrina (Audrey Hepburn) begins to date Linus (Humphrey Bogart - whom I love as an actor but he is definitely miscast here), I love the first half hour of the film. After attending cookery school in France, Sabrina returns home as a blossoming beauty and fashionable match for bachelor David (William Holden) whom she has been in love with all her life. My favourite scenes are at the very beginning when Sabrina (still a child) is watching David dance with another girl and when Sabrina finally dances with him herself a year or so later. The sumptuous gowns, starry night, extravagant party, and magical music make the party a dream for any girl. To top it all off the orchestra plays romantic favourites like 'My Silent Love' and 'Isn't It Romantic?' which fill the hot summer air. How many of us want to be wearing that gorgeous Givenchy gown, look as radiant as Hepburn, and be dancing with Holden in that fantastic setting? See this <a href="http://www.youtube.com/watch?v=r6CvxtWZvAY" target="_blank">clip</a> at 3:44 as a reminder.<br />
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<span style="color: #b4a7d6; font-size: large;"><i>Hannah and her Sisters</i> (1986)</span><br />
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I bought a Woody Allen collection recently and am loving every minute of his films. So far, <i>Hannah and her Sisters </i>is my favourite. So many great lines, characters, and moments in this film, but one beautiful scene is the finale. Throughout the film we have been aware that Mickey (Allen) was unable to conceive a child with Hannah (Mia Farrow). Many years later after his divorce, he re-dates Hannah's sister, Holly. The pair get on like a house on fire and live happily ever after. Best of all we realise the full extent of that happiness when the two of them are cuddling at the family Thanksgiving gathering, and Holly tells Mickey that she is pregnant. As if they couldn't be in love with each other anymore, somehow Mickey isn't infertile and they will both be able to start a family together. Beautiful, meaningful scene.<br />
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<span style="color: #b4a7d6; font-size: large;"><i>When Harry Met Sally... </i>(1989)</span><br />
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Two very close friends are both completely unaware of the fact that they have fallen in love with each other. At a museum, the pair are discussing moving on from past relationships. Sally has a date lined-up for the night, Harry enquires if she will be wearing what she has on right now. After responding 'yes', Harry tells Sally, "You look great in skirts," then turns his head back to the artwork they are admiring. Even though he has not seen her reaction to his compliment, we can see the wonderful smile spread on her face. It means so much to her that he thinks this, that he thinks she looks "great". I think we can all safely say that we felt similar when the person we liked told us we look great. This <a href="http://www.youtube.com/watch?v=E6CtAauWe1U" target="_blank">scene</a> really captures the simplest of moments that mean the world when you have feelings for somebody. <span style="color: #d9d2e9;">p...</span></div>
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<span style="color: #b4a7d6; font-size: large;"><i>Sense and Sensibility </i>(1995)</span><br />
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Jane Austen... Alan Rickman... Kate Winslet? Talk about lethal combination. Austen has written some of our favourite romances and there have been many an adaptation. But it is this one, <i>Sense and Sensibility</i>, directed by Ang Lee and with a screenplay written by Emma Thompson, that moves me the most. Of course I love the story between Elinor and Edward Ferrars, however, the most touching scenes, in my opinion, are those between Colonel Brandon and Marianne. For example, the 'Weep No More Sad Fountains' <a href="http://www.youtube.com/watch?v=MhI3lWxArCU" target="_blank">scene</a>. Whilst Marianne treats her neighbours and family to a song, Colonel Brando walks in (unnoticed by all except Elinor). As if transfixed by some magic spell, his brisk steps gradually become slower and finally come to a complete stop. The expression on his face is shock, amazement, lovestruck? Marianne continues to play because she has not seen this new guest. As the song comes to a close, we are shown Brandon again. He hasn't moved a muscle throughout the entire song. Standing motionless, his eyes have gained a look of great emotion and intense longing... we, like Elinor, can see that he has already fallen for Marianne who sits like a porcelain doll at her piano and sings like an angel. </div>
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<span style="color: #b4a7d6; font-size: large;"><i>Cruel Intentions </i>(1999)</span><br />
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I have already discussed this <a href="https://www.youtube.com/watch?v=fy_kcHW7bec" target="_blank">scene</a> in detail in a previous <a href="http://www.monroesmile.blogspot.co.uk/2013/07/cruel-intentions-train-station-scene.html" target="_blank">blogpost</a>. Just that perfectly constructed, 'teen love' moment. Annette has gone home after feeling like she has humiliated herself in front of Sebastian (he rejected her). Realising his true feelings for Annette and terrified of losing her, Sebastian goes after her. As Annette gets off the train and takes the escalator, Sebastian appears at the top. The ascending steps head towards him, like some tragic romantic hero, waiting for her - motionless. Eventually she clocks him, let's be fair - how could she miss him with the shot? Sebastian declares his love and they share a passionate kiss in the middle of the train station. The camera circles the pair, making them feel like the centre of the universe. This is their moment.<br />
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<span style="color: #b4a7d6; font-size: large;"><i>Tarzan</i> (1999)</span><br />
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There are so many clips from Disney films like make me go 'awwwww' but it is this <a href="http://www.youtube.com/watch?v=FaIbELk8Tzg" target="_blank">clip</a> from the <i>Tarzan</i> number, 'Strangers Like Me' which I've always had a weakness for. The song shows the relationship blossom between Jane and Tarzan as they learn from each other. But the song ends with some night-time, vine twirling. Jane, apprehensive at the thought of doing something so adventurous, is given a push by Tarzan. Floating through the air, her nervousness disappears and she joyously swings through the branches. Before she gets too carried away, however, Tarzan grabs her vine so that his and hers begin to entwine, to the point where they are close-up, nose to nose, with Tarzan looking intensely into Jane's eyes. But, this is a Disney film, so the intensity subsides when Jane gives a bashful smile. This twilight, jungle twist on a star-lit night is gorgeous, ever-so romantic, and Tarzan seems like the perfect gent!<br />
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<span style="color: #b4a7d6; font-size: large;"><i>Lost in Translation</i> (2003)</span><br />
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Such a powerful <a href="http://www.youtube.com/watch?v=lpOdAHwRnXY" target="_blank">finale</a>. Bill Murray stopping his taxi and chasing after the woman he loves. Giving her a goodbye embrace and kiss, he then whispers in her ear. We never really hear what he is saying, but we can guess two things by Scarlett Johansson's face: 1.) her tears tell us that he is telling her how much he loves her, and 2.) her smile tells us that he is coming back for her. No over the top speeches, no cheesy music. Just two people in the middle of the crowd, both were heartbroken at the thought that they would never see each other again, but guess what, they love each other and will be reunited soon. All sealed with a hug and smooch of course. The happiness on Johansson's face is beautiful and the reassuring calmness of Murray (not to mention the determination and deep feeling in his eyes when he holds her) are some top notch acting performances.<br />
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<span style="color: #b4a7d6; font-size: large;"><i>The Notebook</i> (2004)</span><br />
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Whenever this film comes up in conversation, boys and girls say one of two things. Either, 'If you're a bird I'm a bird,' or 'It wasn't over, it still isn't over.' Two quotes from many lovey dovey, tear-jerking moments in the film. Trust me - there are plenty to choose from. But that doesn't make it a soppy film. One thing I love about <i>The Notebook</i> is it's realism. And no I'm not saying every guy writes a letter for 365 days of a year or love can perform miracles, etc. The realism I like is the love between Allie and Noah. How they meet, how their love blossoms, their break-up. The most powerful <a href="http://www.youtube.com/watch?v=3nc6Tf26afI" target="_blank">scene</a> for me is this one where Allie has recently been reunited with Noah (years after they split-up). She has also just been told of the letters he sent her. An emotional wreck, Allie is forced to pull-over whilst driving home because she isn't in a fit state to drive. Whilst she tries to calm down, she reads Noah's letters. The letter she reads is so touching:<br />
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<span style="color: #b4a7d6;">“My Dearest Allie. I couldn't sleep last night because I know that it's over between us. I'm not bitter anymore, because I know that what we had was real. And if in some distant place in the future we see each other in our new lives, I'll smile at you with joy and remember how we spent the summer beneath the trees, learning from each other and growing in love. The best love is the kind that awakens the soul and makes us reach for more, that plants a fire in our hearts and brings peace to our minds, and that's what you've given me. That's what I hope to give to you forever. I love you. I'll be seeing you. Noah”</span></blockquote>
Firstly, the letter is beautifully written. Secondly, Ryan Gosling reads it in his lovely, low voice. And thirdly, there is so much truth in it. These are the words of a young boy who has had his heart broken. He couldn't sleep because he knows their relationship is over. To this line Allie let's out a whimper - Noah's words mirror how she felt at the time, the thought of the relationship being over is still very painful for her. Noah is a good guy though, and the love he felt for her was genuine. He will not look for revenge, he doesn't feel any anger, he loves her very much and wishes her only the best. He will no longer dwell on the pain of the split but remember the memories of a warm summer and falling for her. The music for this is very fitting, in fact it's the most subtle, understated element of the entire film. It's played in a lot of scenes but can go unnoticed (kudos Aaron Zigman). A very low melody that sounds like the sun setting on a summer's day - warm, hazy. I love this scene. It gets me every time. Maybe it's power lies in how the feelings of the two leads are so relatable.<br />
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<span style="color: #b4a7d6; font-size: large;"><i>Howl's Moving Castle</i> (2004)</span><br />
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Such a simple scene, very much like the one in <i>When Harry Met Sally... </i>After revealing a safe haven for Sophie whilst he is away (and may not return), Howl is happy that she will be safe during the war. But Sophie knows that this arrangement is in case of Howl not returning and believes he is going away because he doesn't love her. Why shouldn't he love her? Because she isn't beautiful... whether young or old.<br />
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<span style="color: #b4a7d6;">Sophie: Obviously, I'm not a beautiful girl. Only thing I can do is clean the house, though.<br />Howl: Sophie, you are beautiful! You really are!</span></blockquote>
Shocked at her low self-esteem and at her assumption that he sees her as ugly, Howl declares loudly that she is beautiful. Hasn't Sophie noticed that he has always liked her? Always been intrigued by her? That he is taking care of her with the land to ensure that she is safe and provided for? It's only a couple of lines, but hearing Howl tell Sophie adamantly that she is beautiful is such a touching moment. Christian Bale voices Howl and gives the animation real character, he brings him to life, and you can hear the truth/love in his words.<br />
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<span style="color: #b4a7d6; font-size: large;"><i>Up</i> (2009)</span><br />
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Pixar always touch the right nerve with their films and this <a href="http://www.youtube.com/watch?v=UHMD_EqM61I" target="_blank">opening</a> for <i>Up</i> may just be the greatest thing they have achieved. It tells the love/life story of Carl & Ellie, from when they met as children, to when they are old and grey - all in under 4 minutes! The shock at the end of the 4 minutes makes your stomach drop. It is such a shock, especially for a children's film, but it is pulled off tremendously. The warmth of the sequence, the music, the simple scenarios and the terrible tragedies, all engage with human emotion and the audience responds. Michael Giacchino composed a stunning, very memorable melody that suits the mood and tone of the film perfectly. It's like the film and music have always existed. What is so powerful about this scene is that feels like we are looking through the past of a real person, seeing their highs and lows, their loves and losses... heartbreaking stuff. Few romances have packed the emotional punch that those opening minutes of <i>Up</i> managed to do.<br />
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TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com0tag:blogger.com,1999:blog-644541939534301073.post-46443668070759337592014-01-13T12:15:00.002-08:002014-01-13T12:15:19.182-08:00Gene Tierney: My Favourite Actress<div class="separator" style="clear: both; text-align: center;">
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I have been a fan of Gene Tierney for years but it was only during the past few months when I decided to re-watch her films that I realised just how good an actress she was, and consequently, I now consider her my favourite. The Queen of noir excelled in her femme fatale roles but she was equally magnificent in period dramas, modern romances, and even the odd western. If it wasn't for the large following film noir has garnered over the decades, one wonders if Tierney's legacy would have faded into the background in comparison to the divas and icons of the studio era. Luckily, she hasn't faded, and although she may not be splattered all over popular culture like some of her peers, she is one of the most highly regarded, respected, and adored actresses amongst the global film community. And let's face it - she's Laura, the woman in the portrait... beat that!</div>
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Underrated during her time in films, it is a great shame that Tierney didn't live to see the wide acclaim so many filmgoers give her performances seventy years after her prime, not to mention her excellent taste in scripts/projects. When you look at her filmography, Tierney's is bursting with brilliance and variety. She never shied away from different roles but equally she didn't abandon her forte of film noir. This post will look at some of her films, with notes about her performance, the film, and of course photos showing her stunning beauty. I currently have fourteen of her films in my collection and want it to be more - I hope that the films of hers that haven't been remastered/released, or which are only available in the USA, will be available in UK soon. I recently ordered her autobiography, 'Self-portrait', so I'll be reviewing that on here in the future. For anyone who is interested, here is a short but very interesting documentary on Tierney's life which I was surprised to hear, was full of tragedy - <span style="color: #d9d2e9;"><a href="http://www.youtube.com/watch?v=w10UoLt8Kss" target="_blank">Gene Tierney: A Shattered Portrait</a></span>. She was a very strong, caring person, and I admire her as a woman as well as an actress now.</div>
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Thank you for the great performances Gene - you were an exceptional actress and an astonishing beauty. Your legacy in cinema, and particularly film noir, will be forever remembered and loved.</div>
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<u><span style="color: #b4a7d6; font-size: large;"><i>The Return of Frank James</i> (1940)</span></u></div>
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This was Tierney's first film role, in which she notoriously critiqued herself as sounding like 'an angry Minnie Mouse.' I wouldn't go that far but her voice is different here, a lot higher - it suits the character though. She plays Eleanor Stone, a young and enthusiastic girl defying society by being a female journalist. Tierney is very different to how we usually see her. The character is very naiive, but strong-minded and eager to prove to her father that she has what it takes. Considering Tierney would later be so at home in the dark world of noir, she is perfect in this western role (which is considerably different to femme fatale types). Watching her here, you can see she is good, and her co-star Henry Fonda apparently remarked on it to studio head, Darryl Zanuck. I loved the banter between her and Fonda, they make a good team. The film isn't very remarkable unfortunately, enjoyable enough but not a great western. Still it was a hit at the time and was a solid stepping stone for Tierney's career to take-off from. </div>
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<span style="color: #b4a7d6; font-size: large;"><u><i>Tobacco Road</i> (1941)</u></span></div>
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I found myself quite bored with this one and I think that was down to how watered-down the plot was (the original novel is very risque apparently so the writers had to change much of the story). But there was a lot of hype surrounding it at the time, because of its daring nature and the fact that the great John Ford was directing it. Tierney has a very small part and hardly any lines, but she plays the part of Ellie May well. She plays a voluptuous, hillbilly stereotype, and the make-up/costume department did all they could to make her look as seductive as possible behind the grubby face and rags. Tierney still looks beautiful, and Ford tries to capture that with the few moments he has. For a Tierney fan, she has hardly any screen-time but she is the focal point for the all the promotion posters, etc, (funnily enough). </div>
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<span style="color: #b4a7d6; font-size: large;"><u><i>Belle Starr </i>(1941)</u></span></div>
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I haven't seen this but I really want to. Unfortunately the DVD available on Amazon UK has been reviewed as being very poor quality. This is a shame. The film is in colour so Tierney looks fantastic, but what I was really gutted about is that it's the first time Tierney and Dana Andrews work together on screen (Andrews is in <i>Tobacco Road</i> with Tierney but their characters never meet). I love the duo of Tierney and Andrews, so this is a real must-see for me. Belle Starr doesn't have the best reviews but it will be interesting to see Tierney in a Scarlett O'Hara type role and of course to see her and Andrews together.</div>
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<u><span style="color: #b4a7d6; font-size: large;"><i>Sundown</i> (1941)</span></u></div>
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I have only seen parts of this film and I've read that I shouldn't expect much from it, but as far as beauty goes, this is one of Tierney's most stunning looks. Her hair is very long and she is given an exotic appearance, very different from the modern, all-American look Tierney has in films noir. Regardless, she looks incredible and the film shows what a ravishing beauty she really was. </div>
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<u><span style="color: #b4a7d6; font-size: large;"><i>The Shanghai Gesture </i>(1941)</span></u></div>
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If you love how Josef von Sternberg photographed Marlene Dietrich, wait til you see how he filmed Tierney. Von Sternberg captures her exotic quality and films her beautifully. She plays Poppy - a young girl excited by the 'evil' feel of a casino in Shanghai. Unfortunately, she gets herself into a lot of trouble, firstly with a gambling addiction and then by drinking heavily. Even Victor Mature, whose character was entranced by Poppy's beauty at the beginning, becomes disenchanted with her jealous, drunk state. A reckless brat, Tierney is unrecognisable character-wise.<br />
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<span style="color: #b4a7d6; font-size: large;"><u><i>Son of Fury: The Story of Benjamin Blake</i> (1942)</u></span><br />
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Setting out on an adventure to find pearls, Tyrone Power finds a different treasure in the native beauty, Eve (Tierney). Exotic, again, but this time not in a dangerous way. Eve is the most beautiful woman on the tropical island, but she's also a loving, sweet woman whom Power falls head over heels for. The scenes with him teaching Eve English and setting up house are very cute and feel like a real romance is blossoming. Considering in her later films Tierney is a very intelligent, conniving femme fatale, here she is very convincing as a young girl trying to learn, who is ignorant of the outside world and troubles Power has to face. We don't need convincing as to why Powers is drawn to her, Tierney looks immaculately beautiful and is all natural - a breath of fresh air from his troubles in England.</div>
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<span style="color: #b4a7d6; font-size: large;"><u><i>Rings on Her Fingers</i> (1942)</u></span><br />
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This film is pretty difficult to get hold of. There are region 2 and region free copies available on Amazon but they're expensive. I really want to see this because it's a screwball comedy, and I've never seen Tierney do one of those before (I'm sure she is brilliant). Best of all it teams her with Henry Fonda again and they were so brilliant together in <i>The Return of Frank James</i>. From the stills and clips I have seen they have a lot of scenes with each other and the film looks hilarious. Can't wait to see this. Shame it's not better known, would probably be easier to get hold of then.</div>
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<span style="color: #b4a7d6; font-size: large;"><u><i>Thunder Birds </i>(1942)</u></span><br />
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Enjoyable film in fabulous colour - Tierney looks terrific! She doesn't have as much screen time as some of the male characters but her presence is felt and she definitely gives the film a much-needed lift. This is just a run-of-the-mill picture that I expect Tierney had to do as part of her contract. So don't expect anything exceptional. But because of Tierney's ridiculous beauty and talent, the role and film are made more memorable.<br />
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<span style="color: #b4a7d6; font-size: large;"><u><i>Heaven Can Wait </i>(1943)</u></span><br />
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Charming film from Ernst Lubitsch. Lothario Don Ameche is changed for the better by the arrival of lovely Martha (Tierney) whom he falls in love with at a book store. Although he is flawed, Martha understands and forgives him, making Ameche realise just how dearly he loves her. The role of Martha is understated, and where some actresses may have been OTT trying to steal the show from the main character played by Ameche, Tierney simply goes with the flow. Lubitsch photographs Tierney beautifully, and really emphasises her striking eyes.<br />
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<span style="color: #b4a7d6; font-size: large;"><u><i>Laura</i> (1944)</u></span><br />
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Tierney's iconic turn as Laura Hunt, the mysterious beauty and "murder victim". Talk about perfect casting. Laura is supposed to cast a spell on every man who crosses her path. For the role to work, you needed an actress with a cool, mysterious allure... spellbinding beauty but also a contemporary look (nothing too regal or glamorous). Tierney had all those qualities in spades, and to top it all off, she could act the part too. Sweet and caring, but don't you dare double-cross her, Laura is a wonderful character in the world of noir. Tierney played the part so well, you can see why she was such a popular choice when it came to future leading ladies in the genre. Not to mention her pairing with Dana Andrews - those two sizzle together on screen!<br />
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<span style="color: #b4a7d6; font-size: large;"><u><i>Leave Her To Heaven</i> (1945)</u></span><br />
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The only Oscar-nomination in her career, Tierney's performance as Ellen won her critical acclaim. Obsessive, cold-hearted, and conniving, Ellen is a deadly femme fatale whose actions are shocking even today. We cannot predict what she is going to do next, we do not know how her mind works... all we know is that Ellen is unstable and a dangerous woman whom Cornel Wilde may well regret bumping into on the train. Tierney's performance is outstanding. Full of depth, we truly witness the slow deterioration of Ellen's mind, as it moves from devotion to obsession.<br />
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<span style="color: #b4a7d6; font-size: large;"><u><i>Dragonwyck</i> (1946)</u></span><br />
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Typical storyline with a very Jane Eyre feel to it. Totally at home in a period drama, Tierney is endearing as Miranda. What I really enjoyed about this film is the chemistry between Tierney and her leading man, Vincent Price. They had worked together before in <i>Laura</i> but Tierney's screen time is mainly with Andrews. Here she is all Price's, and they bounce off of each other wonderfully.<br />
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<span style="color: #b4a7d6; font-size: large;"><u><i>The Razor's Edge </i>(1946)</u></span><br />
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For me, this is Tierney's greatest performance. Unbelievably it was her co-star Anne Baxter who won an Oscar for Best Supporting Actress - Tierney didn't even receive a nomination which is appalling! Even next to her leading man Tyrone Power, she totally dominates the picture. It is her character Isabel whom we remember vividly. Bitchy, drama queen, possessive, spoilt, snobbish... qualities we detest in people but adore when it's being played on screen, and Tierney pulls it off with such elegance. She is so sly in this! In <i>Leave Her To Heaven</i> her character is dangerous because she is mentally unstable, but here what is different and so much more powerful, is that Isabel is completely aware of what she is doing. She won't stop at anything. She has some tremendous scenes with Herbert Marshall (intense chemistry here - shame they didn't work together more). But the way Tierney walks, watching other characters closely, always analysing the situation and planning her next move... it's really masterful. I wish she had received more acclaim at the time because this is a truly great performance. Her scene walking down the stairs in a black dress is one of those superstar Hollywood moments. She looks incredible and gives the performance of her life (in my opinion).<br />
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<span style="color: #b4a7d6; font-size: large;"><u><i>The Ghost and Mrs. Muir</i> (1947)</u></span><br />
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One of my favourites films, a true period romance. Tierney is 100% convincing as an English widow falling in love with the ghost of a sailor (Rex Harrison). A fantastical romance, hard to pull-off in a film if you have bad actors.Thankfully Harrison and Tierney have a real spark, bringing feisty attraction to the relationship, and making the performance every inch believable. You really feel for Lucy Muir (Tierney) because she longs for something she cannot have in this life. Tierney is so real here. Her character seems of another era, mature, and a far cry from her femmes fatale. It is wonderful to see her softness, kindness, but also feisty spirit slowly tame the rude sailor, who eventually falls for her too. A must-see for anyone who loves a good romance. Definitely one of the best from the studio era.<br />
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<span style="color: #b4a7d6; font-size: large;"><u><i>Whirlpool</i> (1949)</u></span><br />
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The first in a string of noirs which Tierney threw herself into at the end of the 1940s/beginning of the 1950s. Not a masterpiece for sure but enjoyable. Tierney is Ann Sutton, a woman who is being hypnotised and forced to perform tasks that eventually lead to her being framed for murder. Glamorous, confused, mysterious yet pleading her innocence, Tierney is back on familiar soil as a beautiful woman who has the police unsure of whether to believe her or not. This role is no problem for Tierney, she knows what to do, and gives the film class.<br />
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<span style="color: #b4a7d6; font-size: large;"><u><i>Night and the City</i> (1950)</u></span><br />
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Acclaimed noir co-starring Richard Widmark. Tierney is his girlfriend, Mary, who is tired of his wild ambitions constantly failing and leaving her to pay for it all. The film is really Widmark's film, full of action, deceit, and a leading character who you can see is setting himself up for a big fall. Tierney's role is to simply be the woman behind the man, looking disappointed and frustrated at his insistance of still getting caught up with the wrong crowd. Her presence is felt throughout the film. We are Mary, helplessly watching Widmark dig himself a deep hole which he can't get out of.<br />
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<span style="color: #b4a7d6; font-size: large;"><u><i>Where the Sidewalk Ends</i> (1950)</u></span></div>
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Teamed up with Dana Andrews again, Tierney is Morgan Taylor, the daughter of a man who is taking the rap for a deed Andrew's detective, Dixon, has done. The image of goodness, stability, and everything Dixon aspires to be, she is the catalyst for Dixon changing his ways and finally doing the right thing. Dixon has been playing dirty for years, will a woman really change him? If she's Morgan then yes. Tierney makes this change of Dixon's character believable because she is so honest, good, and caring. A solid film noir and solid performances from Tierney and Andrews. They've always had remarkable chemistry and here it's no different. </div>
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TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com0tag:blogger.com,1999:blog-644541939534301073.post-46283481724527957712013-12-28T14:42:00.002-08:002013-12-28T14:42:40.627-08:00DVD re-release alterations: Is it ever okay?<div>
BEWARE! SPOILERS!</div>
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A few weeks ago I watched the original <i>Star Wars Trilogy</i> (1977-83) for the first time in my life. I'd caught glimpses of it when I was a child but I'd never watched it from start to finish before. I absolutely loved it! The characters, the locations, space, the music, and the story! Call it straightforward but it works. It is a great story and each episode was hugely entertaining. After watching the films I read that George Lucas had revisited the films and altered them in different ways for DVD re-releases. For someone like me, who never saw the original theatrical releases, I will forever be none-the-wiser about those changes - except for one glaringly obvious one.<div>
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At the end of <i>Episode VI - Return of the Jedi</i> (1983), Luke, Han, Leia, and all the gang are celebrating their victory over the dark side. Whilst everyone is celebrating, Luke turns away and has a little private moment of reflection to himself. He then sees before him the ghosts of Obi-Wan Kenobi, Yoda, and... low and behold... his father. But the ghost isn't Darth Vader in his black helmet and cape, rather it is his father as Anakin Skywalker before he fell to the dark side. This isn't what shocked me though. Even though I was surprised to Luke's father standing side by side with his old friends, redeemed, I was very surprised to see that it was the Anakin of the later <i>Star Wars</i> films, played by Hayden Christensen. I knew instantly that there had been an alteration, because Christensen was probably a baby when the original <i>Star Wars</i> films were made. After the first shock, my eyes teared-up - it was a moving moment to see Anakin redeemed of his past and finally becoming the jedi he was born to be. Also the fact that his son Luke was now able to look on his father in his human/good days, and look upon him with pride. To see Anakin, next to Obi-Wan and Yoda, all three of them smiling back at Luke - their work was done, all is well. It's a beautiful if-brief moment, and I found it quite moving. </div>
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<tr><td class="tr-caption" style="text-align: center;">Altered Anakin ghost with Hayden Christensen.<br /></td></tr>
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Once the film ended I did some research online. I wanted to know if Anakin was shown at the end in the original <i>Return of the Jedi</i>, and if so, what did he look like? Instantly, a plethora of reviews, blogs, articles, etc, came up that compared before and afters. Turns out that Anakin was shown at the end, and he was played by Sebastian Shaw. </div>
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<tr><td class="tr-caption" style="text-align: center;">Original Anakin ghost with Sebastian Shaw.</td></tr>
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Now, for me, a new fan of <i>Star Wars</i> and someone who hasn't seen the original releases, I wasn't bothered by this change. Personally, I felt that it showed continuation, and even though it is just a film, not a real story, I was moved to tears by the fact that Luke could see his father, Anakin, as he was before he was Darth Vader. That continuation and sense of authenticity gave the scene emotional impact. I even preferred the new music - it sounded like a happy celebration and had tearjerking power. However, I could see instantly that this was a big move and possibly a major error to fans of the original films. </div>
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So, I asked myself - in this day in age where there are constant re-releases of films and DVDs and the ability to alter things digitally, when is it okay to alter the original format of a film? </div>
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As I have said, I can't say much about <i>Star Wars</i> because I'm new to those films. But say in 20 years time, Peter Jackson released a new, altered version of <i>The Lord of the Rings</i> trilogy, I would be absolutely furious. I would be so angry that he had changed something which I loved and knew second for second from the day it was first released. I hate the extended versions of LOTR, and am so relieved that we have the choice of original cuts on DVD. I love the flow of original LOTR, I think it all flows perfectly, so when I saw the extended versions I couldn't stand it. It didn't flow as well, and everything was wrong. It was ruined. </div>
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Two other examples are the latest re-releases of Disney's <i>Beauty and the Beast</i> (1991) and <i>Pocahontas</i> (1995). Disney are making a habit of adding extra scenes into their classics. With <i>Beauty and the Beast</i>, you have the option of watching the version with the extra scene and without. I always choose without because I don't like the scene. Unfortunately, with <i>Pocahontas</i> you don't have that same choice. With <i>Pocahontas</i> you can watch only the new version and worst of all, not only are there added scenes, but the original scenes have been altered. The scene where <i>Pocahontas</i> meets John Smith in the tent now has a song in it - a lovely song - but it ruins the scene. What was once a romantic, tender, and heartwarming last goodbye turned into a cheesy singsong. The song isn't the issue - I love it, it's beautiful over the credits of the film, but here it doesn't work. The final scene where <i>Pocahontas</i> is saying farewell to John Smith is also completely altered, with that same song being sang. Both of these scenes had stunning, heartbreaking scores composed by Alan Menken playing over them. Both were mature and suited the mood of each scene. But Disney had to ruin that by inserting the theme song, changing the animation (which also stood out as different)... I mean why do that? You've ruined the original parts. At least enable us to skip new scenes. With altered scenes you ruin the film itself, and we, the fans, are stuck with it. </div>
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With that in mind, I sympathise with Star Wars fans because they've loved the franchise for years,. When you know something so well and love it so much, it is horrible to have it changed. And it's not like you can ignore it. When you are a fan of anything you know it like the back of your hand, and even the slightest change is instantly recognisable. You can't ignore it. It is in your face.</div>
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So, even though I liked the inclusion of Christensen's Anakin in <i>Return of the Jedi, </i>I can completely understand why long-serving fans of the franchise are upset and annoyed. If you're going to do these things, give fans the choice of original theatrical release - always - and you're altered version alongside it. Never merge the two together. Take note all. </div>
TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com2tag:blogger.com,1999:blog-644541939534301073.post-53076688253447767782013-12-16T06:25:00.001-08:002013-12-16T08:33:45.760-08:00A sad week for old HollywoodThese last couple of weeks have been pretty shocking in the world of old Hollywood. Even though that era ended decades ago, the films and people of that time still thrive in the hearts and minds of fans across the globe. From those who were alive during 1930s-50s, to someone like me who discovered them at the age of 15 back in 2006, there is still a massive following for the great films and legends of those golden years. There have been a few deaths recently, but I will only comment on those actors who's films I've seen. May they each rest in peace.<br />
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<u><span style="font-size: large;"><b>Joan Fontaine (1917-2013)</b></span></u></div>
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Beautiful Joan. Just the other day me and my sisters were discussing how many of the 'old stars' were left, and I commented on how both Joan and her sister Olivia de Havilland (respectively) were still going strong. How shocked I was today to hear of Fontaine's passing. She is so splendid in <i>Rebecca</i> (1940). Few can pull off naive, innocence, and sweetness - usually it just comes across as stupid or someone can't act. But Fontaine performed the role of Mrs. de Winter masterfully. She was adorable and totally convincing as the woman to save Maxim de Winter (Laurence Olivier) from the darkness of his previous marriage. Later in her career, she played the role of Rowena in <i>Ivanhoe</i> (1952) opposite Robert Taylor and Elizabeth Taylor. She plays an older woman who loses the heroic Ivanhoe to the young and ridiculously beautiful Rebecca. For this she had to have dignity, class, and be gracious in defeat. Fontaine was perfect in this role.<br />
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I have yet to see her in <i>Suspicion</i> (1941) - the picture which won her the Best Actress Oscar and was her second outing with Alfred Hitchcock. Others in her filmography I am eager to see are <i>Letter From An Unknown Woman</i> (1948) and <i>The Constant Nymph</i> (1943). Thank you for the wonderful performances, Mrs. de Winter, it was always a pleasure.<br />
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<u><span style="font-size: large;"><b>Peter O'Toole (1932-2013)</b></span></u></div>
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I haven't always been O'Toole's biggest fan. He was never my favourite actor, but I respected him greatly and was blown away by his performance in <i>Lawrence of Arabia</i> (1962) when I watched it for the first time last year. Without a doubt his performance as Lawrence is one of the greatest by an actor in cinema. Absolutely outstanding.<br />
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<u><span style="font-size: large;"><b>Eleanor Parker (1922-2013)</b></span></u></div>
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When I watched <i>The Sound of Music </i>(1965) with my best friend a couple of years ago, she commented on how attractive the Baroness was and asked me if she was particularly famous. Not knowing who the actress was, I replied no. How stupid I felt when the credits rolled and I saw that it was Eleanor Parker, an actress who's name I'd seen constantly in film studies, analysis, and on DVD covers. She was really brilliant in <i>The Sound of Music</i>. The two leads of Julie Andrews and Christopher Plummer almost steal the show, but Parker really held her own and is as memorable as anyone else in the film. Her presence is strong and her character feels like a real threat to Maria and the Captain's chance of happiness. But Parker doesn't ruin the role by making herself a villainess, or acting over-the-top with jealousy. Instead she is very sweet, polite, decent, and proper, perfectly camouflaging the anger she probably feels at this nun contemplating her plans for marriage. What is so clever about Parker is that beneath that elegant facade, you can see the coldness in her eyes, like a viper, with her eyes carefully watching Maria's ever move. A wonderful performance.<br />
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I intend to watch more of Parker's films this coming year, including <i>The Naked Jungle</i> (1954), <i>Caged</i> (1950), <i>Scaramouche</i> (1952), and <i>The Woman in White</i> (1948 - a version I've been trying to catch for years).TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com0tag:blogger.com,1999:blog-644541939534301073.post-34742640000239809472013-12-14T11:48:00.002-08:002014-01-06T09:49:01.060-08:00Looking back at 2013... and thoughts for 2014.So it's that time where we look back on the current year and decide whether it was good/bad. Mine has been good... in the way that nothing tragic has happened, but I'm not where I was hoping to be a year ago. Basically I can't complain but it hasn't been great. Regardless, I do have hopes for 2014. I won't bore you with my personal ones, but here are my discoveries in film and other things that I am happy with, followed by what I hope to improve on over the coming year.<br />
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2013:<br />
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<li>Discovered Woody Allen films - so far <i>Hannah and her sisters</i> is my favourite. </li>
<li>Watched <i>Band of Brothers</i>, <i>Sex and the City</i>, and <i>North and South</i> TV dramas in full. </li>
<li>Became a fan of <i>Game of Thrones</i> TV series.</li>
<li>Finally read <i>The Hobbit </i>and <i>The Lord of the Rings</i> trilogy by JRR Tolkien after being a big fan of the films since they were first released over a decade ago. </li>
<li>Rediscovered my love for the actors Errol Flynn, Gene Tierney, Dana Andrews, Fredric March, and Richard Widmark. I have always loved their work but I rewatched their films recently and consider them in my list of favourite performers. </li>
<li>Became a fan of the actors Charles Boyer and Vincent Price.</li>
<li>Found two actors of the present day whose upcoming films I genuinely anticipate. They are Christian Bale and Jennifer Lawrence. Both are very talented, speak beautifully, seem to focus on acting/script/film and not stardom, and have undeniable presence onscreen. </li>
<li>Attended one of the BBC Proms - Hollywood Rhapsody Night, and consequently, became a fan of the supremely gifted conductor John Wilson and his orchestra. </li>
<li>Watched <i>The Seventh Seal</i> for the first time. This has been on my to-watch list for years and I wasn't disappointed. It's going to need repeated viewings for me to fully understand it and be able to enjoy it properly, because my first viewing, although wonderful, I was too amazed and captivated by the film to truly comprehend it. </li>
<li>Rediscovered my love for film in general. In my final year and a half at university, it was easy to get caught-up in the immense workload and the grasp-as-much-as-you-can-of-your-student-days fever. I'm glad I did make the most of it because I'll never get those happy days back again. However, it did mean that I neglected films, especially my classics and favourites. </li>
<li>Got my YouTube channel up to date. </li>
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2014:</div>
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<li>Update this blog once a week - whether it be thoughts on a new film I watched or analysis of a scene - whatever it is the blog will be active on a weekly basis. </li>
<li>Update my The Lord of the Rings blog once/twice a month.</li>
<li>Expand my knowledge of classic Hollywood - read more and watch more, fill the gaps with more films, actors, directors, studies, and analysis.</li>
<li>Watch more foreign films - I am really behind on the foreign front. I've never seen a Kirosawa picture (shame, yes I feel it). Recently I was added to a film forum on Facebook and it's been an eye-opener to all the films I haven't seen. Most of the members are quite a bit older than me, but still, they post about films I haven't heard of or ones I know I should have seen by now. I need to broaden my viewings.</li>
<li>Watch more Hollywood silent films. I have seen only a handful, and that doesn't include Chaplin, Keaton, or Lloyd. I intend to remedy that this coming year. </li>
<li>Read the autobiographies of Errol Flynn and Gene Tierney, and the biography of Dana Andrews. Also read Truffaut's book on Hitchcock. </li>
<li>Keep up the YouTube channel and never get a year behind again. </li>
<li>Listen to more classical music. Get to know symphonies fully and explore the genre. </li>
<li>See another BBC Prom. Attend the Bath, Bristol, and BFI Film Festival. </li>
<li>Volunteer at an art gallery - learn more about art.</li>
<li>Read more history books - I loved history in school and miss learning about it. </li>
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Obviously I have more personal goals involving friends, health, career, and places to visit - enjoying life and living it to the full blah blah blah - but they're not relative to this blog. I doubt anyone will read this and if anyone does read it then I'm sure they'll want their 5 minutes back. But I thought I would post it anyway.</div>
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I am sorry for the lack of activity on this blog. I hope that by Spring 2014, I will have gathered a good pace on this blog. I wish you all the best for the new year.</div>
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TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com2tag:blogger.com,1999:blog-644541939534301073.post-59939716837592672732013-11-13T07:58:00.002-08:002013-11-13T07:58:03.453-08:00BBC Proms 2013: Hollywood Rhapsody ( Prom 59 ) performed by John Wilson's Orchestra<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit;">This time last year I was watching YouTube videos on my lunch break, mainly live performances of soundtracks. Eventually I came across several BBC Proms film nights and immediately I wanted to see a Prom in person. For a very reasonable price I got two tickets for Prom 59 - Hollywood Rhapsody Night performed by John Wilson's orchestra on Monday 26th August. I had never heard of John Wilson, nor seen a live orchestra, or even been to the Royal Albert Hall for that matter. For months I anticipated the performance; it did not disappoint.</span><br />
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<span style="font-family: inherit;">What a night. What an experience. I cannot believe I have never attended a Prom before and I am adamant that I will attend one every year for the rest of my life! In this blogpost I will attempt to describe the evening, the music, and the performance as well as I can (and try to make it interesting). The best way for me to do that is to describe the evening in chronological order. Below you will find the full concert on YouTube; I'll be using the times on this video in my descriptions so it should be easy for you to follow. The concert begins... BEWARE THERE ARE FILM SPOILERS IN THE FOLLOWING POSTS. </span><br />
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<b><span style="font-family: inherit;"><u>Alfred Newman: </u><u>20th Century Fox Fanfare & <i>Street Scene</i> (1931)</u></span></b><br />
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<b><span style="color: #d9d2e9; font-family: inherit;">0:00 - 08:44 mins</span></b><br />
<span style="font-family: inherit;">It was so weird hearing the Fox Fanfare live. Everyone knows this piece, wherever you are, if you hear that fanfare you feel yourself thinking, where's the popcorn?, like if you're about to enjoy a cinematic experience. It sets you on autopilot. Those military-like drums, followed by the booming brass, and distinctive strings, really wake you up and alert you to keep watching - you're about to witness something great.</span><br />
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<span style="font-family: inherit;">As for <i>Street Scene</i>, I have never seen the film itself, however I have seen <i>How To Marry a Millionaire</i> numerous times (where it was re-used). Wilson's use of it to open the concert was interesting. It's a very dramatic piece and has a wonderful buzz to it - mirroring the idea of bustling streets and busy city life. It opens our musical senses and starts them turning readily for the rest of the show. It was the ideal appetiser.</span><br />
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<span style="font-family: inherit;"><u><b>Bronislau Kaper: </b></u><u><b><i>Forever, Darling </i>(1956) - Confetti </b></u></span><br />
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<b><span style="color: #d9d2e9;">08:44 - 11:27mins</span></b></span><br />
<span style="font-family: inherit;">Light and lively, this piece lifted the spirits and conjured images of romantic comedies from the golden era. A serene and jolly calm before the concert took a dive into darker tunes from murkier movies...</span><br />
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<u><b>David Raskin: </b></u><u><b><i>Laura</i> (1944) - Suite</b></u></span><br />
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<b><span style="color: #d9d2e9;">11:27 - 17:47 mins</span></b></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggaXX9fSNQ1S3T6R9nAeihotpmtSpuwQBLEathlfi3aPdBiYmvUVLnViJSvbU9O7zeXsPHE_DNSsCng2oUrM2GfL03ryf5VtdOXTgVA9xkIjPs3Mv-Pw2WkwKryH0RZWW1kbZzxgGEWPpw/s1600/laura_ver3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggaXX9fSNQ1S3T6R9nAeihotpmtSpuwQBLEathlfi3aPdBiYmvUVLnViJSvbU9O7zeXsPHE_DNSsCng2oUrM2GfL03ryf5VtdOXTgVA9xkIjPs3Mv-Pw2WkwKryH0RZWW1kbZzxgGEWPpw/s320/laura_ver3.jpg" width="222" /></span></a><span style="font-family: inherit;">I adore the film <i>Laura</i>; the plot isn't just captivating from start to finish but dotted with exquisite moments of humour, crime, and romance. Everyone remembers the villain, the detective, and Laura herself, but possibly the most memorable element of <i>Laura</i> was the title theme.</span><br />
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<span style="font-family: inherit;">Wilson begins conducting the piece with a grimace on his face, and rightly so. The opening bars of the Laura suite are unnerving and haunting - ominous low notes play, reminding us that we are in the dark world of film noir and that there is murder afoot. Then the unmistakeable Laura theme is introduced quietly, a beautiful lady plucked from the dark depths of noir as if by magic. For anyone who has seen the film, we immediately see the painting of Laura, looking ever-so dreamy, and our detective falling slowly in love with her image and memory - as told to him by suspects.</span><br />
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<span style="font-family: inherit;">Every man who encounters Laura falls in love with her. For the film they had Gene Tierney play the title role, which made it easily believable that all who met her would fall for her - she was ridiculously beautiful after all. But the film needed more than that. It needed music to enhance her beauty by creating added wonder, tragedy, romance, and the idea of obsession. Hearing the music without watching the film, you could hear the music as it was meant to be heard - it was the sound of Laura's spell which bewitched every man who knew her, with the unmistakable notes of doom lurking beneath that romantic sweep.</span><br />
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<u><b>Bernard Herrman: </b></u><u><b><i>Psycho</i> (1960) - Suite for Strings</b></u></span><br />
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<b><span style="color: #d9d2e9;">17:47 - 24:55 mins</span></b></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc02pWqQzf0ph82ouPMDisNA_j6yYZWnAz4xX8FkdMTHjM61l4Cz9J-1njoThmxnBrFw7BGNhqlrpIsmhmardPCRrcTSLPBEiqpuhxZ0MzllL_bwf9kC3UTs7bMtv5a0FHF81JIbPAm2C2/s1600/Psycho.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc02pWqQzf0ph82ouPMDisNA_j6yYZWnAz4xX8FkdMTHjM61l4Cz9J-1njoThmxnBrFw7BGNhqlrpIsmhmardPCRrcTSLPBEiqpuhxZ0MzllL_bwf9kC3UTs7bMtv5a0FHF81JIbPAm2C2/s320/Psycho.jpg" width="226" /></span></a><span style="font-family: inherit;">The most recognised film score of all time? Possibly. Even if you haven't seen the film <i>Psycho</i>, odds are you've heard the theme. I had seen old Proms performances of <i>Psycho</i> online, but that didn't ruin the experience for me at all. Hearing the music live is very different and seeing the effect on people in the audience is unique. What I really remember from my seat so high-up in that hall was all of these violin bows moving frantically and briskly - as if in a frenzy. But of course that is the genius of Herrman the composer.</span><br />
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<span style="font-family: inherit;">His music had to physically resemble the psychotic mind of our killer and frenzy of the killings themselves. Additionally, the piercing notes we hear from the strings are painful and make us uncomfortable, which is how we should feel. This isn't a pleasant tale and the film itself is disturbing. What is wonderful is that Herrman composed a suite that enhanced the films impact, and immeasurably so.</span><br />
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<span style="font-family: inherit;">The opening title sequence is quite dizzying and there is this feeling of a chase, that we are running from something (like Janet Leigh in her car), but soon we come to a quick demise and the notes become slower and lower. This is the calm before the storm, because shortly afterm we hear the infamous theme for the shower scene. Watching it performed live, you see the violence of the piece. Even without watching the murder, the musicians themselves look as if they are murdering their instruments. Bows slashing down hard ferociously at the strings - the piece is very violent and a mirror image of the action of the killing. The entire audience would have felt unnerved at some point during this suite, and I'd bet money that most had hairs standing up at the back of their necks.</span><br />
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<u><b><i>Citizen Kane</i> (1941) - Salammbo's Aria</b></u></span><br />
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<b><span style="color: #d9d2e9;">24:55 - 29:40 mins</span></b></span><br />
<span style="font-family: inherit;">I was slightly disappointed when I saw which part from the <i>Citizen Kane</i> soundtrack was being performed. I was hoping for 'Snow Picture,' but I had no need to be disappointed. This stunning aria escaped my notice with my viewings of Kane, and I have no idea why! It is a show-stopper! Super dramatic with its big notes echoing through the hall, all sung sublimely by soprano, Venera Gimadieva... it was a beautiful and wonderful piece. I've never seen an opera singer live before but it's quite an experience hearing such a strong voice fill the concert hall.</span><br />
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<u><b>Erich Wolfgang Korngold: </b></u><u><b><i>The Adventures of Robin Hood </i>(1938) - Suite</b></u></span><br />
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<b><span style="color: #d9d2e9;">29:40 - 46:50 mins</span></b></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfe46Tuc-DkRfQBvURHarTPJf7GFM7PdIaz1CIHu49RxuVP-mUIdiI8-s3bDarJqhEdmjNW9bXzK10QTGKsse-r7qVFUDpBMx6VXJImk9a0fRn0jtZc6OtWx4Yr2EnyvALEhoRRQHPgbQm/s1600/TheAdventuresRobinHood.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfe46Tuc-DkRfQBvURHarTPJf7GFM7PdIaz1CIHu49RxuVP-mUIdiI8-s3bDarJqhEdmjNW9bXzK10QTGKsse-r7qVFUDpBMx6VXJImk9a0fRn0jtZc6OtWx4Yr2EnyvALEhoRRQHPgbQm/s320/TheAdventuresRobinHood.jpg" width="314" /></span></a><span style="font-family: inherit;">One of the first classic films I ever watched and definitely one of my favourites, I was always going to be biased when it came to this performance. The soundtrack from <i>The Adventures of Robin Hood</i> is one of the greatest and I feel so honoured and lucky to have had the privilege of hearing the suite performed live in all its splendour. The opening bars are full of life, colour, and the excitement of the film. You can instantly see Errol Flynn swinging around Sherwood forest, laughing in the face of danger, and surrounded by his Merry Men. But even more so, you hear the unmistakable sound of the Golden Era, Hollywood at her biggest and best. This soundtrack has everything and changed everything when it came to sound in film. Such an incredible blend of medieval sounds with that indisputably Hollywood sweeping of strings - this suite is to die for. I was over the moon when I saw that it was going to be performed, and thankfully, John Wilson and his orchestra exceeded all expectations.</span><br />
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<span style="font-family: inherit;"><b><span style="color: #d9d2e9;">34 mins</span></b> - The love theme from <i>The Adventures of Robin Hood</i> begins. This is my favourite piece of film music, no competition whatsoever. No other piece is as romantic, magical, dreamy, or majestic. The opening bars seem to flutter higher and higher (just as we are going high up into the castle, into Maid Marian's chamber where Robin Hood will soon appear). A trumpet plays a few romantic notes but because it's a trumpet, it also represents the sound of good and justice (that which Robin and Marian are fighting for - it has already been noted in many studies how Korngold kept the idea of justice in every scene, even the romantic ones). And it goes on, with the whole orchestra sweeping round and round and up and up in this beautiful romance - as if we're walking on air like Maid Marian.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBNShbORoc8Q9uhpIeqNN5LEMYiHPcr1aBXWTmW7pffcJLEpNrGfSi2s3jpNki5D6k43r-jejQR3NGK1sf_mwaj7gwMSbPBK0jBof3tShuSKTFPA0tcLWeYQil3GR9MLIHMI3s9-sTom8I/s1600/the_adventures_of_robin_hood_8.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBNShbORoc8Q9uhpIeqNN5LEMYiHPcr1aBXWTmW7pffcJLEpNrGfSi2s3jpNki5D6k43r-jejQR3NGK1sf_mwaj7gwMSbPBK0jBof3tShuSKTFPA0tcLWeYQil3GR9MLIHMI3s9-sTom8I/s320/the_adventures_of_robin_hood_8.jpg" width="320" /></span></a><span style="font-family: inherit;"><span style="color: #d9d2e9;"><b>38 mins</b> </span>- Now the piece goes up another level. My favourite part of the whole love theme - where things get serious between Robin and Marian. They declare their love for each other and vow to fight for the good of England, no matter what danger they are in. The cello (?) at <b><span style="color: #d9d2e9;">38:10 mins</span></b> reflects the seriousness of their peril. Marian is in danger in the castle, and Robin doesn't want to leave her there because he loves her, but he knows that she must stay for the good of the land. It is a very tender, serious moment between the pair, and the cello is the perfect sound for that. At <b><span style="color: #d9d2e9;">38:45 mins</span></b> we have the sax popping in again - super smooth and soothing - reminding us that this is a romantic meeting and not a political one.</span><br />
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<span style="font-family: inherit;">From there on, the music just gets fuller and bigger. The orchestra is on full power mode, and mirrors Robin sweeping Marian off her feet. Even Wilson's gestures look as if he is preparing for the final hurdle - the big finale of the piece. This is where Korngold outdoes himself. At<b> <span style="color: #d9d2e9;">39:10 mins</span></b> we are shown Wilson again, and his movements... he looks like a magician casting some sort of intricate, delicate spell - how much more beautiful can this music get? His movements are magic, and the camera zooms in to show him closer at <span style="color: #d9d2e9;"><b>39:19</b> <b>mins</b></span>... He is completely caught-up in the music, and his gestures show the intense emotion of the piece. On the night I wasn't able to see Wilson closely, but watching the concert on television a week later was wonderful to see because it showed how into the piece he was, how even he, after god knows how many times of conducting it, was still affected by it.</span><br />
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<span style="font-family: inherit;">The piece has reached its finale, and our orchestra/conductor go into overdrive. Never mind the Olympics, the next few minutes look like the world's hardest workout. The precision, effort, and strength needed to perform this flawlessly is unimaginable (the commentary on the televised version said how the musicians stated that this was the hardest piece they had to perform). The talent of these people and their focus/power is incredible, and seeing it all on stage in those moments performing the most genius and beautiful of musical works, was astounding. The final <span style="color: #d9d2e9;">30 seconds</span> are quieter and softer - Robin is bidding Marian goodbye. Again this is a very tender, intimate moment, because they know that they are both in danger, and they don't want to leave each other, but they must. As Robin climbs down the vines in the dark of the night, Marian watches lovingly and proudly at our hero and her love... just the fact the Korngold knew to tone things down for that goodbye shows how gifted he was.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim0qRRcivgWcjCJEuIhjBB2idM_uVFDSNjvaidEt971ZMuAcDoEeidJ5XT_2rbODjjBYSUsq_4Z-PK_sz_6hFWPd6u-c04ccG9MtQobfqQ03JYxUXX6hYC7s4oF-fFpYsrUOj18rBIPL7b/s1600/Olivia-de-Havilland-Errol-Flynn-Adventures-of-Robin-Hood.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim0qRRcivgWcjCJEuIhjBB2idM_uVFDSNjvaidEt971ZMuAcDoEeidJ5XT_2rbODjjBYSUsq_4Z-PK_sz_6hFWPd6u-c04ccG9MtQobfqQ03JYxUXX6hYC7s4oF-fFpYsrUOj18rBIPL7b/s320/Olivia-de-Havilland-Errol-Flynn-Adventures-of-Robin-Hood.jpg" width="320" /></span></a><span style="font-family: inherit;">Of course, that is the end of the love theme but not the suite itself. We follow with the battle scene and the victory - all big, brash, and full of Hollywood vibrancy. But for me nothing comes close to the love theme. Words fail to describe it and do it justice. Hearing and watching Wilson and his orchestra is what you need to do to fully understand it's beauty, power, and Hollywood quality. Even someone who hated classical music and never wanted to even think of giving it a chance would be blown away by this part of the performance. It is one of those pieces that touches the heart and transcends the soul. I was moved to tears, not because of the fact it was my favourite piece, or because I loved the film, or even because it conjured images of Flynn and deHavilland in their prime. I was brought to tears because this orchestra had made that piece even more enchanting than I could ever have imagined. It was all rather overwhelming.</span><br />
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<b><span style="font-family: inherit;">*INTERVAL 20 MINUTES*</span></b><br />
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<u><b>Jerome Moss: </b></u><u><b><i>The Big Country</i> (1958) - Main Title</b></u></span><br />
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<b><span style="color: #d9d2e9;">52:33 - 56:23 mins</span></b></span><br />
<span style="font-family: inherit;">Those strings are absolutely fantastic live in this piece. They fill the concert hall, illuminating in our minds the vision of great expanses of land far out in the Old West. Big, brassy, and loud, this was sensational. After a short interval, it threw us straight into the thick of things again.</span><br />
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<u><b>Max Steiner: </b></u><u><b><i>Casablanca</i> (1942) - Suite</b></u></span><br />
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<b><span style="color: #d9d2e9; font-family: inherit;">56:23 - 1:05:20 mins</span></b><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb10K5MrkMEdIfL2njyQ5S6UvxDqVTo8lNo_rsAoHyMMCDX0CHPqE3kTmfC3VliPpkmguqd0TOyCJrRTIMJF6wv7TsJEs1NyzvfUBY-h_8Fq69Yp_hH1P52kfRVYjdxlX-rpZ3Ufz7hLzp/s1600/Casablanca.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb10K5MrkMEdIfL2njyQ5S6UvxDqVTo8lNo_rsAoHyMMCDX0CHPqE3kTmfC3VliPpkmguqd0TOyCJrRTIMJF6wv7TsJEs1NyzvfUBY-h_8Fq69Yp_hH1P52kfRVYjdxlX-rpZ3Ufz7hLzp/s320/Casablanca.jpg" width="209" /></span></a><span style="font-family: inherit;">The suite for <i>Casablanca</i> is so clever with it's layers and multiple themes. Bursting open with fanfare and then descending into an exotic melody that is both adventurous and dangerous, hinting that we are in a warmer, foreign lands for this film. But the vibrant, tropical tune soon dissipates into the <i>Marseillaise</i> and then into <i>Deutschland uber alles</i> - thus telling us that this is the Second World War, and here it is a case of the Allies and the Nazis. Just from those opening bars Steiner tells his audience the location, the era, and the political situation - genius! These two national anthems are dotted throughout the score of <i>Casablanca</i> and really provide enormous depth to the soundtrack and enhance the feeling of patriotism in the film. But they are usually only snippets, so as not to cloud the plot with too much doom. So before long, we have the exotic, adventure theme back in play. </span><br />
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<span style="font-family: inherit;">Two minutes into the suite and we finally hear the distinctive melody of <i>As Time Goes By</i>, a song that is interwoven in the fabric of the entire <i>Casablanca</i> score. Light, romantic, and memorable, the tune provides the backdrop for our romantic and tragic story - that of Rick and Ilsa. What is remarkable is that the theme of <i>As Times Goes By</i> gets stronger, more powerful, and fuller as the film progresses. When we first hear it, it's like an old memory - the long lost love that our lovers left in Paris. This is shown via a piano solo - replicating Dooley Wilson's role as Sam. But as they rekindle their affair and the love they felt is shared again, the theme goes from strength to strength, until it is played out in full throttle, loud and proud, at the end of the film... here's looking at you kid. It is at its strongest when the lovers show the ultimate gesture of love.</span><br />
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<span style="font-family: inherit;"><i>Casablanca</i> is the perfect film and it has the perfect soundtrack. What Steiner did is combine all the elements of the plot into a beautiful blend of a score, but always keeping the theme of <i>As Time Goes By</i> at the forefront of it all. Wilson and his orchestra performed this suite masterfully. </span><br />
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<u><b><span style="font-family: inherit;">Movie Theme Song Medley</span></b></u><br />
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<b><span style="color: #d9d2e9;">1:05:20 - 1:20:15 mins</span></b></span><br />
<span style="font-family: inherit;">The artists who performed the vocals for this medley were soprano, Jane Monheit, and vocalist, Matthew Ford, respectively. This was a real treat. A breather from the serious scores and suites we've had the pleasure of listening to for the past hour. An array of greats were sung and they were really brought to life. My favourite from this ensemble had to be the title song of <i>Love Is a Many-Splendored Thing</i>. </span><br />
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<u><b>Franx Waxman: </b></u><u><b><i>A Place In The Sun</i> (1951) - Suite</b></u></span><br />
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<b><span style="color: #d9d2e9;">1:20:15 - 1:28:53 mins</span></b></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWopHS4wnJ8VTeA0FKVEpAVtYHbGGjVHr9jmttYuL0F3ZJlrejflt0j6FN1hB-apqnu0wNSB_q8z4igp7n9Cq-eCIKpVOiYvOfllYA338KpYw5ap9Dn8tp-LzhBoOmhjXGs0Yq_-1oGTv4/s1600/APlaceInTheSun.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWopHS4wnJ8VTeA0FKVEpAVtYHbGGjVHr9jmttYuL0F3ZJlrejflt0j6FN1hB-apqnu0wNSB_q8z4igp7n9Cq-eCIKpVOiYvOfllYA338KpYw5ap9Dn8tp-LzhBoOmhjXGs0Yq_-1oGTv4/s320/APlaceInTheSun.jpg" width="320" /></span></a><span style="font-family: inherit;">If you want sensual romance, then look no further than <i>A Place In The Sun</i>. Again, one of my first films from the era, and very much a favourite, <i>A Place In The Sun</i> boasts the most beautiful couple in movie history and some of the most romantic moments preserved on film - all served with intense sensuality provided by a solo saxophone (here performed by the excellent, Howard McGill).</span><br />
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<span style="font-family: inherit;">Like with most great romances, this one between George Eastman and Angela Vickers has a backdrop of tragedy. Waxman, as always, keeps the foreboding doom of George lurking beneath the score. Let's face it - the underlying theme of this film is unwanted pregnancy, dark waters, drowning, murder in mind, and accidental death... hardly romantic. Throughout the film George is anxious and in emotional turmoil - sometimes in the highest ecstasy as he dances with the lovely Angela, then plunging into the desperate depths of trying to shake-off his former life, and the girl he wants to leave behind. Not to mention later the guilt of his actions and the certainty of him being caught by the police and being lost to Angela forever. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8G63ibeBD_pi3ucnPTfYnERph3oaoVXqFz0VpwjbLWPqJay-zOy_pj6CNWYZs2O96gk4iLwcsxuf4Unx3-vTaTeBEmM_qF4qy2HwsmiM2uvb5jzoNvfXHudmnBZPRCERmXbQfiEQSGXd-/s1600/970940_10200966412070122_735030853_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8G63ibeBD_pi3ucnPTfYnERph3oaoVXqFz0VpwjbLWPqJay-zOy_pj6CNWYZs2O96gk4iLwcsxuf4Unx3-vTaTeBEmM_qF4qy2HwsmiM2uvb5jzoNvfXHudmnBZPRCERmXbQfiEQSGXd-/s400/970940_10200966412070122_735030853_n.jpg" width="400" /></span></a></div>
<span style="font-family: inherit;">Of course, in Hollywood, our protagonist is allowed a breather, and so is the score. When we are not hearing those ominous notes of the sax alerting our hero, we are swept off our feet by a theme full of passion and as ravishing as our young stars, Clift and Taylor. There is no other word to describe the score of George and Angela's romance but dreamy. Dreamy, magical, and an eternal dance between young lovers in the height of summer. Our sax even makes an appearance to highlight the sexual tension of the pair and intense desire they feel for each other (it also hints at the heat of the summer). I love how in the film a sax solo is played when George first sees Angela - it's so simple yet speaks volumes. She looks immaculately glamorous, gorgeous, and completely out of his league. Like an angel. But he wants her. </span><br />
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<span style="font-family: inherit;">Wilson and his orchestra's performance were nothing short of majestic here. It's as if every note that came from that saxophone brought with it clouded images of Clift and Taylor dancing, declaring their love, and spending the best part of their time saying goodbye. Such a stunning score and from a stunning film, Waxman creates an immortal theme for those immortalised images of Clift and Taylor on screen. This was definitely a highlight of the evening.</span><br />
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<span style="font-family: inherit;"><u><b>Scott Bradley: </b></u><u><b><i>Tom and Jerry</i> at MGM</b></u></span><br />
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<b><span style="color: #d9d2e9;">1:28:53 - 1:36:33 mins</span></b></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9RIQplRbujzdOoeKgIVAgvqQJa8Lkx1LAmTjueT-WaMWDuDZlpdzBnyg6Wt_8Q36vsZfL-FldkLkQigMwdaOHjAY1rn5RDDkPXDwz_uhWfE-NF1M9j5Czmd17-MLNjunHxi2HWXookNmy/s1600/Cartoon_Tom-and-Jerry_015.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9RIQplRbujzdOoeKgIVAgvqQJa8Lkx1LAmTjueT-WaMWDuDZlpdzBnyg6Wt_8Q36vsZfL-FldkLkQigMwdaOHjAY1rn5RDDkPXDwz_uhWfE-NF1M9j5Czmd17-MLNjunHxi2HWXookNmy/s320/Cartoon_Tom-and-Jerry_015.jpg" width="320" /></span></a><span style="font-family: inherit;">Now this was a real surprise. When I saw <i>Tom and Jerry</i> in the programme my first thoughts were, that's a bit odd. Why has John Wilson chosen that? I seriously had my doubts. Like most kids I liked the cartoon, but I didn't think the theme was suitable for this concert. How wrong was I? From a general point of view, this was what people went home talking about at the end of the night. </span><br />
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<span style="font-family: inherit;">Where I was sat, very high up, I didn't actually see the percussion's performance until I saw the concert televised. But still, the sound was incredible, and hugely entertaining. I cannot imagine the amount of hours put into piecing this music together, nor the amount of rehearsal time. It was worth it though. The performance was spectacular and a thrill to see. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkhPe1KTRf-1XC-7cktzGexj4uOqqvZxhRQbCQLdhp2nKyqDWYWi42hq_eRQyyb89gpT_MDqMB_M68s5UGTID40O8lf4FBQ6548mr5B32VcNcIKquyI2GXS6txbiMdzYBg3u1t6Y6N02OC/s1600/tom_chasing_jerry_1600x1200.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkhPe1KTRf-1XC-7cktzGexj4uOqqvZxhRQbCQLdhp2nKyqDWYWi42hq_eRQyyb89gpT_MDqMB_M68s5UGTID40O8lf4FBQ6548mr5B32VcNcIKquyI2GXS6txbiMdzYBg3u1t6Y6N02OC/s320/tom_chasing_jerry_1600x1200.jpg" width="320" /></span></a><span style="font-family: inherit;">The programme states, 'the cartoons are largely dialogue-free, yet Bradley's dazzling, wall-to-wall music passes almost unnoticed because it's so precisely expressive of the all-consuming action.' They've hit the nail on the head here because when you watch the cartoons you see the action, you don't notice the music. But when watching this performance you didn't have the action in front of you, all you had was the music, and yet every single performance by every instrument was so precise (kudos, Scott Bradley) that we could see the action in our heads. I could see Jerry being chased, Tom being the chaser, Jerry tip-toeing, Tom creeping, one of them banging into something and shaking from head to foot, one of them being knocked out and feeling dizzy, things flying through the air - all mixed in with a super-chilled, charming melody - this is the norm in the Tom and Jerry household! Jerry's moment sounded slightly softer, effortless, and sweet, whilst Tom's had a harsher, devilish ring to theirs. The percussion were armed with all sorts of strange instruments for this segment - multiple horns, and a dustbin where they would smash plates - replicating the chaos and destruction caused by Tom and Jerry's mischief. There are even a few screams thrown in there - nothing was left out!</span><br />
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<span style="font-family: inherit;">My favourite sounds were those like at <span style="color: #d9d2e9;">1:30:44</span> (Wilson even shows a little grin when we first hear that sound). It's a funny sound anyway, and even though I can't place exactly where it appears in the cartoons, I imagined it would be where Tom encounters a trick left to him by Jerry, or vice versa. I could be wrong but that's why I'd laugh. </span><br />
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<span style="font-family: inherit;">Wilson and the entire orchestra really looked like they had a blast with this one. The whole piece expresses the chase of Tom and Jerry and how they endeavoured on a perpetual battle of wits. You couldn't help but smile whilst you watched this, and laugh at all the hilarious sounds the musicians recreated. The whole theatre was smiling and cheering by the end, not just because of the fabulous show, but for the action-packed, remarkable nature of the performance. And not forgetting, the genius of Scott Bradley.</span><br />
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<u><b>Miklos Rozsa: </b></u><u><b><i>Ben-Hur </i>(1959) - Suite</b></u></span><br />
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<b><span style="color: #d9d2e9;">1:36:33- 1:44:00 mins</span></b></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkoqtX0nGAsFZI0tgvEx28-Os5m1LPpm-xeoawVjZ16rVgKitfEsY2vFZbhqS39fTZa4Qk5Rusy5jgovKY4NZU4qDU98jc7SUHlknv5ICdJD5ruTt0gyM5g4OSSXPq2RELEZru09aAClbM/s1600/BenHur.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkoqtX0nGAsFZI0tgvEx28-Os5m1LPpm-xeoawVjZ16rVgKitfEsY2vFZbhqS39fTZa4Qk5Rusy5jgovKY4NZU4qDU98jc7SUHlknv5ICdJD5ruTt0gyM5g4OSSXPq2RELEZru09aAClbM/s400/BenHur.jpg" width="262" /></span></a><span style="font-family: inherit;">Now at the very beginning of the concert I noticed that behind the stage was an enormous organ. I don't know why but I'm always fascinated by organs - whether it's in a cathedral or theatre, they just always dominate the structure with their huge pipes and imposing size. The one in the Royal Albert Hall is a monster and I was thinking throughout the entire concert - I hope they play that! They saved the best for last, and probably with the best soundtrack to showcase the power of an organ. <i>Ben-Hur</i> is an epic film in every sense - it's story, it's length, and it's hero. You need one hell of a soundtrack to carry those chariot races and the physique of Charlton Heston, and Miklos Rozsa really pulled it out of the bag with this one. </span><br />
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<span style="font-family: inherit;">As is pretty obvious if you read this blogpost, you'll notice how picky I am with opening bars of scores. This one is exceptional. Talk about dramatic. You feel as if you've opened some ancient chest lost in the sands of some faraway desert. Those opening bars tell us that Rozsa means business - this is a tale of epic heroism, bravery, and unmatched entertainment on the largest scale. The organ, that I'd had my eye on for the past hour and a half, is finally in use - thundering through the theatre and shaking the building from head to foot. During an era where Hollywood churned out Roman epics (or rather, sword-and-sandal pictures), <i>Ben-Hur</i> stood head and shoulders above them all. The score is equally as show-stopping as the film and it's Oscar-winning star, Heston. It's one of those scores where the orchestra are put on overdrive, and the composer pushed the boundaries on writing a film score. What a way to end the set. A brilliant choice by Wilson and performed flawlessly by the orchestra - you wouldn't think that they'd been playing extremely difficult, intricate, scores for near two hours straight. </span><br />
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<u><b><span style="font-family: inherit;">Franz Waxman: 'The Ride of the Cossacks' from <i>Taras Bulba</i> (1962)</span></b></u><br />
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<b><span style="color: #d9d2e9; font-family: inherit;">1:45:44 - 1:51:00 mins</span></b></div>
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<span style="font-family: inherit;">A total surprise - this was not in the programme! I haven't seen or even heard of<i> Taras Bulba</i>, but I definitely knew the theme. What a wonderful treat to not have the show end just yet!</span></div>
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<span style="font-family: inherit;">As you can imagine, the sold-out audience gave a standing ovation and determined applause to those exceptional musicians and that wonderful conductor. Everyone was on their feet, everyone had a beaming smile, and everyones hands were probably sore after the amount of clapping. I'd had a great day in London and was overly happy anyway because I was on a mini break, but this concert elevated my mood even more. Nothing could get me down for days afterward. I had one of the best nights of my life, and all for £21?</span></div>
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<u><b><span style="font-family: inherit;">So, what did I learn from my first experience at BBC Proms?</span></b></u></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9QDXrWJSRtsOWFizQRWRT0DO4oyz4IRSPRCVIb1L5MyP9UpBtBZWq8cf-LE3Fjlfz6vCOj_XGO0J-o_-p2Um1aW50UWihZ4QlPmKShYgJyAZ2YIJu-BMaTDdiHpmrVEicjLXGB8J7No9J/s1600/JohnWilson.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9QDXrWJSRtsOWFizQRWRT0DO4oyz4IRSPRCVIb1L5MyP9UpBtBZWq8cf-LE3Fjlfz6vCOj_XGO0J-o_-p2Um1aW50UWihZ4QlPmKShYgJyAZ2YIJu-BMaTDdiHpmrVEicjLXGB8J7No9J/s320/JohnWilson.JPG" width="320" /></span></a><span style="font-family: inherit;">Firstly, book tickets on the day they are released. Even though I had a great evening and the sound was superb, sitting right at the top of the Royal Albert Hall was uncomfortable, cramped, and warm. Plus I missed seeing the conductor and musicians up-close and had to wait for the televised version to see any bits I'd missed (this was very noticeable in the <i>Tom & Jerry</i> segment)</span><br />
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<span style="font-family: inherit;">Secondly, I dressed fine. We experienced a very warm summer in the UK this year, but I wasn't cold in the theatre. I'd advise having a cardigan or a light jacket/blazer with you just in case. </span></div>
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<span style="font-family: inherit;">Thirdly, make the most of the place. During the intermission I thought I don't need refreshment but I bought some Haagen Dazs iced cream (vanilla - amazing!) and loved it. Sometimes we can be a bit stingey when we've spent money on tickets, travel, meals that day, and other touristy things, but so what. You're there now and you won't get this evening back. Odds are you won't have a proper break like this for another year, so buy the programme, buy some refreshment, have a drink at the bar. Make the most of your surroundings. </span></div>
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<span style="font-family: inherit;">I had the absolute best time at Proms and intend to go next year - especially if John Wilson's orchestra are playing. I love classic Hollywood and it's so rare to actually get a chance at hearing music from that era live. But that's what is so great about BBC Proms, it gives you the opportunity to hear all that wonderful music and see that incredible talent - something you may not have considered doing before. I highly recommend Proms. Take a day trip to London and stay overnight, or spend the weekend in the capital - there is so much to see, do, and enjoy, and Proms will just be the cherry on the cake for you. </span></div>
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<span style="font-family: inherit;">A final word on John Wilson - as with anything I watch or hear I look up the actor/film/etc online afterwards. There are interviews with him on YouTube and this man works really hard. The amount of effort he puts into arranging these concerts is unreal, especially when you consider how most of the music he works with was destroyed decades ago. For someone to spend their life piecing together lost music and trying to get the music just right, is incredible and I admire Wilson enormously. His gift for music and passion means that people like myself get to enjoy wonderful concerts like the Prom he put on this summer. His orchestra are supremely gifted and talented - the sheer skill they demonstrated on that stage was breathtaking and made me pretty jealous - I wish I could play an instrument and play as well as any one of them. It was an honour, privilege, and pleasure to be present that evening. From what I understand John Wilson's orchestra tour every year and they have an album out. Fingers crossed they perform at Proms next year!</span></div>
TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com4tag:blogger.com,1999:blog-644541939534301073.post-8395798142923580562013-09-04T12:46:00.001-07:002013-09-05T09:26:40.422-07:00The Night Porter: Weirdly touchingBEWARE! SPOILER ALERT!<br />
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I had no idea what to expect when I sat down to watch this film, nor did I know if I would like it (considering the controversial themes). I follow the Sir Dirk Bogarde group on Facebook and although the group owners post images and other interesting facts about Bogarde daily, every Saturday they have a tradition of only posting about<i>The Night Porter</i> (1974). Seeing Bogarde in Nazi uniform caressing a beautiful young woman, I wondered what on earth this film was (a Nazi romance?). After researching on Google and IMDB I was actually horrified at each synopsis I was reading. Not because of the sadomasochistic relationship but rather because of the background of that relationship - a concentration camp. Why on earth would you want to make a film documenting such a thing happening in one of those terrible camps between a Nazi officer and one of the camp prisoners - a victim of the Holocaust? Why would anybody want to even watch it? Regardless I was intrigued. Being a huge fan of Bogarde and wanting to witness the depth of the controversial story, I decided to watch it.<br />
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Before I go any further: I've found myself confused and unsure of what to think whilst writing this post. I'm not intelligent nor eloquent enough to break down and analyse this film as it should be. If you want a proper analysis that covers all bases with real knowledge/insight then I suggest you read <a href="http://criterioncollection.blogspot.co.uk/2006/09/59-night-porter.html" target="_blank"><span style="color: #b4a7d6;">Matthew Dessem</span></a>'s blogpost and the late <span style="color: #b4a7d6;"><a href="http://www.rogerebert.com/reviews/the-night-porter-1975" target="_blank"><span style="color: #b4a7d6;">Roger</span> <span style="color: #b4a7d6;">Ebert</span></a>'</span>s review. They really know what they're talking about and discuss aspects of the film that went over my head. I highly recommend reading those instead of mine, if you're looking for a really good article on the film.<br />
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Two words come to mind when I describe this picture: sickening and touching. It's impossible not to be repulsed by it, and yet I found it equally impossible to not be moved. Director Liliana Cavani has created a film that constantly shifts from the horrific to the beautiful. She and cinematographer Alfio Contini have been very specific in the creepy, depressing feel they wanted to give to each scene. The muted blues and greys of the camp office and the rainy streets of Vienna are both chilling and romantic. This palette changes to dirty browns and yellows when scenes take place in the camp showers, prison quarters, and Bogarde's flat. Cavani and Contini have ensured that colour enhances the gloom of the story, reflecting the moods of each individual scene.<br />
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If one thing's for certain it's that <i>The Night Porter</i> makes for particularly uncomfortable viewing. Max (Bogarde) is hateful from the very beginning. He may seem like a 'church mouse' working quietly at a hotel but the flashbacks of him as a concentration camp officer are horrific. Lucia (Charlotte Rampling) is very young when she is imprisoned at the camp. Her first encounter with him is when she has arrived with a queue of others to the camp, assumedly terrified at where she has been brought. And what does Max do? He films everyone but makes a particular point of filming her as close as possible - shoving the camera in her face. Later he will shoot at her in the showers, force his fingers into her mouth, present her with the severed head of an inmate who bothered her - basically he abuses and traumatises her throughout their years at the camp.<br />
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As if watching a young girl looking gaunt, starved, and malnourished in a concentration camp isn't bad enough, we have these scenes of abuse that develop into a sadomasochistic relationship (I would give more information on this but I don't know enough about it - forgive me). But it isn't the pain inflicted on her that is the most disturbing, rather it is the horror of the Holocaust that lurks in the context of the scenes. For example, the scene where Max visits Lucia in her bed chamber (shared by other inmates) and he starts forcing his fingers into her mouth, you can see the emaciated faces of fellow concentration camp prisoners in the background - watching. Seeing these despairing, rotting prisoners whilst this Nazi officer is abusing his "little girl" is disgusting. It's sick. To us, Max is the lowest of the low.<br />
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However my opinion changed quite drastically as the picture progressed. My feelings went from viewing Max as a cold-blooded, perverted Nazi, to sick abuser, to nothing more than a pathetic old man. As Lucia's abuser/lover for so long, and to have been parted from her for years after the end of the war, his reunion with her seems to genuinely bring him happiness. Of course this is on a sexual, controlling level but also, I like to think, one of genuine affection. He even says towards the end of the film 'I love her'. I have to give full credit to Bogarde here; his skills as an actor enable us to latch onto something about a barely developed character.<br />
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One aspect of the film which I really enjoyed and thought was done well were the first meetings between Max and Lucia at the hotel. They are over-flowing with tension. Max clocks Lucia before she clocks him. When she arrives at the hotel, looking much more grown-up, glamorous, even more beautiful, Max immediately recognises her but he looks as if he wants to disappear - in fact, he hesitates about hiding. We do not know how she will react. Will she scream? Will she reveal his true identity? 'This is the Nazi warden who abused me whilst I was at the concentration camp?' We have no idea, and neither does Max. He looks apprehensive. The meeting is far from what we though it would be though. Lucia looks shocked to the core, giving Max an ice-cold stare, followed by a confused 'What the hell are you doing here?' look. No dialogue is exchanged. But the tension is there in abundance. If Lucia's husband was paying more attention he would have noticed the fright on his wife's face instantly and the recognition between the two.<br />
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Later, Lucia attends one of her husband's concerts. Sat just a few rows back is Max, a shadowy, lurking figure (like her past that she has ignored for so long, its lurking). Lucia has no idea he's there but she feels somebody is staring at her, and the expression on her face tells us that she guesses who it is behind her. She looks back and there he is. Max gives a little smile because he can see that she keeps looking back at him' he knows that she is curious. Not long after this she avoids leaving with her husband, making up an excuse to stay at the hotel. We begin to realise that actually she wants to see Max.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIi-CxpjO722yoX4kYOyM2pzAdMQ5BIczGOBjdnmBlXRJvK7okxeUoL7jodt6NzPYd5RRIISlVwOHWERUL1yddwACea-FKvNOoWSG6OjQV_AyNwspl1567b6MNj-m8DoN57KmZ4dCe4DN5/s1600/vlcsnap-2012-05-04-15h41m42s65.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIi-CxpjO722yoX4kYOyM2pzAdMQ5BIczGOBjdnmBlXRJvK7okxeUoL7jodt6NzPYd5RRIISlVwOHWERUL1yddwACea-FKvNOoWSG6OjQV_AyNwspl1567b6MNj-m8DoN57KmZ4dCe4DN5/s400/vlcsnap-2012-05-04-15h41m42s65.png" width="400" /></a></div>
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Their reunion is memorable to say the least. All alone in her hotel room with the lights off, Lucia waits nervously. Now that her husband has left she believes Max will pay her a visit. He does. Greeting her with questions and accusations - why have you come here? what are you doing here? - he slaps her around and throws her on the floor violently. He is furious, convinced that she has come here to expose him. She tries to run away from him but he keeps pulling her back, until finally, against the hotel room door, they embrace. Lucia pulls Max onto the floor and they caress ferociously. Clinging to each other desperately and euphorically, they rejoice and laugh at the fact they are finally together. This almost insane show of affection has a constant undertone of sadness, for the pair, now that they are together, appear to have been lost without each other since they parted.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXS6mvP0fPq4B7ENzpJH6Jj4OrcW8tHh7U4-ICYbCRSl7Jj6mIib3SHZJnyWcdwjS72EbytXlyyDOnfbRAcIX0YQabLh2ckL6VmacxGHB4sgfZgtCpt5QPk7nXLbR9ZuWV9VBe3O9_b_Dw/s1600/port3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXS6mvP0fPq4B7ENzpJH6Jj4OrcW8tHh7U4-ICYbCRSl7Jj6mIib3SHZJnyWcdwjS72EbytXlyyDOnfbRAcIX0YQabLh2ckL6VmacxGHB4sgfZgtCpt5QPk7nXLbR9ZuWV9VBe3O9_b_Dw/s400/port3.jpg" width="400" /></a></div>
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From this moment onwards, they pick up where they left off and continue their sado-masochistic relationship in Max's flat. Dark, dingy, and murky, they cut themselves off from the outside world (Max tries to hide Lucia from his Nazi friends). Even though Max's human side is shown more to us now that he is reunited with his lover, there's no doubt that he is a sick man. He kills the former camp chef in fear that he will expose him, he ties Lucia up in his flat so that she can't escape... he hasn't changed at all. It is indeed a very murky business between him and Lucia, but beneath that they both seem deeply attached to each other, making for a very sad viewing.<br />
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Of course, the most famous, even iconic scene from the film is the flashback to Lucia's dance at the concentration camp. Wearing an SS cap, suspenders, and completely topless, Lucia performs a seductive dance to Marlene Dietrich's song, 'Wenn ich mir was wünschen dürfte.' Mouthing the sad and gloomy lyrics, there is a disturbing truth to her performance:<br />
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<span style="color: #b4a7d6;">'I would like to be a little bit happy,</span></div>
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<span style="color: #b4a7d6;">Because if I were too happy,</span></div>
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<span style="color: #b4a7d6;">I would have yearnings for my sadness.'</span></div>
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Compare these lyrics to her reunion with Max; years apart from him, being free of him and his abuse, meant that she yearned for him when they were apart - is this what she's saying? Rampling is a beautiful woman, with razor sharp cheek bones and piercing eyes. Playing a camp prisoner, she is made to look gaunt, pale, and deathly, but in doing so the make-up made her beautiful eyes and incredible cheek bones stand out even more. Do I dare say it... there is a deathly sexiness to Lucia? The thought makes me shudder but it's true. In this scene she performs for the whole office of SS wardens, but her eyes always find their way back to Max - it's all for him. The scene is well set-up and choreographed, even if it doesn't make any sense. <br />
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As the film nears its end, the central characters of Max and Lucia become more and more pitiable. Locked away, starving, and weak, all that they have is each other. Constantly clinging, holding, and teasing one another, we see that they cannot be separated again. Max even says, 'I love her' referring to Lucia. Can this man, guilty of some of the most despicable acts a human being can ever commit, be capable of such feelings? And towards the girl he abused? Probably. The two are attached to a degree where it seems impossible to keep them apart.<br />
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The final scene is about as disturbing as any other in the film. Weak from lack of food, Max dresses Lucia in a dress he made her wear during her time at the camp (or at least one very similar). He too dresses in his old Nazi uniform (he's been saving it all these years) and the two drive to a picturesque river. Arm in arm, holding on dearly to each other, the pair stroll along the bridge together. Within moments they are shot and killed.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5xrfUBfUmMTaqY7jugQ4UAFClgEcmy_qiVprcb_flCu5g6kZKh6OwFAlMf7JTNnm5lPGROXUUHuWZade1SBKnj74RHAJ5-ozw3jxYd6q0yXXue9K1aF08clSXP7qrs0FIB4EPOB7S3QsZ/s1600/Screen+shot+2013-09-04+at+17.28.52.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5xrfUBfUmMTaqY7jugQ4UAFClgEcmy_qiVprcb_flCu5g6kZKh6OwFAlMf7JTNnm5lPGROXUUHuWZade1SBKnj74RHAJ5-ozw3jxYd6q0yXXue9K1aF08clSXP7qrs0FIB4EPOB7S3QsZ/s400/Screen+shot+2013-09-04+at+17.28.52.png" width="400" /></a></div>
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I really don't know what to make of this film. Unfortunately there is a definite tacky quality to it, and there is an undeniable feeling that the makers were exploiting the ideas the film presents. Without exploring the reasons behind Max's actions or Lucia's means that it film lacks any depth it had the potential to show. Even though I began to pity the pair, that was only because of Bogarde and Rampling's outstanding performances. They give the film depth - nothing else. But even their acting cannot save the problems that make this film so heavily criticised. You can call Cavani's use of the concentration camp an insult to the Holocaust because it is simply used for show, not to explore any meaning. Why does Lucia go back to Max? Why does she stay? It is frustrating that more was not done to make this picture better. When you read any synopsis you see the words 'sado-masochistic relationship between Nazi officer and concentration camp victim' - it grabs the attention. It shocks. Even today it is shocking that a film would have this as it's plot line. Was that the whole point of Cavani's choice? To attract attention? And consequently have a film that is style over substance?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3cNkA8eE1El22EuMGKBsHxgaRwQplqAAUy58rIYoTYJBrMDBlMIEEkjl2-kZAsvUCaJlQ5zDVd3LoradnzH8iEo99Sb1x41Yc7h53IPm7VHxSBm79O3s-AfPyuSEW0BxsRWhXE7ULLUYo/s1600/hUaxJ2Un3EqxFtKUw9lwgk2tMI9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3cNkA8eE1El22EuMGKBsHxgaRwQplqAAUy58rIYoTYJBrMDBlMIEEkjl2-kZAsvUCaJlQ5zDVd3LoradnzH8iEo99Sb1x41Yc7h53IPm7VHxSBm79O3s-AfPyuSEW0BxsRWhXE7ULLUYo/s400/hUaxJ2Un3EqxFtKUw9lwgk2tMI9.jpg" width="400" /></a></div>
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Aside from its many flaws, I did actually enjoy it. Minus the horrible images of the camps, the abuse Lucia receives, the silly caricature Nazis, I was actually touched by Max and Lucia. Is this primarily because of the superb actors in their roles? Possibly. Nevertheless I was moved, especially with their reunion and the final scene. It's such a pathetic sight...<br />
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Many dislike this film and I can understand why. But I'd say it's definitely worth a watch. Not for the themes but for some of its nicely choreographed scenes, and undoubtedly for top performances from Bogarde and Rampling.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo0_BWow41-1rEkH15rqN6VpocObY5uMVwQyMDpPCmCVdHHg45FeL-pskNec_j3F3KBomoo8VaDMgF8WsRg9nNdrtQA7oAW9RxODi5cIuQCfi8-bQXpGZdzVmXkwQse9q2qKninAEjlaxF/s1600/tumblr_lsx3hi52oe1qg40aro1_500.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo0_BWow41-1rEkH15rqN6VpocObY5uMVwQyMDpPCmCVdHHg45FeL-pskNec_j3F3KBomoo8VaDMgF8WsRg9nNdrtQA7oAW9RxODi5cIuQCfi8-bQXpGZdzVmXkwQse9q2qKninAEjlaxF/s400/tumblr_lsx3hi52oe1qg40aro1_500.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rampling & Bogarde off-set.</td></tr>
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The more I read about this film the more I realise I'm not intellectual enough to really pick it apart, nor to understand it's positives and negatives fully. For that I'm afraid you'll have to read elsewhere. I thought I'd share my thoughts anyway.TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com4tag:blogger.com,1999:blog-644541939534301073.post-14510954122081758942013-07-23T11:42:00.004-07:002013-08-01T04:36:11.734-07:00Now, Voyager vs. Titanic: Making an entranceWe've all seen James Cameron's <i>Titanic</i> (1997) countless times; whether it was during it's initial release in cinemas, on VHS, or catching it on television at Christmas, we are all fully familiar with the film and it's star-crossed lovers, Jack and Rose. I rewatched it the other night after a few years of not seeing it and I happened to notice a similarity between the blockbuster and the Bette Davis classic <i>Now, Voyager</i> (1942). It has nothing to do with ships or the romances that take place in both films but rather a similar entrance given to both of our leading ladies, Davis and Kate Winslet.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVRTTBcyL57y9P0Lub3Ia-YK9NzdXWYCIyh8CS5VqQP5aEmaoqGT_tAWKTRyQHYC4O5ITwQvfXtiy426lZtAQUBPUiTAyZtjvaU0x06dnlXcF3tr0AYk9Oo2RTnDi0dLXPbQMCiH5_ekof/s1600/Kate-Winslet-as-Rose-in-Titanic-fashion-wardrobe.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVRTTBcyL57y9P0Lub3Ia-YK9NzdXWYCIyh8CS5VqQP5aEmaoqGT_tAWKTRyQHYC4O5ITwQvfXtiy426lZtAQUBPUiTAyZtjvaU0x06dnlXcF3tr0AYk9Oo2RTnDi0dLXPbQMCiH5_ekof/s320/Kate-Winslet-as-Rose-in-Titanic-fashion-wardrobe.jpg" width="213" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJVZj_oY0HLKweSpw-IarT_YHCrinvRFVvV6ZHNT28AIJiSduh5bU2E-VsLbWkS0HGPM_4FcgycpJhNYVwwdXJHqNCmPPOsH6Sdyj-iS3WWcJsUJPwxh0Cj7gVOCyx2E182mJfm9YjiFf5/s1600/Nowvoyager11.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJVZj_oY0HLKweSpw-IarT_YHCrinvRFVvV6ZHNT28AIJiSduh5bU2E-VsLbWkS0HGPM_4FcgycpJhNYVwwdXJHqNCmPPOsH6Sdyj-iS3WWcJsUJPwxh0Cj7gVOCyx2E182mJfm9YjiFf5/s320/Nowvoyager11.jpg" style="cursor: move;" width="276" /></a></div>
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I don't know whether James Cameron had seen Irving Rapper's <i>Now, Voyager</i>, because the scene looks very much like a tribute to the famous revelation of Davis' transformation. To clarify, yes the scene I am referring to with Davis isn't her entrance in the film but it is her entrance to us after she has had her makeover. Winslet's scene on the other hand is her first appearance in the film, and you cannot deny that both certainly have a wow, movie-star factor about them that will undoubtedly be used in documentaries about their legacies in the future. Here are some screenshots comparing the two. </div>
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Shot 1) A glimpse of our leading lady, whether it be her shoe or her glove - both are obviously expensive, beautiful things, and hint at our ladies wealth. Although Winslet shows us her hand first, her foot soon follows. Notice already similarities in colour use - white/navy/purple - clean and classic.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGIimE1an8HWhtJkpEs4wbn4bh8NmytP907bxrjOdh4JcT6g_RdFb4CrH4NkY9j_nHe_v0BWAiX8AFs1iHa2qqoyZk47HaC-GYu5VkZqiyQmSEIJb857yEL7dEXf9UCGIwWtfpbqhlG9GT/s1600/NV1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGIimE1an8HWhtJkpEs4wbn4bh8NmytP907bxrjOdh4JcT6g_RdFb4CrH4NkY9j_nHe_v0BWAiX8AFs1iHa2qqoyZk47HaC-GYu5VkZqiyQmSEIJb857yEL7dEXf9UCGIwWtfpbqhlG9GT/s320/NV1.png" width="320" /></a></div>
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Shot 2) Pan of the outfit - we now get a glimpse of what else our actress is wearing. For Davis we see that she is wear a figure-hugging dress which is simple yet elegant, and very flattering. Her slim figure and the sophistication of her outfit vastly contrasts her frumpy, granny look previously. Winslet is in a very flamboyant boarding dress/jacket, which really emphasises the wealth she has, but also shows just HOW rich you had to be to sail 1st class on the Titanic. She stands out from the other thousands in the crowd. NOTE: both are wearing white gloves.</div>
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Shot 3) A large and glamorous hat - excellent for concealing the face and also teasing the audience as to who is beneath it, the shot helps to highten to mystery and anticipation of how beautiful Davis look, or in Winslet's case - who is behind the hat?</div>
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Shot 4) Partially revealed - the hat still hides half of our actresses faces but offers a glimpse of her mouth. By focusing on the mouth the camera is immediately telling us that this is an attractive woman, and the use of red/dark lipstick on both women adds a sense of sex appeal/youth.</div>
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Shot 5) The unveiling - both Davis and Winslet have lifted their heads enough so that their faces are fully revealed. Both are looking their best, with exquisite make-up used to enhance their best features. With Davis, we already knew that she was a star, this shot simply solidifies her legendary status. However, Winslet back then was not yet a star - <i>Titanic</i> had made her a global star. Therefore for Winslet this shot is her star entrance; as soon as the world saw her lift her head and gaze up at the enormous ship in front of her, she was forever immortalised on film and would be recognised by millions throughout the world.</div>
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Two very different films from two very different eras. Davis is getting off her ship, Winslet is about to board hers. Davis was already a huge star at the time <i>Now, Voyager </i>was released, Winslet was an up-and-coming starlet with solid roles behind her but no superstar status - yet. You can even go as far to compare the journey's both actresses take on this ship as a bildungsroman - an educational trip that empowers both women and ultimately helps them to detach themselves from their controlling mothers. As far as entrances go, you can argue that this scene is the entrance both actresses are most remembered for. You cannot argue with the similarities in these scenes - did Cameron want to pay hommage to this moment from <i>Now, Voyager</i>? Who knows. Whatever the reason or inspiration behind it - it worked. Both Bette Davis and Kate Winslet are at their most beautiful in these films, and these two scenes give them a mythical quality in tip-top Hollywood fashion.</div>
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NOTE: I am in no way comparing Davis and Winslet as actresses. This blogpost purely analyses the two scenes and their connotations. </div>
TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com8tag:blogger.com,1999:blog-644541939534301073.post-7363396263946874902013-07-08T04:03:00.000-07:002013-07-08T04:03:29.022-07:00Cruel Intentions: The Train Station Scene<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTHcprY3b0hquoXo94qOZAkWee-0qmsUdkQUznKzNwA2Mv9JEH3q-lIfuDUyoIXq7wM2HNzWjPaYrLmWii2vzOgXKl5NigBSn55f9Q1Xt_PYZGV2rZ3CIL4vpEVFVv_VuzTjPSgONAcwna/s1600/cruel_intentions_ver1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTHcprY3b0hquoXo94qOZAkWee-0qmsUdkQUznKzNwA2Mv9JEH3q-lIfuDUyoIXq7wM2HNzWjPaYrLmWii2vzOgXKl5NigBSn55f9Q1Xt_PYZGV2rZ3CIL4vpEVFVv_VuzTjPSgONAcwna/s320/cruel_intentions_ver1.jpg" width="246" /></a>One night a few months ago I was bored online and decided to look up some of the cutest or most romantic movie moments. Whilst many famous and even iconic scenes came up there was one that I hadn't seen before. It was from Roger Kumble's <i>Cruel Intentions</i> (1999) starring Sarah Michelle Gellar, Ryan Phillippe, and Reese Witherspoon. Having studied film noir at university and in particular - evil women in film - I had read about <i>Cruel Intentions</i> before but had never actually seen it. So when my google search came up with Sebastian & Annette love scene, I decided to look it up on YouTube. Sure enough I was impressed with what is undoubtedly a cute scene but also one of the most romantic movie moments I have ever enjoyed. Eventually I watched the film; the context kind of makes the scene less cute because even though Annette seems to convert Sebastian, I think the film could have developed their relationship more before this scene so that it seems more realistic. I still really enjoyed it though.<br />
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Regardless of context and my nitpicking, here I will do a short analysis of the scene at the train station. Below you find the clip from YouTube - the uploader has mistakenly called it the airport scene, but it is supposed to be at a train station. The clip is very short and it is worth watching (for the first time or recap) if you're interested in reading this post further. IMDB have a brief synopsis available if you haven't seen this film yet.<br />
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So, here goes my shot by shot analysis as well as my attempts at explaining the deeper meanings of the scene. We start with Sebastian speeding his way to the train station after hearing that Annette has returned home. She felt rejected by Sebastian in a previous scene and feeling rather stupid, she returns home to avoid him. He hates that she has gone away and is now on his way to the train station to tell her how he feels and hopefully make her stay. </div>
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I love this shot of Sebastian (Phillippe) - he slams the phone down with a look of frustration and guilt on his face. He hopes that he can get there on time. At this very moment the beautiful beginning of Colorblind by Counting Crows starts to play, and becomes the perfect backdrop for the scene that is about to unfold. The camera cuts to a shot of Sebastian in his car, whilst zooming back to reveal the city of New York. The expanse of the big city with it's skyscrapers and many buildings looks ominous and large, but we know that Sebastian will go and find Annette regardless of the size and numbers. </div>
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Now we cut to Annette who has just got off her train. Looking a little glum but also attractive in a simple way (her costume colours make her stand out from the crowd) she boards the escalator in an autopilot fashion. She doesn't expect to be met by anyone here at all, she is simply making her way home. Little does she know that Sebastian is waiting for her. Some interesting camera angles are used to really home-in on Annette, perhaps to make the camera/audience find her like Sebastian is trying to do. </div>
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This is now one of those knight-in-shining-armour moments, or at least a modern version of it. As the escalator rises and the various stairs begin to disappear at the top, Sebastian's head makes an appearance as he moves towards the oncoming passengers. Again in a brightly coloured shirt (makes him stand out from the crowd like Annette) with immaculately styled hair, a heart throb pose, and an almost moody expression on his face, he looks like a tragic, romantic hero. With the camera being in Annette's point of view, and the sides of the escalator pointing towards Sebastian, there is no questioning where our attention is focused. - directly at him. We can see Sebastian clearly, waiting for her, and we know that Annette will soon notice him as soon as she looks up. </div>
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In a world of her own and still oblivious to what is going on, Annette glances around her until finally she looks ahead. Her eyes fix upon Sebastian. Almost as if her dreams have come true (or at least her teenage thoughts) Sebastian has come all the way to New York to meet her, and hopefully tell her what she wants to hear.</div>
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Interestingly, there is no look of surprise or shock on her face. Her gentle (loving) stare hints that she is happy to see him and perhaps even nervous (butterflies in your stomach when you see the person you like?) Their last meeting ended on bad terms, there were things left unsaid - and she looks at him as if she was hoping to see him but didn't expect to (if that makes sense). As she ascends higher to the next floor Sebastian comes fully into our view. Stood motionless and not saying a word, he is simply waiting for her (cute, huh?)</div>
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As she reaches the top of the escalator and walks off of it, there is a look of apprehension and awkwardness in her face. Is she wondering why he is there? What he is going to say? Is she hoping he will say certain things?</div>
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<span style="text-align: left;">He still doesn't say anything, he just stares at her - pondering on how to say or show her how he feels, or perhaps he's just relieved to have found her and nervous about what to say/do.</span></div>
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With a satisfied smile Annette says, "I'm impressed."Enjoying her remark but wanting to say why he is there and how he feels, Sebastian responds with, "Well, I'm in love," and moves in to kiss her. Half-stunned by his declaration but also reciprocating his feelings, Annette makes no protestations, and the two kiss in a totally romantic, cute, young-love smooch.</div>
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By cutting to a shot of Annette, we see her reaction to Sebastian's advance. The camera is pretty close-up so it becomes a very intimate moment between the pair, but not too close so that it loses its pure feel. The camera then cuts to behind Annette and moves it way around the two actors; by making the camera turn around them it shows the hustle and bustle of the world around them but these two are oblivious to their surroundings. They are so caught up in the moment, this special moment, that time has stood still for them, and anything that happens around them will go unnoticed because at this moment belongs to them alone.</div>
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What I adore about this scene is its modern take on romance. Even though Sebastian isn't the most endearing character, the fact that for the first time in his life he has gone out of his way to help someone and genuinely cares about another makes us warm to him. He redeems himself. We see him speeding away in his convertible to prevent Annette from leaving, to tell her that he loves her... it's old school romance. A teenage dream.</div>
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I also really love the intimacy that the camera shows. The use of grey, muted tones at the train station surroundings and the extras contrasts the bold colours worn by our protagonists who really stand out from the rest of the "world." Following Annette leaving the train and then having the camera zoom down the escalator to see the innocent/sad expression on her face. The way that the camera then cuts up to Sebastian gradually coming into full view - we are Annette looking up at him. And of course the twirling kiss is to die for. Alfred Hitchcock knew how circling the kissing couple with the camera made for a much more intimate, passionate moment that isolates the star-crossed lovers from the rest of the world. Here Kumble uses it to great effect. </div>
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A major ingredient in the beauty of this scene is the song choice - Colorblind by Counting Crows. Hauntingly sung by lead singer Adam Duritz, the song magically mirrors the feelings of Sebastian. Like with so many songs, the lyrics can be interpreted in numerous ways, but somehow the song fits this scene like a glove. Duritz sings about the deep, emotional torture he is currently feeling; he is colorblind and so is Sebastian because he has gone through life cruelly using women for his own sexual needs. Degrading and humiliating those whom he uses, he went about doing as he pleased without seeing what he was doing wrong - therefore he was colour blind:</div>
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<span style="color: #b4a7d6;">I am colorblind</span></div>
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<span style="color: #b4a7d6;">Coffee black and egg white</span></div>
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But after falling for Annette (when he was really just trying to make her another of his sexual conquests) he sees what he was doing wrong. He doesn't want to use her or hurt her - he wants to actually love her. He begins to see the changes he wants to make. This is reflected in the following lines from Colorblind:</div>
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<span style="color: #b4a7d6;">I am ready (x3)</span></div>
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<span style="color: #b4a7d6;">I am taffy stuck and tongue tied</span></div>
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<span style="color: #b4a7d6;">Stutter shook and uptight</span></div>
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<span style="color: #b4a7d6;">Pull me out from inside</span></div>
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<span style="color: #b4a7d6;">I am ready (x3)</span></div>
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<span style="color: #b4a7d6;">I am fine</span></div>
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It amazes me when I hear the lyrics and when I see the perfect editing of the scene to the song... it was as if Counting Crows wrote the song specifically for this scene (they didn't). Luritz's singing really comes from the heart, you hear the pain and internal battle his feelings are going through, which makes this song ideal for Sebastian and the scene. Colorblind is in fact one of my favourite songs because of this film. A brilliant choice of music; to be fair there were other music choices in the film that were powerful and made the scene memorable. For example, the use of Bittersweet Simphony by The Verve in the finale - a very clever choice that made the finale even more poignant. </div>
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<i>Cruel Intentions</i> is an entertaining film. Even though some of the lines are corny and verge on the over-dramatic, it's enormous fun with plenty of comedy involved. Sarah Michelle Gellar is wonderfully evil and although some have called her acting here wooden and OTT, I think it suits her character well. She is sexy and beautiful, but her manipulation of others and evil qualities make her cold, bland, and uninteresting. Selma Blair is hilarious as the dorky, naiive victim of Kathryn and Sebastian's plans. <br />
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Nevertheless, it is Ryan Phillippe and Reese Witherspoon who touch your heart in this film. I would really have liked more development of Sebastian and Annette's love to have been shown previous to Sebastian declaring his love but it is redeemed by the magical, teenage dream set-up of the train station scene. Undeniably the offscreen romance between Phillippe and Witherspoon comes across onscreen; you feel as if you're really witnessing two young people falling in love. It's really quite beautiful. </div>
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<span style="text-align: left;">I hope that you enjoyed this brief analysis of the scene and if you haven't seen </span><i style="text-align: left;">Cruel Intentions</i><span style="text-align: left;"> then give it a go. It's good fun but with some really touching, powerful scenes thanks to a great cast, Kumble's direction, and a tremendous soundtrack. </span></div>
TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com0tag:blogger.com,1999:blog-644541939534301073.post-58442869540279980292013-06-04T16:12:00.000-07:002013-07-28T10:09:45.344-07:00(500) Days of Summer: Best romcom of the 2000's<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQtjonE8UIB5vWGXJadWcdy0vH-L7q-JUon5PX6dyo5NraZOJf1L0M-maofzNQORVRQfxbGDeLOWWXybKMIBADZuiy0Gg1MGIhvFDt44L4yLh8IwWP11x2Xw23D7dxXjHYck7XiF-0Twld/s1600/Five_hundred_days_of_summer.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQtjonE8UIB5vWGXJadWcdy0vH-L7q-JUon5PX6dyo5NraZOJf1L0M-maofzNQORVRQfxbGDeLOWWXybKMIBADZuiy0Gg1MGIhvFDt44L4yLh8IwWP11x2Xw23D7dxXjHYck7XiF-0Twld/s320/Five_hundred_days_of_summer.jpg" width="207" /></a>BEWARE! SPOILERS!<br />
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Before I go any further I'd just like to make it clear that I do not think the film <i>(500) Days of Summer </i>(2009) is arty or quirky, or particularly "alternative". Too many people call it "deep" and speak of it like it belongs to some special movement in film. It's not that at all. That being said I do love this film and I will say that it does provide an alternative to your run of the mill, chick flick that Hollywood churns out endlessly every year.<br />
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I didn't see this film at the cinema. I'd heard people go on about it and how cute and different it was so when I saw it in HMV for a good price I bought it. I have seen it 4-5 times since my purchase and I like it more with every viewing. Yesterday evening when the sun had gone in and the air had become a little chillier, I thought I'd put a nice, summery, film on, so I chose <i>(500) Days of Summer</i>. Re-watching it last night I picked up on a few aspects of the film that I enjoyed and which I thought worked well.<br />
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Firstly, I think the non-linear, disjointed narrative is used to good effect throughout the picture. The film starts on day 400-and-something (I think) showing us a very depressed looking Tom. His friends are comforting him and advising him on what is an apparent recent break-up. Now that we know this, the film cuts back to day 1, the first time Tom sees Summer. This is repeated until the very end, with continuous flipping back to the past, and the zooming straight to the future. This could seem annoying but director Marc Webb has made sure that most of the cuts from past to future concern an event that is similar. For example, we have the morning after Tom and Summer had sex; this morning consists of Tom walking to work with the biggest smile on his face, dancing with people in the street, and more or less walking on sunshine. The scene finishes with Tom getting into an elevator in his work building with that big smile still on his lips.<br />
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We then cut to a couple hundred days later, the elevator doors open (continuation of previous scene) but Tom's face is sad. He looks dishevelled, miserable, and depressed. He has walked the same walk to work that he did when he first got with Summer - same walk but entirely different circumstances. What a difference a couple of months make. This is just one of many examples where Webb has juxtaposed past events with future events to show how much the relationship has deteriorated and how good it once was, or seemed to be.<br />
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He doesn't just use this for events though, nor does he only use cuts from past/present to show change. Webb also does it for things that are said, to create a sense of deja vu, or to show that one character is saying exactly what another character was saying a few months back, and usually it's a phrase or statement that they didn't initially agree with. The most obvious of these being his list of things he loves about Summer. This is what he says near the beginning of the film:<br />
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<span style="color: #d9d2e9;">'I'm in love with Summer. </span></div>
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<span style="color: #d9d2e9;">I love her smile. </span></div>
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<span style="color: #d9d2e9;">I love her hair. </span></div>
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<span style="color: #d9d2e9;">I love her knees. </span></div>
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<span style="color: #d9d2e9;">I love how she licks her lips before she talks. </span></div>
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<span style="color: #d9d2e9;">I love her heart-shaped birthmark on her neck. </span></div>
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<span style="color: #d9d2e9;">I love it when she sleeps. </span></div>
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And here is that same speech except he is saying it months later when he has broken-up with Summer. You'll notice it's more or less the same speech except with a negative version.<br />
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<span style="color: #d9d2e9;">I hate her crooked teeth. </span></div>
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<span style="color: #d9d2e9;">I hate her 1960s haircut.</span></div>
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<span style="color: #d9d2e9;">I hate her knobby knees.</span></div>
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<span style="color: #d9d2e9;">I hate her cockroach-shaped splotch on her neck.</span></div>
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<span style="color: #d9d2e9;">I hate the way she smacks her lips before she talks. </span></div>
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<span style="color: #d9d2e9;">I hate the way she sounds when she laughs. </span></div>
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Even the first time that we watch the film we notice that this speech sounds familiar, only of course, he's changed his tone completely. What Webb does to make this even more effective and show us just how much Tom's view of Summer has changed is to have the altered speech played over the exact same montage of Summer that the previous speech had (except this time the colours are muted and less warm - very clever). It works. Suddenly she isn't as perfect or wonderful as Tom first described.<br />
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Another aspect I loved was how the film would question something and then show you previous moments that answer that question. For example, Tom says:<br />
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<span style="color: #d9d2e9;">Do you ever do this, you think back on all the times you've had with someone and you just replay it in your head over and over again and you look for those first signs of trouble?</span></div>
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The camera then shows us snippets from the same scenes we've seen except this time the camera is on Summer. We can see the faces she pulls when Tom shows her something, or we see her cringe at a joke Tom has told. We see what Tom is looking back on as he asks himself this question. </div>
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There were two other factors that seemed to increase the popularity of this film and make people notice it on its own instead of blending into the background of meaningless romcoms. I'm not in anyway saying that this film is super quirky and artsy, but you have to give the film credit for it's direction and soundtrack. Webb makes intelligent use of graphics, lighting, and even classic European cinema (he parodies films such as<i> The Seventh Seal</i> (1957) and <i>The Red Balloon</i> (1956). By combining these beautiful graphics, moody lighting, and hommage to non-mainstream film, Webb manages to push away from the re-hashed and re-used stuff we get with a romantic comedy.<br />
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Even though I do enjoy the odd rom-com, you can't help but notice the seemingly lack of thought that goes into them, as in, there is no effort to make them stand out. It seems as if they are the studios annual romantic comedy and they repeat the same formula and look so that it appeals to it's mass audience. From the posters - nearly always white background with red or pink writing, to the soundtrack - ever noticed how it's always the same score in these films? Anyway, I digress... the fact is, Webb has clearly taken this fantastic screenplay written by Scott Neustadter and Michael H. Weber, and worked with his art and cinematographers to give the film a sort of illustrated diary feel. Like a scrapbook for us to flick-through as the film progresses. It really is beautiful to look at and you can see the attention to detail in nearly every scene.<br />
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One thing I love about Neustadter and Weber's script is it's truthfulness. If you've been in a relationship or involved with anyone in some way, then at least one of the lines in this film will ring true or sound ridiculously familiar. It feels like both writers have really gotten to grips with one-sided relationships and taken it apart, analysing it properly, then transforming it into a comical yet moving script. The story isn't a tragic or devastating one, but it shows the hurt and emotional roller coaster that so many of us will go on in our love lives. Yes there are more important things in the world, but the majority of us will have given our all to somebody and loved them wholeheartedly, yet received a fraction of that in return. And it's heartbreaking, soul-destroying stuff, which is displayed superbly by Webb and his crew.<br />
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However, like with any good story you need a good actor that will make you empathise with the <br />
character. Joseph Gordon-Levitt is so good in this film, so full of presence, charisma, and talent, that you can see why his career just seemed to escalate from that moment on. You really feel for him, not just because you can relate to what his character is going through but because he is so likeable and he seems so genuine. Zooey Deschanel is very good too. Although most of the emotional/comical work is given to Levitt, she portrays her quirky character convincingly and with added charm.<br />
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The penultimate scene of the film where Tom and Summer both speak to each other a while after their break-up and she tells him that he was wrong about her, is pretty moving. For the first time in the entire film Summer is showing emotion and actually has tears in her eyes. Is it because she actually loved Tom and hates that things didn't work out? Or does she feel bad for Tom that he fell for her and has therefore taken the break-up so badly? The look on Tom's face as she tells him that he was wrong about her shows his anguish and heartbreak, he looks as if he's in physical pain at having to part with her properly. Both Levitt and Deschanel are outstanding in this scene. You really feel like you're witnessing an incredibly private and emotional moment between two people who both either truly cared for - or in Tom's case - truly loved each other.<br />
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This film isn't flawless but it is a very good romantic comedy, arguably one of the best and definitely the cleverest since the 1990s. I think it deserves it's place amongst cinema's other great rom-coms because it is so wonderful to watch. It documents the initial attraction between Tom and Summer, to their cute moments, their getting to know each other, their arguments, their awkward silences... we see the rise and fall of a relationship. One of the best aspects of the film is it's ending; in most romcoms the leads fall in love and whatever trouble they run into, love conquers it. But in <i>500 Days</i> there is no going back. The relationship is over, but life isn't! Summer gets married to someone she loves, and Tom bumps into a beautiful architect outside his interview. Life goes on.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4vR6D8G1bib6UTI6uUNAsHOGvGCxvzIxfyKGl_ejssX9Uercyb3jCCVDSp-Y0XEvXq8Scy93Nd8uy4cRLb5UqqBDhULqBG_PRu7um0dbYtv3YvKCAYh87WVQ1DGKFOzQAEtvjG_QxtQv5/s1600/500-days-of-summer-500-days-of-summer-11124649-2559-1706.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4vR6D8G1bib6UTI6uUNAsHOGvGCxvzIxfyKGl_ejssX9Uercyb3jCCVDSp-Y0XEvXq8Scy93Nd8uy4cRLb5UqqBDhULqBG_PRu7um0dbYtv3YvKCAYh87WVQ1DGKFOzQAEtvjG_QxtQv5/s320/500-days-of-summer-500-days-of-summer-11124649-2559-1706.jpg" width="320" /></a>The first time I watched it I enjoyed it however I thought that it was being too clever for it's own good. But every other watch since then I've noticed that it's not trying to be clever at all, it's just taking rom-com to another level, like all the other rom-coms that have stood the test of time. Why should Webb settle for the typical formula of the current market? Let's get some colour and mood in there, let's make this film as special as it's script. Both leads give wonderful performances that are so realistic and so heartfelt that at the end of the movie you feel like you've witnessed an actual relationship. Many will be able to relate to this film but even if you can't you'll still find it immensely enjoyable and I'm sure you'll get a little teary-eyed at the end. There's a whole bunch of other things in it to enjoy like the soundtrack (Temper Trap - Sweet Disposition, a sunshine favourite of mine) the graphics, the great lines, but most of all is the excellent storytelling of the filmmakers and the performances of Levitt and Deschanel.<br />
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A brilliant romantic-comedy in every aspect. 4 stars.TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com3tag:blogger.com,1999:blog-644541939534301073.post-66707299516417276082013-05-23T07:47:00.005-07:002013-05-23T07:48:19.156-07:00Loretta Young: The Lady with the Liquid EyesEven though only a handful of her films are available in the UK, I will endeavour to watch as many Loretta Young films as I can. After watching her in <i>Platinum Blonde</i> (1931) I loved her immediately. There was such a sweetness and loveliness about her, but also a real talent as an actress. Blessed with bewitching eyes and a beautiful face, I actually find that Young had one of the most expressive faces of that era. She didn't overact or over-do expressions (which quite a few of her peers would); instead she would convey emotions with a delicate glance or stare, to the point where it seemed as if she had total control over every muscle in her face, and yet her acting never seemed forced or planned, just a natural ability to act wondrously. Not to mention a total ease when infront of the camera.<br />
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What struck me too was her beauty, and I consider her to be one of the most beautiful women on film. Radiant, graceful, and mesmerising, if Young is onscreen you won't be able to take your eyes off her. The way Frank Capra lights her in <i>Platinum Blonde</i> gives her an ethereal glow that creates an angelic quality - especially juxtaposed to her love rival in the film, Jean Harlow. Not only is Young's character more likeable in the film, but the way she is lit is like a big alert to Robert Williams, 'Are you blind? The right girl for you is here!'<br />
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Here are some photos of the beautiful Loretta Young, but as for her acting ability and screen persona, you'll have to watch her films yourself to understand why this actress was so wonderful.<br />
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TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com6tag:blogger.com,1999:blog-644541939534301073.post-5484040942485405212013-04-13T11:37:00.002-07:002013-05-05T09:39:17.287-07:00On the Waterfront: Realistically Speaking<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga5Gs_3iPjSUpRQSQkc2CVot7Hzioec_ioJg-7SjGPSvUIlIb1syELatswhNwfb8Fatb7n3LQwX4fMPytaauaqYHlnXGJzEio6OjLmwAhHccbbOaK7QMn78z1ALa-0GzsQUJb0iBkmNbWD/s1600/On_the_Waterfront_poster.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga5Gs_3iPjSUpRQSQkc2CVot7Hzioec_ioJg-7SjGPSvUIlIb1syELatswhNwfb8Fatb7n3LQwX4fMPytaauaqYHlnXGJzEio6OjLmwAhHccbbOaK7QMn78z1ALa-0GzsQUJb0iBkmNbWD/s320/On_the_Waterfront_poster.jpg" width="228" /></a><br />
<b><i>BEWARE! SPOILERS!</i></b><br />
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There has been so much written about Elia Kazan's<i> On the Waterfront</i> (1954). I don't think that anyone<br />
who watches it doesn't feel the full impact of the power the film possesses - the power of its story, script, direction, musical score, performances, and of course, the formidable Marlon Brando. I can't do any more justice than those before me who have written about this film can, however, there are two aspects which I picked up on when I last watched it.<br />
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I was struck by how realistic the love story between Terry Malloy (Brando) and Edie Doyle (Eva Marie Saint) was played out. Obviously credit goes to the actors themselves; I think we all fall in love with Terry as he is torn between doing what is right and what is wrong, his brooding personality, his god-like good looks, and we can see why he falls for Edie because she is so sweet, wholesome, and willing to stand-up against the mob. But how many times have we watched a film where the love story in the narrative just seems that bit too convenient, like it blossomed too quickly, or we didn't really see the love blossom at all. It usually goes from attraction to full blown love in a couple of scenes.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjolLX8DomK8LqjRenZNL-Ux8OPruwlnagJ2IkEwy1JCWiyyi45_UEZDyIMjSVcOrt2swI3a6DOHYEC_tRd3xkcgIogaVP1kQje8-l9UVcbq0pAtnTa98Q6ZYOHbjnEia6K5ZkHHcj9_nP/s1600/15.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjolLX8DomK8LqjRenZNL-Ux8OPruwlnagJ2IkEwy1JCWiyyi45_UEZDyIMjSVcOrt2swI3a6DOHYEC_tRd3xkcgIogaVP1kQje8-l9UVcbq0pAtnTa98Q6ZYOHbjnEia6K5ZkHHcj9_nP/s400/15.jpg" width="400" /></a>In <i>On the Waterfront</i>, however, we really feel like we are witnessing genuine love. Not soppy romance, but a deep, and strong love between two people who are caught in a web of crime and dark dealings. Terry is a good guy, he never knew that he was helping his mob friends kill Edie's brother, nor does he want any business with them. He also equally doesn't want to get involved in bringing them down, he wants their power to end but he doesn't want to be the one person that puts his neck on the line in doing so. Nevertheless, within those first few meetings he has with Edie, we can see his curiosity about her, he enjoys her company, she's finally somebody that he can talk to. Hey we could be watching any two people in the world rather than two actors on the screen.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTob3jL9NPZBZmFIo1aiUAv8zhCl0MyfykcO6NbmhhEyJAKgqsZyXcxVrcj68t-7BVyKsvM-NHCIGH8Jxr1X5mlC4Qz4KBwu4naR2MoPdnquWee9g9kmnrlhel5LCPVn4qzbu7RpVSIZfY/s1600/EdieDoyle10.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTob3jL9NPZBZmFIo1aiUAv8zhCl0MyfykcO6NbmhhEyJAKgqsZyXcxVrcj68t-7BVyKsvM-NHCIGH8Jxr1X5mlC4Qz4KBwu4naR2MoPdnquWee9g9kmnrlhel5LCPVn4qzbu7RpVSIZfY/s320/EdieDoyle10.jpg" width="320" /></a>Equally we can see why Edie falls for Terry. He is strong but vulnerable, he isn't one of the mob but in not standing-up against them he is acting as one of them, he needs her to pull himself out of their trap. Also, he looks after, he can protect her, he is handsome, and a good man through and through.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjJ4WrqtsSw6esb_mIDAA27v5_PJKzDZZub1SQoF47017O9kvk4Ru4YtB4EzYYAw7scAHZzLaoeh8qo2rz0oDhjFsEqZPf1EmdRwDY5RVIBbFWByPPhC-7s8oueGMVP3UAe7qs8xllVLqE/s1600/172395156.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjJ4WrqtsSw6esb_mIDAA27v5_PJKzDZZub1SQoF47017O9kvk4Ru4YtB4EzYYAw7scAHZzLaoeh8qo2rz0oDhjFsEqZPf1EmdRwDY5RVIBbFWByPPhC-7s8oueGMVP3UAe7qs8xllVLqE/s320/172395156.jpg" width="320" /></a>I adore the scenes between them; for example where he takes her for a drink and he lets her try her first beer - there is something so innocent and young about this set-up. Another scene is where they end up at a wedding party and they dance <br />
together. There are no dreamy violins, swirling ballgowns, or traditional romantic styles and yet it is irresistibly romantic because it simply shows a pair of young people having a good time. He likes her, she likes him, they dance together, and caught in the moment they almost kiss (annoyingly they are interrupted). This is such a simple scene but it's so cute, I know that word sounds out of place and childish but it is. It's adorable to watch these two lovebirds having fun and realising their feelings for each other. Even the scene later where Terry storms into her house and kisses her is pretty steamy - one of the best kisses in Hollywood history as far as I'm concerned.<br />
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Therefore, when we watch these well-crafted, well-acted scenes which show a romance blossoming in the most normal and pure way, we really feel that this is a genuine love between two people. Not some convenient romance for the plot-line.<br />
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Another realistic aspect of the picture which I found really powerful was when Terry is beaten to a pulp in the final moments. Again, how many times have we seen a film where the character has been almost beaten to death and yet it is conveyed purely by some fake blood and a few groans. Half the time it never feels like a character has taken a real beating. But in <i>On the Waterfront</i>, my word do we feel for Terry after Johnny Friendly's thugs have had their way with him. Brando doesn't over do it with moans and cries or winces, he is completely silent - his eyes are shut because he can barely open them, his head is bowed because it is throbbing, he holds his side because it hurts so much. As an audience we feel as if we are witnessing a man who has been completely broken for standing up to the thugs of the waterfront. Kazan's direction here also comes into play; he doesn't let Malloy stand-up for a good few minutes. He wants the audience to believe that Terry has been brought to his knees - he can't make a stand anymore. That way when he finally does stand-up with blood dripping down his face, his eyes swollen, and then stumbles his way back past the workmen to the employer, the audience can give one hell of a cheer; the conquest is that much more profound, awe-inspiring, and emotional.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZecWYWUdpmBKRnLKxvnyPwlgpOeGyY22m710z-Eg3r7bpBzWU3LprqyqL-Lzp43STjSzPqZ8YTDw31LkZLKtG3jSpa2enNtnwdkVmWVeyw_BeORN3s238AJW3G9yM4dnTgsTwz9H60Cou/s1600/WaterfrontFriendly2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZecWYWUdpmBKRnLKxvnyPwlgpOeGyY22m710z-Eg3r7bpBzWU3LprqyqL-Lzp43STjSzPqZ8YTDw31LkZLKtG3jSpa2enNtnwdkVmWVeyw_BeORN3s238AJW3G9yM4dnTgsTwz9H60Cou/s320/WaterfrontFriendly2.jpg" width="320" /></a>We could talk about every aspect of this film for days on end. Karl Malden turns a great performance as the local priest trying to pull his community out of the darkness. Marie Saint is truly wonderful here. Rod Steiger as Terry's brother Charlie pulls-off the effect of a brother realising how much he has let his younger brother down. And who can forget Lee J. Cobb as the vulgar mob chief, yelling and ordering everybody around. The score in this film adds to the gloomy atmosphere for the docks where everybody has been under the control of gangsters for too long.<br />
Few films are as powerful as this one and even fewer have that power coming from every one of its cast. What Kazan and his crew created in this film is undeniably a benchmark in the world of film. Throughout the entire picture you feel like the tension is bubbling away and that it's constantly increasing in pressure until near the end you see it burst in Terry when his brother is killed.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg74QQrnxzSnrAMd_HQruEnwmRRvoWNww9RkRGi2RkWbsppUHWmFdHtZ7HNB2_3YsZbs0NLoflybNnxxucoAFZO5FWVMU_8dUy99MyUb8Fsjmo0t4iLSdhWPUky-yt9B9cHGSA-5_VA7l4M/s1600/kinopoisk-ru-on-the-waterfront-719262.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg74QQrnxzSnrAMd_HQruEnwmRRvoWNww9RkRGi2RkWbsppUHWmFdHtZ7HNB2_3YsZbs0NLoflybNnxxucoAFZO5FWVMU_8dUy99MyUb8Fsjmo0t4iLSdhWPUky-yt9B9cHGSA-5_VA7l4M/s320/kinopoisk-ru-on-the-waterfront-719262.jpg" width="320" /></a>Basically everyone should see this film at some point in their lives. And it goes without saying, the film is a must-see for Brando alone, to view his incredible talent, presence, and unmatched mastery as a performer/actor.<br />
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Even if you aren't one for black and white films, or anything pre-1970, <i>On the Waterfront </i>will blow you away. It has stood the test of time in every aspect.TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com3tag:blogger.com,1999:blog-644541939534301073.post-41866954404129028082013-03-31T12:26:00.001-07:002013-05-15T07:43:00.114-07:00My Fair Lady: Analysis of the 'Ascot' scene.<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG5s1pWuLDezuCYFQkSEBOTnczUw2AXxN-9BH3hrjNufFIzHuOlQC2SKUtoHKwrypBvP-UlSkyu7dKmib_0vOCx_mq1iBegsZNBWjm0O2CJ9YuKL5szQ4nX3r-GEzYuHaND4OMu3Go6PZG/s1600/MyFairLadyStill.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG5s1pWuLDezuCYFQkSEBOTnczUw2AXxN-9BH3hrjNufFIzHuOlQC2SKUtoHKwrypBvP-UlSkyu7dKmib_0vOCx_mq1iBegsZNBWjm0O2CJ9YuKL5szQ4nX3r-GEzYuHaND4OMu3Go6PZG/s400/MyFairLadyStill.jpg" width="321" /></a><span style="font-family: inherit;"><i><br />My Fair Lady</i> (1964) is one of my favourite musicals. Even though I agree that it is long and that not all of the songs are overly enjoyable (many have complained that Rex Harrison speaks rather than sings his songs), the film is fantastic fun.</span><br />
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Harrison is perfect as Professor Henry Higgins (he knows the role inside out) and Audrey Hepburn, although they decided to dub her singing in most of the songs, was hilarious as the common-talking flower girl, and enchanting as the transformed Miss. Eliza Doolittle. And yes, I know that many cannot forgive Hepburn for beating Julie Andrews to the part when Andrews had received acclaim for her portrayal of Eliza on stage - but to all those people, if Andrews had gotten the part she wouldn't have been able to play Mary Poppins that same year - a legendary role which won Andrews the Best Actress Academy Award.</span><br />
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But yes, I love Harrison, I love Hepburn, I even love Wilfrid Hyde-White as Colonel Pickering (some of his lines make me cry with laughter) and even the smaller roles filled by Gladys Cooper and Jeremy Brett are wonderful to watch. Bursting with laughs, good-humour, but also with a charming love story floating in the background, <i>My Fair Lady</i> is a great musical, and improves with every viewing.</span><br />
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Even though the film is most famous for it's songs like Wouldn't it be Loverly?, I Could Have Danced All Night, and The Rain In Spain, there is one musical number which really stands out in the film. This blogpost will analyse the scene at the Ascot races where the Ascot Gavotte is performed. Here is a clip of the scene for you to watch if you want to refresh your memory or if you haven't already seen it.</span><br />
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What are we looking at? The actors, the choreography, and the song.</span><br />
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The scene starts with an array of extras stood motionless, silent, and wearing the most fabulous costumes designed by Cecil Beaton - in short, these actors look like mannequins in a boutique window. As the song nears the vocals the actors begin to move in very controlled, military-like fashion, until they are stood facing the race course (the audience). They then begin to sing the Ascot Gavotte. The first section of lyrics is as follows:</span><br />
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<span style="color: #b4a7d6; font-family: inherit; line-height: 19px;">Ev'ry duke and earl and peer is here </span></div>
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<span style="color: #b4a7d6; font-family: inherit; line-height: 19px;">Ev'ryone who should be here is here. </span></div>
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<span style="color: #b4a7d6; font-family: inherit; line-height: 19px;">What a smashing, positively dashing </span></div>
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<span style="color: #b4a7d6; font-family: inherit; line-height: 19px;">Spectacle: the Ascot op'ning day.</span><span style="color: #ea9999; font-family: inherit; line-height: 19px;"> </span></div>
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<span style="font-family: inherit;">Reading these lyrics one would expect these people to be smiling because they are at the Ascot opening day, and that there would be a buzz amongst them because of the impressive list of visitors to the event. But no, everybody is still stood motionless - posing to ensure that they remain looking immaculate - the only thing that moves is their singing mouths. But let us read some more...</span></div>
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<span style="color: #b4a7d6; font-family: inherit;">At the gate are all the horses </span></div>
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<span style="color: #b4a7d6; font-family: inherit;">Waiting for the cue to fly away. </span></div>
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<span style="color: #b4a7d6; font-family: inherit;">What a gripping, absolutely ripping </span></div>
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<span style="color: #b4a7d6; font-family: inherit;">Moment at the Ascot op'ning day.</span></div>
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<span style="font-family: inherit;">Again, the lyrics do not change much and the actors movements certainly do not either. The excitement and adrenalin of this 'gripping' and 'ripping' race are not visible. The spectators actually look more bored and uninterested than gripped by the sport. I mean, they'd look more at home at a wake rather than this fun-filled day of horse-racing. </span></div>
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<span style="color: #b4a7d6; font-family: inherit;">Pulses rushing! Faces flushing! </span></div>
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<span style="color: #b4a7d6; font-family: inherit;">Heartbeats speed up! I have never been so keyed up! </span></div>
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<span style="color: #b4a7d6; font-family: inherit;">Any second now They'll begin to run. Hark! </span></div>
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<span style="color: #b4a7d6; font-family: inherit;">A bell is ringing, They are springing Forward Look!</span></div>
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<span style="color: #b4a7d6; font-family: inherit;">It has begun...! </span><br />
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<span style="font-family: inherit;">This is the verse that really divides what is being said to what is actually happening. Nobody has a red face of excitement or thrill, nobody looks like they even have a pulse... nobody looks like they are even watching the race let alone enjoying it. The verse ends with 'Look! It has begun...!'. A command to ensure that they don't miss the finish of the race - even though so far it looks like none of them even care about the outcome of this race. The final lines of the song, however, really do sum-up the entire number.</span><br />
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<span style="color: #b4a7d6; font-family: inherit;">What a frenzied moment that was! </span></div>
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<span style="color: #b4a7d6; font-family: inherit;">Didn't they maintain an exhausting pace? </span></div>
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<span style="color: #b4a7d6; font-family: inherit;">'Twas a thrilling, absolutely chilling Running of the </span></div>
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<span style="color: #b4a7d6; font-family: inherit;">Ascot op'ning race.</span></div>
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<span style="font-family: inherit;">The word 'frenzied' was never more inappropriately used to describe a group of people. Not a sign of frenzy, chaos, or hysteria is present. And as for exhaustion, none of the spectators looked like they had much life or energy in them to begin with. If any of them did find this race thrilling and chilling, they fooled us completely. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5LsPQPHdZCBtNh0k-RAVyrD8Qlj5JEkwkFpy9wSzDkHQ04qkdnnI1eb6sd9UWG1va23vynQ7Q1SKSQyfnNTPTiEkJk4jIFG4GxgDFCBM1gsW4oouwBvrlEwnt2xUx5aAOPIpeYKJYl1gT/s1600/MyFairAscot1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: inherit;"><img border="0" height="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5LsPQPHdZCBtNh0k-RAVyrD8Qlj5JEkwkFpy9wSzDkHQ04qkdnnI1eb6sd9UWG1va23vynQ7Q1SKSQyfnNTPTiEkJk4jIFG4GxgDFCBM1gsW4oouwBvrlEwnt2xUx5aAOPIpeYKJYl1gT/s320/MyFairAscot1.jpg" width="320" /></span></a><span style="font-family: inherit;">So, what is the point in the choreography being so opposite to what is said in the song?</span></div>
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<span style="font-family: inherit;">I think what the makers were trying to achieve here was to show the contrast between Eliza at the beginning of the movie - she doesn't talk 'proper' enough to work in a flower shop. Even Professor Higgins who has studied all manner of accents and voices finds her particularly vulgar. He has trained her for a very short period of a time when he takes her to Ascot, so when we see the perfectly poised, motionless and emotionless spectators of the upper class, we know that Eliza will stand out like a sore thumb. She isn't quite ready yet. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIlzPz6qq9d6XMw9PQO_Av6pMk3C26GFgtuZ4l9V_ycPkdKLEY39kKILB6OM__V21jYZZtJGpVKCfJcnS3mfWpU3tHnKfLZ6Sm03Bku2uGHgbB0Ywm8rTT2g1LLOkgBDNQC1dsnBC6KowA/s1600/MV5BMTI3MzYxMzQ5NV5BMl5BanBnXkFtZTYwNTAyMzU2._V1._SX321_SY450_.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIlzPz6qq9d6XMw9PQO_Av6pMk3C26GFgtuZ4l9V_ycPkdKLEY39kKILB6OM__V21jYZZtJGpVKCfJcnS3mfWpU3tHnKfLZ6Sm03Bku2uGHgbB0Ywm8rTT2g1LLOkgBDNQC1dsnBC6KowA/s320/MV5BMTI3MzYxMzQ5NV5BMl5BanBnXkFtZTYwNTAyMzU2._V1._SX321_SY450_.jpg" width="227" /></span></a><span style="font-family: inherit;">Also, the scene makes these posh folk look dull, boring, lifeless, and bordering on stupid when they can't get into the spirit of a day at the races. All in all - they look stuck-up. So we wonder, how will Eliza ever fit in with these people? And do we even wa</span></div>
<span style="font-family: inherit;">nt her to? Do we want her to become as dull and lifeless as these people? Do we want Professor Higgins's lessons to transform her into one of them? I don't think that we do.</span><br />
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<span style="font-family: inherit;">Yes, Eliza will benefit from improving her speech because it will enable her to work in a flower shop and earn a better wage, but does that mean that Higgins has the right to look down on her? Does he have the right to not act the gentleman and treat her like a lady? Not at all, and Colonel Pickering highlights this flaw in Higgins later. </span></div>
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<span style="font-family: inherit;">There is more life in Eliza than any of the other people at Ascot, just as Freddy (Jeremy Brett) notices and falls for when he speaks to her at the races, and which Higgins learns later.</span></div>
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<span style="font-family: inherit;">The point of the song and the choreography? To show the facade of it all - behind all of the fancy words and apparent wonderful times these rich people boast about, they actually are not at all interested, nor do their fancy words match their personalities or character. Whereas Eliza, who's only flaw is her incorrect use of the English language, has personality, character, and then some, and not only stands out at Ascot because of her beauty and fantastic outfit - but because of the charisma and vitality she possesses. She is the only person who cheers on her horse and who allows herself to become fully engulfed in the hysteria of the race.</span></div>
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<span style="font-family: inherit;">The choreography in this scene is really exceptional - I love the movements of the actors, the way that they are like mannequins in a Parisian boutique, flouncing about and perfectly poised; the song is just superb. A great scene, from a great film.</span></div>
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<span style="font-family: inherit;">If you haven't seen <i>My Fair Lady</i> then please do. It's a great watch for a Sunday afternoon. Be prepared for plenty of songs though if you aren't a musical-lover. But enjoy the songs, and enjoy the humour. There are many brilliant lines in this that just get funnier every time you watch it. </span></div>
TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com8tag:blogger.com,1999:blog-644541939534301073.post-42784692680191846562013-03-23T05:33:00.002-07:002013-05-15T07:42:15.016-07:00What if LOTR was made during Hollywood's studio era?This blogpost is not going to be a book review or a film review, rather a 'what if' discussion. After reading <i>LOTR</i> and thinking about how it had been adapted for the screen, it dawned on me how it would have been near impossible to do the books justice before CGI. Thousands of orcs and uruk-hai, how to make Shelob believable, how to make the landscapes of Rivendell and Lothlorien extra magical. It would have been very hard to show the epicness of landscape and numbers in battles before Jackson embarked on his own little adventure (or at least to do the books justice).<br />
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However I did wonder this: if the films had been made during the 1920s-1940s, who would have been picked for the roles? Choosing the male actors would be very difficult because the actors of that era were so very different from the male roles in the books. I've had a few ideas like Peter Lorre to play Smeagol/Gollum (sneaky, mischievous, large eyes, cunning) but other than that it was difficult to put an actor from that time in the role of Aragorn, Legolas, or Gandalf.</div>
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On the other hand, the actresses for the female roles seemed a lot more fitting. Now before anybody criticises - yes each of these women belonged to their own studio and were in their prime at various times so technically it wouldn't have actually happened. But still, if it were possible to have these women work at the same time in the same films, and the LOTR trilogy was made during the era of the studio giants, just who would have played Galadriel, Arwen, Eowyn, and even Rosie Cotton? Here are my ideas. </div>
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<u><span style="font-size: large;">Galadriel - Greta Garbo.</span></u></div>
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This was an obvious one for me, and I'm sure that many of you will agree with my choice. Tolkien describes Galadriel in these words:</div>
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<span style="background-color: black; color: #b4a7d6; font-family: inherit;">"Very tall [Galadriel and Celeborn] were, and the Lady no less tall than the Lord; and they were grave and beautiful. They were clad wholly in white; and the hair of the Lady was of deep gold… but no sign of age was upon them, unless it were in the depths of their eyes; for these were keen as lances in the starlight, and yet profound, the wells of deep memory."</span></div>
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Garbo has often been referred to as the most beautiful creature of the screen. Her face was one that revealed so much and yet said so little - expressing sorrow, anger, and all of the emotions more profoundly than most of her peers ever could; she told her story through her face. But aside from her physical beauty, height, and captivating eyes, Galadriel had characteristics that are resonant with many characters whom Garbo played, for example, Queen Christina. Powerful, strong, wilful, mysterious - each of these characteristics can be applied to both women. Even the final scene of <i>Queen Christina</i> where Garbo stares out at the front of her ship, it could easily be Galadriel on her journey to the Undying Lands. This image of Garbo from <i>The Temptress </i>is how I picture her as Galadriel except she would need much longer hair. Galadriel had more presence than anyone in Middle Earth with her incredible wisdom, as well as being dangerously intimidating; yet there she is hugely kind to those who are good. Nobody from that era could have played Galadriel other than Garbo.</div>
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<u><span style="font-size: large;">Arwen - Vivien Leigh.</span></u><br />
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Arwen is supposed to be the most beautiful elf and being in Middle Earth; such a beauty that she is supposed to have spellbound Aragorn at first sight... who better to play this role convincingly than Vivien Leigh? To me, no actress could match Leigh's beauty therefore she has to play Arwen. When you compare Leigh's features there are certainly similarities between her and Arwen:<br />
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<span style="background-color: black; color: #b4a7d6; font-family: inherit;">"...and there sat a lady fair to look upon, and so like was she in form of womanhood to Elrond that Frodo guessed that she was one of his close kindred. Young she was and yet not so. The braids of her dark hair were touched by no frost, her white arms and clear face were flawless and smooth, and the light of stars was in her bright eyes, grey as a cloudless night; yet queenly she looked, and thought and knowledge were in her glance, as of one who has known many things that the years bring. Above her brow her head was covered with a cap of silver lace netted with small gems, glittering white; but her soft grey raiment had no ornament save a girdle of leaves wrought in silver. "</span><br />
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The darkness of her hair, her porcelain skin - of course her eyes are a different colour but Leigh was famous for her cat-like eyes as well, so her eyes are equally convincing at being show-stoppers. Furthermore, her eyes are described to reveal much of the past and the future. In the film <i>Waterloo Bridge</i>, Leigh's eyes did most of the acting because they showed the emotions, sorrow, and the "sordid" past of her character. Leigh also had a very pixie like appearance with her dainty frame (see this image of her from a production of <i>A Midsummer Nights Dream</i>), whilst her achievements on film and stage gave her the air of royalty - it's fair to say that Leigh had presence and an enchanting quality in abundance even before her fame. To play Arwen convincingly you need to have an aura of royalty, grace, unmatched beauty, but also the sadness and wisdom of many years passed, and the knowing of the painful sacrifice you will have to make in order to be with your love, Aragorn.<br />
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<u><span style="font-size: large;">Eowyn - Ingrid Bergman.</span></u><br />
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When wondering who would have played Eowyn, I couldn't think of any actresses suitable. Yes there were many actresses that could play strong, female roles, but to have that delicate balance of a flower and ice that the Lady of Rohan possessed is rare. However, when I thought about the scene were Eowyn confronts the Witch King, I could picture Ingrid Bergman (possibly because she played Joan of Arc) but Bergman played strong women in emotional turmoil so brilliantly, it suddenly became obvious that she would be perfect for the role. Because Eowyn had long blonde hair, Bergman would have to wear hers like she had it in <i>Dr.Jekyll & Mr.Hyde,</i> but a lot lighter.<br />
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<span style="line-height: 18px;"><span style="background-color: black; color: #b4a7d6; font-family: inherit;">“It was an evil doom that set her in his path. For she is a fair maiden, fairest lady of a house of queens. And yet I know not how I should speak of her. When I first looked on her and perceived her unhappiness, it seemed to me that I saw a white flower standing straight and proud, shapely as a lily and yet knew that it was hard, as if wrought by elf-wrights out of steel."</span></span><br />
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This idea of fragility and steel is embodied in Bergman. She has a fairness, warmth, and soft appearance, yet there is definite strength and coldness visible in her features and expressions that give her a warrior like feel. Bergman challenged the star system - she didn't want to be typecast, she wanted a challenge; characteristics not to far from those belonging to Eowyn who thought it unfair that she should not fight in battle because she was a woman.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPaYZTQYWyxtubCYAHNpZGHt5tMxooKvsnPtAsOr_b9HiYlLVzVupOV4TaJckw2M21c8iddKSOyL6OvvOy3XA3-OOqiR8N-eCrdeUP6l7kb_RUcBhuunhBywK8Jr4mpbgsMwnBdUI1SZqr/s1600/Hayworth+Rosie.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPaYZTQYWyxtubCYAHNpZGHt5tMxooKvsnPtAsOr_b9HiYlLVzVupOV4TaJckw2M21c8iddKSOyL6OvvOy3XA3-OOqiR8N-eCrdeUP6l7kb_RUcBhuunhBywK8Jr4mpbgsMwnBdUI1SZqr/s320/Hayworth+Rosie.jpg" width="254" /></a><u><span style="font-size: large;">Rosie Cotton - Rita Hayworth.</span></u></div>
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Rosie Cotton has a very minor role in the books, but she is given importance in the films because she is Sam's sweetheart. At the beginning we see that he has a crush on her, and at the end of the film where he stands on the brink of doom, his thoughts are of her. This just made me think of those Second World War stories, where pin-up cards were sent to soldiers to help them hope that back home a beautiful woman was awaiting their return. Rita Hayworth of course was the second most popular pin-up of the war, and with her glorious red curls (Hobbit-like) and beautiful face - was there a more lovelier woman for Sam to come home to? I pictured Hayworth as Rosie from this photo of her in a dream sequence from the film <i>You'll Never Get Rich</i>. Hayworth was a terrific dancer meaning she would catch Sam's attention at Bilbo's birthday like in the film, and even though she was a sex symbol of her time, there was a wholesomeness to Hayworth that suits the homeliness and purity of the Shire.<br />
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If you have any thoughts or preferences of who you think would be more suitable, please let me know in the comment section. As I said, this isn't anything enlightening or analytical, I just thought I would share my thoughts on the subject and see if anybody had thought of it before too.</div>
TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com10tag:blogger.com,1999:blog-644541939534301073.post-58887802683359221082013-02-08T07:12:00.003-08:002013-05-05T09:40:45.850-07:00So, what should I do with my DVD collection?<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKoojd5IFqwrp75HT1juUYaDrUx5MdXohKs-CxoCbIlWeUcatZXV_FhINeRo7Z2R1873vROFbSbgIEIT4JV1pXNvYNEDrB3svXxjbWr8SFV73bo2Au5Ldg-0DRTh2GcbkJs-VhwPAlJzW9/s1600/Blu-ray-DVD.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKoojd5IFqwrp75HT1juUYaDrUx5MdXohKs-CxoCbIlWeUcatZXV_FhINeRo7Z2R1873vROFbSbgIEIT4JV1pXNvYNEDrB3svXxjbWr8SFV73bo2Au5Ldg-0DRTh2GcbkJs-VhwPAlJzW9/s320/Blu-ray-DVD.jpeg" width="320" /></a></div>
With the recent closing of HMV stores across Britain - once the entertainment store giant of the high street - as well as me hearing the term 'Blu Ray' increasing in the vocabulary of adverts and people, it has come to my attention that my DVD collection may have been a waste of money.<br />
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When I was 14 years old I started to build-up my DVD collection - firstly with chick flicks and films starring Christopher Walken, but once my obsession with old films from the 1930s-60s took hold of me, my collection increased enormously. At its peak, my collection was at around 350 titles, including box sets, Disney, and other genres I had begun to branch out into. Then this Summer I needed to make a little extra money and sold about 40 of my films that I didn't want to watch again in the future. Six months later and again I am having a clear out of films that I don't want in my collection anymore. But whilst I look at the films I have chosen to keep, I am wondering whether it would be worth getting rid of the entire lot. I like having a collection, I am proud of what I have built up, and I like having the option of picking out a film myself. But is it worth all that, especially when one day I may have to replace them all with Blu Ray or whatever else comes after that.<br />
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Today we are seeing that the future is all digital. Services which combine television with internet channels like YouTube and 4oD have been invented and are slowly, but very surely, finding their ways into our homes. This is all great, I think having the option to watch iPlayer and other things on my television would be very convenient, especially when I am in a full-time job. But does that mean that having your a film collection will be nothing more than a thing of the past? I really hope that it doesn't. If I'm staying in on a Friday night I don't want to be enjoying a film on television but have to endure the annoyance of adverts and silly commercials every 20minutes. And even more so, I don't want to have to wait for a film to buffer online. Both of these alternatives aren't enjoyable - they make you compromise on at least one of the following things - sound quality, picture quality, interruptions, the film experience. Isn't it better to step up to your shelves of films and pick one out, knowing that it'll give you the best picture and sound quality, without a commercial in sight once you've pressed play and no reliance on internet connection or the fact that you've found a good copy of the film online?<br />
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One thing I despise is that now we are relying on the internet or our one computer to hold all of our purchases. If I want to buy somebody's album, I will buy a physical copy of it, not download it from iTunes straight onto my iPod. iTunes is very handy if you only want one song instead of buying an entire album, but that is all that I will use it for. If I buy something I have to have it physically in my hand and stored in my room. I don't want to have to turn on my computer and log-in to access it, or risk losing it (yes you can back up but that's just another annoyance - it's much easier having the physical thing in your possession). As for films, I feel the same. I have cut down my collection considerably, and am continuing to do so because some of my films I don't wish to see again. But the collection I keep will stay there, and I won't replace it with any digital copy that I can only access on my computer or any other electronic device. I don't want a film collection that is a digital library on a system. I want each title lined up on shelves. Maybe technology will advance so much that how I feel won't be important - perhaps one day the only way I will be able to watch films is digitally online or something.<br />
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But I am not going to give in to technology at the moment. I refuse to buy a Kindle or e-reader until I am older and my eyesight is poorer, and if I want an album I will purchase it and place it on my shelf with the rest of my music. The same applies for my films. Will I give in to BluRay? Possibly. I have never owned <i>The Lord of the Rings Trilogy</i> since my family have had the copies. But if I am to move out soon I will want my own set, and I've heard it's pretty spectacular in Blu Ray. As for the rest of my films, I don't want to replace them, I don't see the need - yet.<br />
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Somebody a while back said, you remember the first album that you bought, but you don't remember your first download. Whoever said that has a point. There's no sense of value in what we buy anymore, everything is a quick fix to satisfy our consumerism. The same applies to books and films, the beauty of how we view it has gone. What does it mean for some of us who are into more specialist areas of cinema - not just the latest film releases? Are Netflix, LoveFilm, and other companies going to invest in making an equal amount films from across the world available to their customers? And what about people with DVD collections that include a thousand or more titles? Online there are so many people posing with photos of their collection, how they have stored their collection, what titles are in their collection - a lot of money went into those - are they just going to have to replace it all?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4fl0-Gki7D9FlNIiiPErTMZjxE4BZO9ZoiP1EMOvsQkAtkhCrWUAXR9V8DdVpfghVN-WpetP-Z_Gm8MbvTTt2V9gEutAQHKkuFcF172jaEFiSInMB5fO8t8t8vX05mtfr0U36pqSM0OLw/s1600/blu-ray.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4fl0-Gki7D9FlNIiiPErTMZjxE4BZO9ZoiP1EMOvsQkAtkhCrWUAXR9V8DdVpfghVN-WpetP-Z_Gm8MbvTTt2V9gEutAQHKkuFcF172jaEFiSInMB5fO8t8t8vX05mtfr0U36pqSM0OLw/s320/blu-ray.jpeg" width="320" /></a>Soon I will live in my own home, and one thing I look forward to is decorating it how I want, and having my possessions stored and displayed as I wish. Displaying my favourite books, albums, and films on nice shelves is something that will give my home identity and mirror my likes/personality. Until the day my DVD player goes bust and there isn't another one to be found in the world, I will keep my DVDs for as long as I can. I will even invest in a Blu-Ray/DVD combined appliance so that I can enjoy both. Technology is advancing so rapidly and people are saying that it's good because we will have less clutter and more convenience in our lives, but I do wonder if we will all realise soon that maybe downloading films, books, and albums isn't the best way forward. I was too young when DVD replaced the VHS cassette - if I remembered perhaps I would know that this was just the same thing happening all over again, of which I have to accept.TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com3tag:blogger.com,1999:blog-644541939534301073.post-23388323620938015932013-02-07T15:18:00.001-08:002013-05-05T09:41:05.588-07:00Memento: Clever on paper, boring in practice. <b>BEWARE! SPOILERS! (for films <i>Memento</i> and <i>The Machinist</i>)</b><br />
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Since seeing <i>Memento</i>(2000) ranked highly on IMDB.com's Top 250 list, and having been told by some of my friends to watch it because it was "amazing," I felt that it was a film that I really had to watch. I knew nothing of it, other than it had something to do with memory and that people seemed to really like it...<br />
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I was underwhelmed, however, and I felt that that was purely down to the fact that the narrative of the film was in reverse; we see it all in reverse order. The first scene that we see is the last chronological scene in the story, and at the end of each scene we see, we see the start of the previous scene we saw. All quite complicated but if you have seen the film then you'll understand what I have tried (miserably) to describe.<br />
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Within the first few minutes of the film, I had no idea what was going on. But by the third scene it finally hit me that the plot was being shown from the end to the beginning. Once I had realised this I was initially transfixed with this idea. I thought wow, this'll be interesting; I've never seen a film like this before. And even though I never quite got used to seeing the beginnings of a scene after I had seen the scene, the film honestly had my full attention.<br />
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Now, the picture lasts for just under two hours and perhaps that's why this reverse narrative thing didn't work for me. Maybe a film in reverse narrative shouldn't be over an hour and a half because it gives you a headache. After watching about 45minutes of the film, my attention and focus began to subside quickly. I'm not sure if it was the plot itself that bored me, but I am thinking more that the reversed nature of the narrative was what made me lose interest so quickly. By showing the plot in reverse, the film lost all suspense and intrigue for me. It should have felt like a detective trying to pin the clues together of a case, and the entire way through each new find increases your suspense at what the outcome will be. But this wasn't that at all.<br />
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The whole thing seemed very stop and start, it didn't flow at all. The fact that the protagonist Leonard (Guy Pearce) has short-term memory loss and will forget things within a few seconds unless he writes them down actually becomes more of a nuisance rather than a quirky/edgy twist to the tale. His memory began to annoy me because it halted the narrative too much. Pearce acted brilliantly though; I've liked him as an actor in both <i>LA Confidential</i> (1997) and <i>Mildred Pierce</i> (2011) and he performs just as good here in <i>Memento</i>. But not even he can make it work.<br />
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Christopher Nolan is a good director and he clearly felt that he was onto something new and fresh here, and he's right - what better way to make a film about a man with short-term memory loss than show the plot reverse so that we have no memory. We are as much in the dark as our protagonist - almost. But for me it didn't work at all. The plot never progressed. There are other ways to show how a story ended - through flashback is usually the most common way of doing so. But a reverse narrative is a somewhat boring alternative.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1EM8En8uCu5EHFiE7bC-igLDPlRlQb1ivGIb4oUbqGRDJqQeNkaciGBIdy1GtXY_Dg4R_TO6ovxS9JpSU9rZdN8_-knOpg4mzs5IEbAQja1Q1_G9GJg_a70V2Hz2GDCNub2uVaELTIIxC/s1600/natalie_2.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1EM8En8uCu5EHFiE7bC-igLDPlRlQb1ivGIb4oUbqGRDJqQeNkaciGBIdy1GtXY_Dg4R_TO6ovxS9JpSU9rZdN8_-knOpg4mzs5IEbAQja1Q1_G9GJg_a70V2Hz2GDCNub2uVaELTIIxC/s320/natalie_2.jpeg" width="320" /></a>The only time that I felt it really worked was in the scene where Leonard is in Natalie's (Carrie-Anne Moss) house, and she fails to convince him to kill a man called Dodd. He refuses outright, and they both argue about his condition and his dead wife. Natalie calls him names and insults his wife, meanwhile Leonard is scrambling round the room for a pen so that he can write on his polaroid photograph of Natalie that she hates him and not to trust her. He strikes her across the face (giving her a cut and swollen lip) and continues to search for a pen. Natalie knows that unless he finds a pen and writes that down, he'll forget about the argument in a minute, and be none the wiser of her untrustworthiness. Angry at his violence towards her and aware of her ability to manipulate him to do what she wants, she walks out of the house and sits in her car - staring at him through the window. He still scrambles but fails to find a pen. A few seconds pass, she gets out of the car again and enters the house. By now he has forgotten everything that just happened between them. He sees the cut on her face that he just made when he struck her and asks who did that to her? She tells him that Dodd beat her. Leonard replies that he himself will take care of him. Natalie's plan has worked and now she has gotten revenge on Leonard for his anger and violence by manipulating his condition - she didn't even need to convince him to kill Dodd anymore. She's gotten exactly what she wants. This for me is the only part of the film that works with the reverse narrative. It is sad and cruel how Natalie manipulates his condition, and seeing the seconds tick passed as he tries to look for a pen beore he forgets, is quite tense.<br />
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But other than that this film was disappointing for me. I don't know if maybe it was just my personal preference that I didn't enjoy it; perhaps it's more of a boy's film (every friend who recommended it to me was a boy), I'm not sure. By the end of the film I no longer cared for the cause and root of all the events, or for what spurred Leonard onto his wild goose chase.<br />
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If there are other films that are better but have still used the reverse narrative - please let me know. Maybe the plot of this film was just boring, and therefore made the narrative device not work, or vice versa. All that I can say about this film is that it's not as clever as it thinks it is, nor as everybody else seems to think it is. What started as an interesting idea, ran out of steam quickly, and made the final half of the film insignificant and dull. This could all be just personal preference, however, and maybe this film works for others better than it did for myself.<br />
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Rating: 5/10 - worth a watch but only to see a film shown with a reverse narrative, enjoyable or not.TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com3tag:blogger.com,1999:blog-644541939534301073.post-25585615662679706322013-01-30T15:00:00.005-08:002013-05-05T09:41:24.734-07:00I recommend... Silver Linings Playbook<div class="separator" style="clear: both; text-align: center;">
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The film industry's award season is upon us and there was one name I kept seeing in articles and hearing on news bulletins. That name was Jennifer Lawrence. All I knew about this actress was that she annoyed me in <i>X-Men: First Class</i> (2011), and that she was now world-famous for her role in <i>The Hunger Games </i>(2012); all in all - she was Hollywood's big new star. Given the fact that I disliked her as Mystique in the latest <i>X-Men</i> film, I assumed that her success was based on her stunning face and the fact that she had bagged herself the lead role in a new movie franchise. I could not have been more wrong. A couple of months ago I saw that she was in a new film with Bradley Cooper and Robert De Niro, called <i>Silver Linings Playbook</i> (2012). From what I remember, it had some impressive reviews considering it was a comedy/drama, however it wasn't until this award season that I saw Lawrence was being nominated and winning various awards for Best Actress, that I thought I became curious about her, and of course, the film.<br />
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<i>Silver Linings Playbook</i> is the latest picture directed by David O. Russell, whose only other work I have seen is <i>The Fighter</i> (2010). Basic plot synopsis? Pat (Cooper) has just come out from a mental institution after beating his wife's lover half to death. He has bi-polar, and the film follows him on his journey, learning to overcome the incident with his wife, his condition, and through that win her back. During this period he is living with his parents (De Niro and Jacki Weaver) and along his journey, he makes friends with Tiffany (Lawrence) who is also trying to work through personal issues. The two form a friendship and work together to help each other conquer their respective psychoses and recent traumas.<br />
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So, what makes this film work and stand out from other films of a similar theme? The simple answer to that question is its solid script and strong performances. It is so rare to see a film today that relies solely on its script and actors. All credit to Russell here, there are some pretty slick camera moves and shots throughout the film that give it an exciting feel, fast pace, and cool look, but what I must really commend him on is that he allows his actors to shine and perform at their best.<br />
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Bradley Cooper is best known for <i>The Hangover</i> films, and after seeing him in those and a small role he played in <i>Wedding Crashers</i> (2005) I did wonder whether he would be able to pull-off this role. The character of Pat is a difficult one to like at first; he is stubborn, overpowering, aggressive, but Cooper brilliantly plays the part so that we come to understand this troubled person. Dialogue alone can't convince an audience that this is a good guy and to cut him some slack. You need a good actor to achieve that and Cooper does it magnificently. There is a depth and complexity that Cooper unleashes in this film that we haven't seen him do before, nor did we think him even capable of doing. He is strongly convincing, likeable, loveable in fact, and somebody that the audience wants to cheer for. We see him working along his journey, we see his highs and his lows, and at times he looks completely helpless - his own worst enemy. But at other times we see just how strong a person he is, and we find that we do will him on. It was wonderful to see Cooper playing a different type of character, especially playing it so well.<br />
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The person who really stands out in this film though is Jennifer Lawrence. She has so much star quality radiating from her, that I would go so far as to say that she will be one of the great actresses and movie stars of her generation. Watching her in this film, you can see that she has the potential to give us even more great performances. She has presence too - a rare quality today. Not to mention she looks absolutely gorgeous. For this role she has very dark hair which she wears with very dark eye make-up; her look is sultry, moody, and yet vulnerable. Tiffany is an interesting character because of her non-conformist, rebellious, and no-bullshit attitude; Pat can crack as many jokes at her as he wants but she will rip him to shreds with her truthful and hard-hitting words. Behind that facade however we do see a very vulnerable young girl who has been through a tough time, and consequently got a little lost whilst trying to deal with it. She is immensely likeable, and that is all credit to Lawrence. Often when actresses play slightly wild, angry women, they can be off-putting, vulgar, and irritating, because they aren't convincing in that role. But Lawrence is. She has already picked up a Golden Globe for Best Leading Actress in a Comedy or Musical, and I will be very surprised and disappointed if she doesn't pick up the Best Actress Oscar. Her performance has an earthiness and realism to it that makes us really warm to her. I was thinking recently how there were no actresses in today's film industry that I am a fan of, none who I really love to watch. Every actress I adore had her hey-day during the 1930s- 40s. But I think Lawrence may just be my new - and only - favourite current actress.<br />
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Of course, you can't forget De Niro in this film. He has played so many iconic characters with intricate issues and personalities, not to mention a plethora of gangster roles, that you wouldn't think he would do so well with a simple role like a father trying to help his son. But if anything, De Niro excels in this role beautifully. We see his frustration and anger with his son's behaviour and situation. But we also see the upset, guilt, and hope that he feels for his son to be better. He's perfect in this role.<br />
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Aside from Cooper, Lawrence, and De Niro, the entire cast of this picture all contribute to the overall good-feel of the film. Each one executes their lines and part with flawless precision and effect. One other thing that I really liked about this picture was its score. Danny Elfman has composed quite an unusual score from his other work. It has a modern sound that meanders from up-tempo to melancholy and ambient, wonderfully mirroring the rises and falls of its protagonist. Like the film it has a relaxing feel that is motivational and yet calming at the same time.<br />
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This film boasts an unbounded array of talent in acting, writing, and directing. As soon as it's released on DVD I am purchasing it because I've wanted to re-watch it since it ended. It has a calming, relaxing feel because of its comedic elements, which softens the serious tone (which at times can be quite uncomfortable to watch) of its moving story. There are some hilarious scenes that you will laugh out loud at; that's one thing that this film does brilliantly - it treads the line between comedy and drama delicately. It's finale is pretty easy to see coming as the film progresses, but that doesn't make the ending any less enjoyable. Memorable, true-to-life performances give it gravitas and realism. And best of all - every actor seems to bounce off each other - particularly Lawrence and Cooper, they work wonderfully together in this picture, and have fantastic chemistry. It wouldn't surprise me if a director pairs these two together again in future. You can't judge a film until you've seen all of it, but the moment it started I felt that I was going to love it - and I was right. It is a heartwarming story with slick directing and characters bursting with energy and intensity. A refreshing watch that cannot be faulted.<br />
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My rating: 8/10 - a very good film.<br />
<br />TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com7tag:blogger.com,1999:blog-644541939534301073.post-49034594371619486282013-01-22T12:07:00.004-08:002013-05-15T08:45:56.356-07:00The Hobbit: An Unexpected Enjoyment<div class="separator" style="clear: both; text-align: center;">
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<b>BEWARE! SPOILERS OF THE FILM AND FUTURE FILMS!!</b></div>
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Even though I doubt that anybody will read this post amongst the masses of reviews and blogs that talk about this film, I wanted to share my thoughts on <i>The Hobbit: An Unexpected Journey </i>anyway...<br />
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I don't think that any film director has had more pressure on them, nor higher expectations to meet, than Peter Jackson did with his latest film. I have long understood that to expect the same excellence and success of <i>The Lord of the Rings Trilogy </i>was beyond optimistic; there is no way that he nor anyone else would be able to create the same magic. Although some do have qualms with those films, every time I watch them, I see them as flawless pieces of masterful movie-making, and I can't imagine any other film, nor series of films, that can match it's sheer brilliance in storytelling. Jackson in that sense, is his own worst enemy, because he has set a benchmark that he will never again live up to, but in return for that he has the legacy of <i>LOTR</i>. So yes, there was a lot of expectation, and even though I knew it could never be met, I still had this speck of hope that somehow Jackson would conjure something equally mesmerising. </div>
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After reading the book <i>The Hobbit</i> last week, it became obvious that in order to make the story into three, epic films, Jackson and his crew would have to make up their own narrative from events only assumed, mentioned, or hinted at in the book itself, whilst patching that with details from Tolkien's <i>The Silmarillion</i>. Having said that, I can't imagine how he will be able to make the next two films as long, nor as action packed. The second film of the saga I expect will be mostly concerning the journey through Mirkwood forest which does have a lot of action in it but will mostly be set in the forest itself... this may cause problems. As for the final film, it it likely to primarily concern The Lonely Mountain. It will be very interesting to see how Jackson makes these next two films as full as the first. Anyway, enough of that and now onto the film itself. The first instalment of <i>The Hobbit </i>Trilogy. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX5qgjnG49kEMBQk1nChgzpRl0MvKGlCkaTmN7YceB8taXYuU71yD6EL1An_kHhkrrBn7NindAU28dhCP1EY78-b2hP3uAIiHsgn_j0xZ4Nb1EZRumGzNEimjWPIjGCmwfRa0RQTsa9kko/s1600/Thorin-Oakenshield-thorin-oakenshield-33213838-493-742.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX5qgjnG49kEMBQk1nChgzpRl0MvKGlCkaTmN7YceB8taXYuU71yD6EL1An_kHhkrrBn7NindAU28dhCP1EY78-b2hP3uAIiHsgn_j0xZ4Nb1EZRumGzNEimjWPIjGCmwfRa0RQTsa9kko/s320/Thorin-Oakenshield-thorin-oakenshield-33213838-493-742.png" width="212" /></a>I was seriously concerned in the first 45minutes that I had made a huge mistake in paying to see this film. The beginning sequence telling of the dwarves and their plight with the dragon was really good - not quite as perfect as Galadriel's narration of events in <i>The Fellowship of the Ring</i> - but still it held my interest and looked glorious. Unfortunately, a good 45minutes of the film is taken up with the dwarves visiting Bilbo's home. Not only did I find the dwarves unfunny, as well as the dishes song irritating, but the whole scene just felt awkward and not very well thought out. This scene may have worked in the book, but for cinema it needed a lot more cut from it, and an entirely new structure. I was sat in the cinema thinking there may as well be a million dwarves, because I'm getting confused with their names and the whole scene is such a mess, I don't really understand what's going on. Their piggish eating habits and table manners were grotesque - I know we are supposed to get a real feeling of the dwarves but I don't need to watch dwarves throwing food around a room and stuffing their faces for nearly an hour. Yes <i>The Fellowship of the Ring</i> took 45 minutes for Frodo to leave the Shire, but time passed within those first minutes: Bilbo's birthday, Bilbo gives up the Ring, Gandalf researches in Minas Tirith, the Nine leave Mina Morgul, Gandalf explains to Frodo that he must leave... it is broken up instead of being set in one room and about one meeting like in The Hobbit. All in all, I didn't like the dwarves at all to begin with, and I was genuinely starting to worry about the rest of the film. </div>
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The best bit about this scene was Thorin (Richard Armitage). He is very convincing as a dwarf king who has lost what is rightfully his, and Armitage plays him with a fantastically regal, moody manner. However, even I felt that Armitage held back or was limited by the material he was given. Don't get me wrong I found him really cool and he is instantly likeable, but I didn't find myself rooting for him like I did with Aragorn in the <i>LOTR</i>. The Misty Mountains song that the dwarves sang added great atmosphere to this dull meeting - it was darker, gloomier, moodier, and did more for the woe of the dwarves and their plight than any of them had in the last 45minutes. </div>
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Martin Freeman as Bilbo is perfect from the word go. I warmed to him straight away and really felt like this was Bilbo when he was young. For one he is adorable, and his naivety makes us feel similar to him because we don't really like the dwarves or know what is going on ourselves. What I really thought was done well was the showing of Bilbo's personal journey and experiences as he transforms from someone who doesn't like surprises and who doesn't leave the Shire, to a brave and adventurous person. When the dwarves descend on him and make a mess of his house, Freeman really looked irritated but also a little hurt at the rudeness of the people who have ruined his home. I'd say that Freeman is the best thing about <i>The Hobbit</i>; without him I don't think the film would have been as effective. He gives a flawless, well-thought out performance that is bound to improve with every film. Thankfully, you can breathe an enormous sigh of relief once the dwarves have left Bilbo's home, because the film picks up from that point onwards, and it gets better and better with each scene. </div>
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The journey takes Bilbo, Gandalf (reprised brilliantly again by Sir Ian McKellen), and the dwarves over the edge of the wild, and Jackson and his team definitely create the feeling that these lands are untamed and mysterious. Even though the Middle Earth in LOTR was always scary and dangerous, it still had a feeling of order. Gondor, Rohan, Lorien, Fangorn, Mordor... it all felt like there was civilisation there, and people had good knowledge about each place, even if it was an evil one. With <i>The Hobbit</i>, however, there is a feeling of the unknown. There is an evil in the forest of Mirkwood that has poisoned all that lives there, a Necromancer (we know who that is) dwells in Dol Guldur, a ferocious dragon still lives in The Lonely Mountain and terrifies all who live near him... yes the lands travelled in The Hobbit give a sense of the wilderness and immense danger. All credit to Jackson, I was consistently nervous and scared of the surroundings and landscape which we'd encounter in <i>The Hobbit.</i></div>
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That saying, I did feel like each new location was not introduced well. In the <i>LOTR</i> I felt that the camera always set-up to us that we were in a new place or new realm, e.g. now we're in Rivendell, this is Moria, or here is Lorien. In <i>The Hobbit</i> the locations weren't properly introduced, leaving me slightly confused and guessing where they were - but then maybe that was purposefully done to mirror the wildness of the locations. </div>
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I thought it was brilliant how they made the three trolls on the mountain side cockney. I don't know why but somehow it worked, they all sounded like East-End thugs and even though most of the orcs in LOTR had a cockney twang of some sort, these trolls would have looked right at home in the soap opera EastEnders. Although they were stupid they were also frightening; I felt a little sick at the thought they were ready to eat the horses, the dwarves, and Bilbo.</div>
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One character I did not like was the Goblin King. To me he seemed like a complete imbecile that just waved his arms around all the time and cracked really bad jokes. He didn't scare me at all, when in reality he should have been terrifying. Why make a villain an idiot? It ruins the atmosphere completely, especially if you want us to feel that everyone is in danger. The goblin caves were impressive though, and the final chase of Gandalf and the dwarves out of the caves was spectacular. Quick and fast, I felt as if I were being chased by goblins too, and the immense speed of it all, as well as the camerawork, are something to behold. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivDwVVX76YyYFNZFrb-4_NhGlGClwphZC5ROsTg2kKsa0RFaK4CF7Wx2nmSPW6Ed9z4tP8-Ul3DRCYmslXaTsAQsk92rMCqhTGuGtNjZ0YvYB1JL3oH6tbFbZqqvJCR-OLQRQVDCOWFFNl/s1600/the-hobbit-gollum.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivDwVVX76YyYFNZFrb-4_NhGlGClwphZC5ROsTg2kKsa0RFaK4CF7Wx2nmSPW6Ed9z4tP8-Ul3DRCYmslXaTsAQsk92rMCqhTGuGtNjZ0YvYB1JL3oH6tbFbZqqvJCR-OLQRQVDCOWFFNl/s320/the-hobbit-gollum.jpeg" width="320" /></a>Of course, one cannot talk about this film without mentioning the scene between Bilbo and Gollum. If you don't know what cinema magic is then this was it. Looking around the cinema as Gollum appeared in The Hobbit, you could clearly see the smiles on peoples faces. He's back! Andy Serkis returning to a role that he has so completely made his own was wondrous to watch and what I hate is that he really doesn't get enough credit for his talents in this role. Sure Gollum is a computer image, but they model his facial expressions on Serkis' own, and the voice and mannerisms are all acted by Serkis. It is all Serkis, and without him Gollum would never have been effective. I liked how they had made Gollum appear younger; we forget that this story happens nearly 100 years (I think?) before Frodo and the Ring, so Gollum is a good deal younger. They show this via making his eyes brighter and skin less wrinkled. </div>
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Regardless of how happy I was to see Gollum, or how riveting the riddles were, even this scene dragged with one or two riddles too many. I kept expecting them to end, but there were more. I have a feeling that Jackson included every single riddle from the book that is exchanged between the pair, but again - don't think that that worked cinematically. I suppose by using all of the riddles revealed to us how clever and resourceful Bilbo is, as well as how angry, murderous, and devastated Gollum becomes when he loses the ring. What it does do brilliantly, is reveal how deep in the Misty Mountains Gollum lived for so long - alone with the ring. Nor wonder he became so consumed and corrupted by it. </div>
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One thing which I detested was the character of Azog. He looked super computerised, and so did many of the other characters in the film. I was really amazed at how horrific and scary the make-up department made characters in the <i>LOTR</i>, like the deformed orc Gothmog in <i>The Return of the King</i>. So much effort was made so that he looked like a real monster, and yet with Azog here, he just looked like an uglier version of Voldermort. I know that prosthetics and make-up cost time, money, and are uncomfortably as hell to wear but the effect is so much stronger. It is because of that that they fell short here... Azog was not scary, primarily because he looked fake. It didn't help that he just seemed to grunt and had boring lines to say. Even the moment where Azog and his gang of orcs surround Bilbo and the gang on trees that are on fire and falling off of a cliff, he just seemed really dull and hardly the huge force to reckon with that he is made out to be. </div>
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Leading on from that, there was one major problem with this film. There are endless near death misses and traps, but Jackson and his crew failed to show them as seamlessly in a flowing narrative like they did with <i>LOTR</i>. Let's compare, in <i>The Fellowship of the Ring</i> we have so many close shaves: the hobbits with the Ringwraiths in the woods, Arwen and the wraiths, the Crebain on the mountain side, Saruman making the mountains avalanche and force the fellowship into the mines, the giant squid, the goblins in the mines and the troll, the Balrog, and finally the Uruk-hai. Not once in that film did I feel like the narrative was disjointed and wobbly, and like 'here we go again, another near death experience.' However in <i>The Hobbit</i> it did. It felt so stop and start-y, that I found myself thinking 'oh no, not another near death experience'. This is nothing wrong with the story itself, but it does show that something wasn't quite right in the script, or the way that Jackson planned the film. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLRSraKwfnN9PuMki6HgKMwwMw3iFJWRhJQdUUXHFpLuIIly24D0BlsO-K9oSrjq_ahw-P3ZOY5lTabqrsBxo-7ozjIKta0U6wnK1l2oNeZ7zrKXI8w-92YpccxLjpOLUzJmANDueQ7VP7/s1600/HobbitRock500.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLRSraKwfnN9PuMki6HgKMwwMw3iFJWRhJQdUUXHFpLuIIly24D0BlsO-K9oSrjq_ahw-P3ZOY5lTabqrsBxo-7ozjIKta0U6wnK1l2oNeZ7zrKXI8w-92YpccxLjpOLUzJmANDueQ7VP7/s320/HobbitRock500.jpeg" width="320" /></a>That saying, all in all, I actually really enjoyed the film - much more than I expected. Yes it started awkwardly, the narrative did not flow flawlessly, the Goblin King and Azog were disappointing, CGI seemed to almost completely replace prosthetics... indeed there is no doubting that a lot is wrong with this film. I have heard Jackson in an interview say that they made this film in a year due to changes etc, and I think that's what caused the problems. There is a sense that the film was rushed and not as thoroughly thought through as LOTR. It's just a bit of a mess. It is far from perfect, and I hope that Jackson and co. improve for the next two instalments, because regardless of its flaws, I really enjoyed it. I was so sad when it ended. From the moment Bilbo and his gang set off on their adventure the film improves exceedingly with every minute. I was scared, on the edge of my seat, curious as to where we were going to end up. I left the cinema happy, and wanting to talk about it. I wanted to see it again straight away. I started reading the book almost immediately. I found myself being annoyed that I had to wait for the second and third films. I even believe that I would enjoy it even more on the second watch, and other watches after it. </div>
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I am so curious to see how they show the dragon Smaug (although we do get a glimpse of his eye at the end of this film) and am very interested to see how they develop the story with the Necromancer. I am dreading the scene with the great spiders in Mirkwood though - beware all fellow arachnophobes, this will probably be our worst nightmare if the book is anything to go by. Give me Shelob anyday! </div>
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I asked a friend what he thought of <i>The Hobbit</i> before I went to see it, and he said <i>The Hobbit</i> is a child's book. Don't expect seeing something as serious as <i>The Lord of the Rings</i>. And he was completely right. It is a children's tale. </div>
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Additionally, for people who complain about changes made from the original story, I read a fascinating article where the writer explained how Jackson's alterations and amendments to the story were to help merge and connect the story of <i>The Hobbit</i> more fully with <i>LOTR</i>. We have to remember that <i>The Hobbit</i> was written first, and it was only when his publisher's asked him to write more that Tolkien wrote <i>LOTR</i>. If he had <i>LOTR</i> in mind before he wrote <i>The Hobbit</i> then it would have fitted together more perfectly, but Jackson has done that for us here. This is the article for anyone who is interested in a comparison between the film and the book: <a href="http://arstechnica.com/staff/2012/12/a-tolkien-nerds-thoughts-on-the-hobbit-an-unexpected-journey/" target="_blank">http://arstechnica.com/staff/2012/12/a-tolkien-nerds-thoughts-on-the-hobbit-an-unexpected-journey/</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8DQuD9m2P_K_PM0Vx0dnkagwfdMIS8cSb8ULDCqZ87uuu9ZErdexvq1vL582uS09N43VL7nnX5j8YqSEMv5HBqvXTEoXx_FxUnaCfyJgUfoNI83zO5TCq2WtKQfeN_6k24LaDZsOdFhy9/s1600/the-hobbit_2422493b.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8DQuD9m2P_K_PM0Vx0dnkagwfdMIS8cSb8ULDCqZ87uuu9ZErdexvq1vL582uS09N43VL7nnX5j8YqSEMv5HBqvXTEoXx_FxUnaCfyJgUfoNI83zO5TCq2WtKQfeN_6k24LaDZsOdFhy9/s320/the-hobbit_2422493b.jpeg" width="320" /></a>This is not a flawless masterpiece like the <i>LOTR</i> trilogy. I honestly don't think anything will ever match the grandeur, magnificence, and wonder that was those films - and I definitely can't see Jackson matching his work. That said, this film, with all of its faults, was exciting, thrilling, and I can't wait for the next two. The fact that it got better and better with each scene makes me hope that the same goes for the next two films - that <i>The Hobbit Trilogy</i> will go from strength to strength. As per, Jackson showed some breathtaking scenes and gave us a real adventure, and the chance to visit Middle Earth again. And Freeman as Baggins is undoubtedly the star of the picture. I really need to see this film a second time, without the expectations of its predecessor, nor the doubts of the poor reviews I had heard from others. I enjoyed it immensely, and cannot wait for the release of the next two.</div>
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Overall, I happily give this film a rating of 7-7.5/10. </div>
TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com0tag:blogger.com,1999:blog-644541939534301073.post-86600250005593354082013-01-08T11:34:00.001-08:002013-05-05T09:42:31.286-07:00Vertigo vs. Basic InstinctBEWARE! SPOILERS!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ2ZgjTzfk9210Lw9qusiZKMRqc69hBOBwBwI0-vxVNqrXDG_cFhds1QpVLrdRpUn2bMQXO0dmCMNSfNl84UBkNtCeYD44O5DcW43f1mB1N10tjTfMnB6yEYxtUgTUJXG_sV40FV0XyLHM/s1600/vertigo-movie-poster.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ2ZgjTzfk9210Lw9qusiZKMRqc69hBOBwBwI0-vxVNqrXDG_cFhds1QpVLrdRpUn2bMQXO0dmCMNSfNl84UBkNtCeYD44O5DcW43f1mB1N10tjTfMnB6yEYxtUgTUJXG_sV40FV0XyLHM/s200/vertigo-movie-poster.jpeg" width="131" /></a>Before anybody starts thinking that I'm going to compare <i>Basic Instinct</i> (1992) to Alfred Hitchcock's masterpiece <i>Vertigo</i> (1958) - don't panic. I found <i>Basic Instinct</i> a very average film that started well but unfortunately dragged out 45minutes too long, for which the plot and characters became boring, unrealistic - and the ending I no longer cared for. This was a shame, as I found Stone's character really cool and interesting at the beginning, and the pace of the film was fast in the first hour.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8cjNIWHpVucpnb3ISsZ7eFJFbeuyCTv6LDU-szlpg6tLgO-G_lUrHpSyd3R4N9cd8dbaZ83hJFWDvRAv-uUTW17ikf8NalCeGott4dc5cX-NJ_Er_23R-rLacUosW0CwigmyHe_aVKsyl/s1600/basic_instinct.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8cjNIWHpVucpnb3ISsZ7eFJFbeuyCTv6LDU-szlpg6tLgO-G_lUrHpSyd3R4N9cd8dbaZ83hJFWDvRAv-uUTW17ikf8NalCeGott4dc5cX-NJ_Er_23R-rLacUosW0CwigmyHe_aVKsyl/s200/basic_instinct.jpeg" width="135" /></a>However, I was struck by how similar Sharon Stone's character, Catherine Tramell, was similar in appearance to Kim Novak's character in <i>Vertigo</i>, Madeleine. It turns out that I wasn't alone in this, and when I looked it up on Google, many others had noticed this similarity too. I don't know if the intention of the make-up artist or costume designer was to base Stone's appearance on Novak's, but it sure is similar, and one cannot deny that Novak's look in <i>Vertigo</i> is striking and unforgettable.<br />
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Here are just a few images to show the comparison. I'm sorry that this isn't a very long or interesting article, but I am always fascinated when films take inspiration from the classics - especially when it comes to characters and appearance.<br />
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The scene I will be referring to where Stone is most like Novak is in the infamous interrogation scene from <i>Basic Instinct</i>.<br />
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Firstly, the costume. Although the colours of the dresses are different, both are turtle neck, and are worn with a stylish, white coat. Stone wears a white dress - I'm supposing this is to symbolise that she is "innocent" of the crime that she is being investigated over - whilst Novak's was black - possibly to contrast her coat and show that there are two sides to her character. The outfit is striking, glamorous, yet very simple, and makes our leading ladies look memorable.<br />
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Secondly, is the hairstyle. In <i>Vertigo</i>, Novak's hairstyle is of particular importance, and although Stone's differs ever so slightly, it is still in the same French-style bun - tightly pulled back, revealing her fantastic face. I am not talking about the 'Carlotta' hairstyle that Novak sports in some scenes, rather the style she wears it in when she's not "in a trance."Another point - they both have very light blonde hair.<br />
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Finally, the make-up. Novak's eyebrows in <i>Vertigo</i> differ greatly from how she normally wore them. For this role, her eyebrows are much darker than her hair colour, thicker, and denser. Stone's are the same, but instead of being heavily drawn on, hers have not been plucked. The make-up is considerably light. Their eyes are framed and their flawless skin enhanced, but no heavy make-up is used - it appears that both make-up artists wanted to show their naturally beautiful features. Another similarity is they both wear a very pale lip - almost as pale as their skin. Their make-up is simple, low-key, but striking too, in that it shows off their incredible bone structure, mesmerising eyes, and natural attributes.<br />
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Anyone who has seen <i>Vertigo</i> will have noticed this when watching <i>Basic Instinct</i>. I tried to think of other similarities between the films but there were few notable ones. Both are set in San Francisco, and both feature a detective who follows and then becomes obsessed with a woman. But both women are very different - Novak is innocent and unaware of how Stewart will become attracted to her (although she is aware that she is being used in a murder plot), whilst Stone starts reeling Douglas in from the moment she meets him, and she is a murderer. Basically, there are connections but none can really be elaborated on. However, it is interesting that Novak's character be the basis for the look of Stone's in her most famous scene, especially when they are so different and the film involves a detective following and becoming obsessed with a woman in San Francisco. If anyone has any thoughts on this, please share in the comment section.TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com11tag:blogger.com,1999:blog-644541939534301073.post-53833076627498921932012-09-20T10:42:00.003-07:002013-05-05T09:43:04.949-07:00The King's Speech: The Point of View Shot<i>SPOILER ALERT!</i><br />
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<i>The King's Speech </i>(2010) has received a lot of critical praise for it's performers (Colin Firth, Geoffrey Rush, Helena Bonham-Carter) and the first time I watched it, I myself was touched by the performances given by the leading actors. But on watching the film for the third time recently, I found my attention was drawn to the camera work and primarily, the use of the point of view shot.<br />
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Most of you who come across this blog will be familiar with the point of view shot, or the POV shot. For those of you who aren't, it is basically when the camera films in the place of the character - where we see what they are seeing from their perspective (as if we for a moment are their eyes watching). <i>The King's Speech</i> uses this technique to great effect by director Tom Hooper, and I will discuss how they are used well in the beginning and final scenes of the film.<br />
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Instantly with the film starting we are given our first example of the POV. There has been barely any dialogue yet, and unless you have read about the plot of the film, you don't know what the film is about. So, as an audience, we see the familiar face of Colin Firth, and here he is playing King George VI, (at this moment in the narrative he is still Prince Albert). Anyhow, we see a rather glum looking Prince is walking through some tunnels and eventually comes to some stairs. We already get the feeling that he seems a bit reluctant to ascend the stairs ahead of him, and with begrudging look he continues this trek to - we don't know where. The camera now cuts to a POV of the stairs, and the camera moves as the Prince moves, up and up until we reach an opening with a microphone in the middle, but as the camera moves higher, a stadium filled will thousands of people comes into view. As an audience, we understand that the Prince is to give a public speech of some sort, but as we see every single face of the thousand's in the crowd, turn to face him, this sudden feeling of stage fright overcomes us. We've all had to stand up and speak in front of people before whether it be in a school presentation or something, but that many people is a shocker, and as the audience you feel slightly on show. Of course, we know that this is the Prince and he should have no problems delivering a speech. But when the camera cuts back to the Prince, the feelings we felt are mirrored in his face except his face is filled with fear and discomfort. The little red light flashing and then going steady to show that he is now live on air is also shown via a POV. The use of these images creates this sense of pressure: you are the prince, here are your subjects, here is your speech, and now you are live on the radio. When the Prince can barely get a word out, we understand that he clearly has a problem with not only speaking publicly, but speaking generally - he stammers. This scene really sets the tone and feel for the picture, and solidifies our understanding of just how big a problem the Prince has, especially in relation to his job as Prince. By using the POV shot we see how the Prince feels completely on show, under pressure, and alone, regardless of his wife next to him, when his job requires him to speak publicly - he simply cannot do it. In many ways, this opening scene resembles that nightmare we have all had of turning up to school nude and every one is staring at you laughing, except this time the nightmare is a Prince being unable to speak to his people, leaving for an awkward and deafening silence in the stadium.<br />
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From my analysis and the screen caps used above we have seen how the POV shot was used to set the scene of the film, to help us understand how the Prince was when his fear was strong and all treatment for the problem had failed. Now we are going to look at the closing scenes of the film, when Prince Albert is now King George VI, and his treatment from speech therapist Lionel Logue (Geoffrey Rush) has not only helped him overcome this problem, but also reveal the underlying personal issues that began the stammer in the first place. It is the day after war has been declared on Germany, and the new King has to make a speech to his subjects about the upcoming hardships they will have to endure again. This speech is of huge important, for the country needs to be lead by it's King, and for that to be done he must deliver regular radio broadcasts that will lift the morale of the nation and let them know that they are not alone. So, how does Hooper makes this scene effective technically?<br />
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Once Bertie is in the room where he will give his radio broadcast with Lionel. Instead of a cold, open stadium, the setting is a small little room decorated with drapes - very cosy. We have a close-up of Bertie looking petrified and anxious with the microphone almost totally covering his face - he has no escape from the radio, he has to do this for his people. And now arrives our trusty device, the camera cuts to a POV shot of Lionel smiling, reading to conduct Bertie through his demons and through this speech - to lead him to victory. There are no crowds here, there is no open space, but instead a friendly face. The only friend Bertie has ever actually had. It's the same camera set-up with the same Prince except now he is King and now he has help. By using the same framework he used at the beginning of the picture, Hooper is showing us how much changed for Bertie and how much he has progressed since that cold day. Of course, this is followed by an inspiring speech, which by the way Lionel stop conducting Bertie have way through the speech. He does it all by himself.<br />
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It is a beautiful moment in cinema and a hugely moving one, especially when it is based on a true story. To watch this film as a Brit, knowing the truth behind it, I couldn't help but feel proud and patriotic about our former King overcoming all of his demons to do the job he didn't choose, but was given to do.<br />
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As a whole this film is really worth watching because it just sheds a completely different light on the Royal family. I don't want to debate about the Royal's, I actually like them, but sometimes we always think how come they get to be born into luxury and greatness. Why are they given that right? But the truth is sure they live in luxury and wear nice things, but they don't have a choice and this film highlights that. Prince Albert hated public speaking, he was very self-conscious, and never expected to be King, but when his brother abdicated he had no choice. He got on with it because it was his job. Could you honestly say that if you were a Prince and suddenly you had to become King and all the pressure was on you to lead your country to victory in a war against Nazi Germany that you would welcome it? You probably couldn't be bothered - let someone else do it! That's what we would probably say. Helena Bonham-Carter plays the Queen Mother in the picture (wonderfully too) and in one scene she tells of why she turned down Bertie the first two times he proposed - because she didn't want to live a life that wasn't her own, and it's true. She gained a lot from the marriage, a lovely family, a lovely homes, things that we could only ever dream to afford, but she did give up her freedom to do as she wanted. She had a duty to the public from the day she married Albert and that was that. This film really adds a human side to the Royal family - as Bertie says in the film whilst driving through town and looking at the common man, 'they know so little about me and I so little about them.' To us, the Royal family seem like such divine beings, but in this film we see a normal family, with two loving parents and their two lovely daughters. The father tells his children a bedtime story, the mother supports her husband with the troubles he encounters. This all sounds very familiar to families of our own doesn't it?<br />
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I think my favourite moment in the film is the finale when the King has delivered his speech magnificently, and he and his family step out onto the balcony of Buckingham Palace. Another POV shot is used here showing the enormous crowds of people cheering on the Royal Family - the family that will lead them to victory, and who the public will look to for hope. It's a lot of pressure to be looking at too - so many people all depending on you. But the cheers and waves from the crowd welcome the family to their new home in Buckingham Palace, and those waves are reciprocated as the camera cuts to the family themselves, smiling and waving to their people. It's a beautiful moment that is shot exquisitely by Hooper.<br />
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<i>The King's Speech</i> is quite simply - a masterpiece. Loaded with hilarious moments between Rush and Firth, as well as many heartbreaking moments too, it is a wonderful journey that everybody should take part in. It truly is so beautifully shot, so magnificently acted, and so wonderfully moving, that you cannot miss it. You will fall in love with the film - the music and the scenery just throws you back to that era. I love the way most of the film is shot in cold or dreary weather conditions, mirroring the looming gloom of troubled times ahead. It is a new classic in the film pantheon, and is without a doubt one of the greatest pictures I have ever seen.<br />
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P.S. If you look at the picture above of the scene where Lionel falls out with Bertie, was anyone else reminded of the final scene in <i>The Third Man</i> (1949)? I couldn't help but notice the similarity, it must have been a homage from Hooper!TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com2tag:blogger.com,1999:blog-644541939534301073.post-61817491101033498242012-09-13T05:32:00.003-07:002013-05-05T09:43:23.144-07:00Quick Review: Up In The Air<div class="separator" style="clear: both; text-align: center;">
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Jason Reitman's <i>Up In The Air</i> (2009) is one of those films I'd heard was good a few years ago and I was aware it had won awards, but I just never got round to watching. At least several times my boyfriend and I had got the DVD out ready to watch, yet always ended up watching another film instead. However, finally we put the film on and what a great film it turned out to be. <i>Up In The Air</i> is one of the loveliest, cleverest, most enjoyable comedies I have ever watched. Whenever I hear a comedy is nominated for an Oscar I usually find it's not actually that funny, but this really was, and then some. I found I was laughing genuinely instead of just finding some of the jokes slightly amusing, but also I wasn't laughing the entire way through, because there were moments of pathos where I got a bit teary. So there's a good mixture of things to expect in this film, and all of them are fantastic.<br />
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The plot is as follows: Ryan Bingham (Clooney) works for a company that is hired by other companies to fire it's employees. Bingham loves this life because it means he lives a life detached from reality and responsibility, he travels the world firing people, staying in hotels and has almost reached the 10 million air miles mark. The "dream life" he leads however, comes into jeopardy when a new employee, Natalie Keener (Kendrick) joins the team and pitches her idea of the company firing people via video call instead of needing to travel the world. Bingham of course hates this idea, especially having recently met the beautiful Alex Goran (Farmiga) who also spends most of her time in the air. So, the film follows Bingham and Natalie flying around the world doing their job in order for him to teach her how the job works, and how video calling people to fire them wouldn't work. A lot more happens in the film, but I don't want to give any of the film away.<br />
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The best thing about this picture aside from the brilliant script, is the cast. They really make the film come together and work as well as it does. The three leads are George Clooney, Vera Farmiga, and Anna Kendrick. I first saw Kendrick in the <i>Twilight</i> films and even though I do not like those films I really liked her performance, and even though I didn't know who she was at the time, I remembered thinking how good she was. I also saw her in another, much better film this year, <i>50/50</i> (2011) where she played the therapist to Joseph Gordon-Levitt's cancer patient, and she was great in that role too. But here in <i>Up In The Air </i>she really gets her chance to shine and next to such experienced actors as Clooney and Farmiga, she gives a performance in the same league as them. She is a hugely likeable actress, very sweet and great with comedy, and she is definitely someone we'll be seeing a lot more of in future.<br />
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The gorgeous Vera Farmiga plays a very sexy businesswoman whose job consists of a lot of air travel time, like Clooney, and they both meet at the airport one day and as you can guess, sparks fly. I have only seen Farmiga in <i>The Departed</i> (2006) and <i>The Boy In The Striped Pyjamas </i>(2008) but in both of those films she was moving in her role and convincing, as well as being very likeable (like Kendrick). There's a classiness to Farmiga that you rarely see in actresses these days. I'm not saying that there are no good actresses anymore, there are many. However, very few seem to have this classy, almost regal quality to them, so it's a real breath of fresh air to see Farmiga in a film. Not to mention the fact that she is ridiculously beautiful. Anyhow, she meets her match in Bingham, for they are both not looking for a relationship, just the benefits of both being very attracted to each other, getting on extremely well, and also having the ability to meet up on the job because they both fly a lot to the same locations.<br />
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George Clooney is a great actor, and it annoys me that he is more famous for his love life because he is actually a very talented individual. As far as comedy goes, he takes to it like a duck in water, he makes it look so easy and effortless, for example in this film and <i>Burn After Reading</i> (2008). But he can also excel in serious drama like <i>Syriana</i> (2005), a film which he won an Oscar for, and where his performance can be described as nothing below mesmerising. He has also proved himself critically in his directing abilities with <i>Good Night, and Good Luck</i> (2005) and <i>The Ides of March</i> (2011). So Clooney does have a very impressive filmography to his name, and his performance in <i>Up In The Air</i> is one huge gem in his career. He is perfect for the role, you really believe that this a guy that is loving life without the responsibilities, he doesn't bother with his family, he doesn't have a proper home, he just travels the world and does what he wants, when he wants. When he meets Natalie his philosophy on life with a family or a house etc being excess "baggage" (which by the way he gives lectures on) is put into question. The banter between Clooney and Kendrick is really great to watch, as well as his chemistry with Farmiga.<br />
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I will say no more because I will ruin the film and give the game away. But this is a must-see. It shows the life of the individualist coming to terms with the reality of his lifestyle, and the effect it has on other people (particularly his family). It boasts three wonderful performances from some of Hollywood's most talented actors (all of whom received an Oscar nod for their roles in this film). I put off watching this film for ages but I am really glad that I finally gave it a go because I enjoyed it immensely. And the best bit about it? It didn't diverge into a typical Hollywood mushy ending, and not one part of the story was predictable. A truly great watch. My rating for this film? 9 out of 10/ 5 stars.TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com0tag:blogger.com,1999:blog-644541939534301073.post-29710982572690700632012-09-07T09:17:00.004-07:002014-01-06T09:46:21.562-08:00The Witches: The Real Deal.<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFw4T6qHTfKQSAz8K1uF3bgaByYmnTaeDpHrAdLOPJLo_fiowkzreLzddKq54ZG0rzbkAMKEJff1vBzSDwN0COFiK-39AEGQXGMjOxmlH_6UqWvBihNGl0Ba_tMeOnlYWvr3guRZbn95M0/s1600/600full-the-witches-poster.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFw4T6qHTfKQSAz8K1uF3bgaByYmnTaeDpHrAdLOPJLo_fiowkzreLzddKq54ZG0rzbkAMKEJff1vBzSDwN0COFiK-39AEGQXGMjOxmlH_6UqWvBihNGl0Ba_tMeOnlYWvr3guRZbn95M0/s320/600full-the-witches-poster.jpeg" height="320" width="216" /></a><b><i>BEWARE! SPOILER ALERT!</i></b><br />
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The scariest film I ever watched as a child was Nicolas Roeg's <i>The Witches</i> (1990). There were many scenes in films that scared me when I was little, like the two kids hiding in the kitchen from dinosaurs in <i>Jurassic Park</i> (1993) and the evil queen in <i>Snow White and the Seven Dwarfs</i> (1937), but nothing I saw as a child terrified me more than <i>The Witches</i>. I can still remember the sheer horror that struck me when the seemingly beautiful Grand High Witch (Angelica Huston) removed her mask, and although the other times I watched it I had to cover my eyes during that scene, I enjoyed the film because it was good scary. Watching it as an adult now I realised just how disturbing the film and Dahl's story actually is but when you're a kid this goes over your head, and the film is purely an adventure, with a few hide-behind-a-cushion moments.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8hvvBRe0tgbOuIdnZYDnkqIDbh9yl2P0E385jfaHNNIDXAgA06w9wTX0IehR9VEXEjhwmzoMu7Ew7-MbxB4iyrEeBLyhU7PVn7w1NvnhpzF2ETkoLSA_bNxorrTP3HpnXW0_q9nXmcVxY/s1600/Anjelica-Huston-in-The-Witches-1990.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8hvvBRe0tgbOuIdnZYDnkqIDbh9yl2P0E385jfaHNNIDXAgA06w9wTX0IehR9VEXEjhwmzoMu7Ew7-MbxB4iyrEeBLyhU7PVn7w1NvnhpzF2ETkoLSA_bNxorrTP3HpnXW0_q9nXmcVxY/s320/Anjelica-Huston-in-The-Witches-1990.jpeg" height="210" width="320" /></a>But what makes this film work? It is such a fine balance to make a children's film both enjoyable and scary, yet so easy to fall into the unbelievable or unsuitable category. <i>The Witches</i> flopped on release unfortunately, which is probably the reason why it's not talked about as much in film or in comparison to Disney's hugely successful <i>Hocus Pocus </i>(1993). However I believe that this gives full credit to how good <i>The Witches</i> is, because other great films that flopped on release like <i>It's A Wonderful Life</i> (1946) and <i>The Shawshank Redemption </i>(1996) both keep appearing in peoples favourites. Via word of mouth and people telling each other you have to watch <i>Shawshank</i>, both films grew in popularity more and more. <i>The Witches</i> does not appear on those lists, and it is not a film that is always shown at Christmas like <i>It's A Wonderful Life</i>, but it has a huge following. Everyone I know, saw this film as a child and were terrified and loved it. If you mention <i>The Witches</i> in conversation with your friends they all say "ah I love that film, she (Huston) was so scary!" Even on imdb.com, <i>The Witches</i> is 0.6 points ahead of <i>Hocus Pocus</i> (6.1). Commercial success does not necessarily mean that a film isn't good, and as far as <i>The Witches</i> and it's following are concerned, it also shows that a film's greatness is given a more truthful understanding by it's impact on audiences years after it's release.<br />
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So, what makes this film so successful? Lovers of the book have complained that changes were made and even Roald Dahl was annoyed at the happy ending, but what many agree on is that the director Roeg kept the essence of the book. This is key to all Dahl adaptations - you cannot replace the disturbing/scariness of the book with plain weirdness (take note Tim Burton). That's why <i>Willy Wonka and the Chocolate Factory</i>(1971), <i>Matilda</i> (1996) and<i> James and the Giant Peach </i>(1996) all worked, because the scary element was still there, particularly the idea of children on their own against the adult world. <i>The Witches</i> is widely known to be the most disturbing of Dahl's stories, and perhaps it's being directed by a man known for being able to make a good horror picture (Roeg's <i>Don't Look Now</i>), I guess you could call it a match made in heaven.<br />
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Now to look at the film in more detail...<br />
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Firstly, the film starts perfectly. The opening titles has the camera traveling rapidly across continuous snowy mountains (possibly Norwegian as that is our starting location) which is already quite a bizarre way to start a picture. With these images we also have a really fantastic soundtrack from the one and only Stanley Myers, a weird mix of daunting and mysterious sounds, juxtaposed with a merry, joyous and somewhat magical ensemble that for me, just oozes 90s children's fantasy. Anyhow, this music and the mountains is a great start for the picture, it just seems to put you in a good mood, and wonder where we are travelling too? I love it.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUxq3WSGkC9hSo1MnRrGvXDoELU24yPk7UcbwkgnjJORXISO3B8wBhf833QMYg8RYbmYolxagPSrJ3FaenypfdqNyMxGR8JrZ9HxLu-mdtUP4Gm6Y8q9Sbnxq38ER0wHBds-mhz0t5wgF_/s1600/T-11.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUxq3WSGkC9hSo1MnRrGvXDoELU24yPk7UcbwkgnjJORXISO3B8wBhf833QMYg8RYbmYolxagPSrJ3FaenypfdqNyMxGR8JrZ9HxLu-mdtUP4Gm6Y8q9Sbnxq38ER0wHBds-mhz0t5wgF_/s320/T-11.jpeg" height="240" width="320" /></a>Before long we find ourselves in a cosy room with a grandmother and her grandson, Luke, making candles. This of course isn't as innocent a scene as it sounds because we are immediately thrown into the middle of their conversation: she is telling him all about witches. Now this is quite a while before any of the action has really started, this is just a build-up, but already what we hear is disturbing. She tells of how witches despise children and spend their lives destroying them. How witches have no toes, no hair, and purple tinted eyes, meaning that they wear wigs that make them itch, and sensible shoes. Perhaps the scariest detail the grandmother tells us is that witches can smell a child, even if they are across the road, and most especially if they have washed. To hear this as a child was really scary. I remember the slight panic in my stomach at those words, the glance I gave out the window... a witch can smell you?! Really a genius thought from Dahl, and wonderfully presented in this film. Whilst the grandmother gives all of these facts of course the camera keeps cutting to flashbacks of a horrible witch and her child victim - one of the grandmother's childhood friends. This is really clever because us hearing the grandmother say that her best friend was taken by a witch makes it so much more convincing, she is a witness. And when the grandmother shows Luke her hand where one of the fingers is missing, she states that it was from trying to escape a witch. So her account and everything we are being told is first hand evidence.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgSGzGGpuroIQZKPlwZl5dtpI9PSC_Mf9hPK6tRaL_mnadQgs1FrPqRIpt4OtSEYedoR8At9JK2GHPqeVflTNHqJ6RwUIe6DsshvorgPF-hKlbQslRcjI3_p0wKZM-GvqgwkSvMmxDpcGt/s1600/tumblr_m2978uswGK1qcoaeto1_500.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgSGzGGpuroIQZKPlwZl5dtpI9PSC_Mf9hPK6tRaL_mnadQgs1FrPqRIpt4OtSEYedoR8At9JK2GHPqeVflTNHqJ6RwUIe6DsshvorgPF-hKlbQslRcjI3_p0wKZM-GvqgwkSvMmxDpcGt/s320/tumblr_m2978uswGK1qcoaeto1_500.jpeg" height="180" width="320" /></a>This conversation continues for quite some time, including how witches dispose of children (the grandmother's best friend was locked in a painting for the rest of her life) and how there is a Grand High Witch who is in charge of all witches. All of these facts form a solid foundation for us to think about witches, even doubt the grandmother, but also feel slightly nervous that the grandmother's stories might actually true. Luke's parents die that night in a car accident, and the grandmother takes him back to England where he gets some pet mice for his birthday. So the story of witches takes a break for about 5-10minutes of the film, it focuses on the boy and his grandmother. But we do have one very interesting incident when Luke encounters a real witch for the first time, luckily from his tree house. This scene is pretty powerful for a child because Luke is doing what we all did as children - playing outside on their own in the garden. Whilst up in his tree house, we see a glamorous woman, dressed in a smart black suit appear in the background. She is wrinkling her nose in disgust, like she has smelt something revolting (the audience immediately wonders if she is a witch after the grandmother's story). Her head is looking around frantically until she spots Luke up in the tree. Her stare stays on him until she reaches the bottom of the tree. She starts talking to him and offers him a present, but whilst she speaks with him she removes her sunglasses, revealing bright purple eyes. To this, Luke gasps - it's a witch! And we the audience are genuinely worried for Luke at this moment. The scene continues with the witch offering him a snake, a bar of chocolate, and even knowing his name when he refuses to tell her it (showing her magic). Luckily because of what his grandmother has told him, Luke does not fall for her gifts and shouts for his grandmother, who starts coming over to him just in time. The witch quickly walks off as soon as the adult is close, leaving the snake on the wall for Luke. By the time the grandmother arrives, the snake has disappeared, and the camera cuts to the witch walking down a lane pulling the same snake out of her handbrake - again showing her magical powers. Luke tells his grandmother and she believes him.<br />
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So after this incident, the audience is left thinking witches DO exist, we just saw one - we saw her eyes, her magic, and she was trying to lure the boy. We really don't know where the story will go from here, but all we know is that witches are real and they do not like children. The grandmother is shortly diagnosed with diabetes and after being recommended to take a holiday for some rest, she and Luke go away to a seaside hotel - which already looks eerie against the grey sky and with the spooky music accompanying the shot. Little do they know, or we for that matter, that Luke and his grandmother could not have picked a more worse time to stay in that hotel.<br />
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I've explained the film in quite a bit of detail now but this was only to show how witches are introduced and how the audience is influenced into believing in them, etc. I will only talk about a few final points with this film.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB3mLNtZyhdn4CiuU3d98UyBWQCOHrKK15orQQkXpLbMvb9KpZVe4rKGzqQ5vDnBCQdnNOCUGDnaro4qwtWvLr0UiM63sC0YebIHeXfjyX3KyPqrksU73JkKdcO_ShmUMvAMMNvnUsPXcH/s1600/AnjelicaHuston1990-Witches.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB3mLNtZyhdn4CiuU3d98UyBWQCOHrKK15orQQkXpLbMvb9KpZVe4rKGzqQ5vDnBCQdnNOCUGDnaro4qwtWvLr0UiM63sC0YebIHeXfjyX3KyPqrksU73JkKdcO_ShmUMvAMMNvnUsPXcH/s320/AnjelicaHuston1990-Witches.jpeg" height="313" width="320" /></a>By the time we reach the hotel, there is one actress who steals the show from the grandmother, Luke, and the director, and that is Anjelica Huston. She plays the Grand High Witch and my oh my has there ever been a woman more terrifying than Huston in this picture? I really don't think so. She makes Miss Trunchbull (Pam Ferris in <i>Matilda</i>) look like Minnie Mouse. There is a regal quality to Huston that she has always possessed, and she really gets to have fun in this film which I think makes her performance that much greater. The Grand High Witch is the most evil woman in existence, but our first impression of her is that she is a vain snob. Huston gives her a strong German accent and walks around with her head held high. She looks absolutely stunning and like a real movie star, but of course the horror she reveals in the witches meeting when she removes her wig/mask is a real shocker if you've never seen it before. She stands there at the front of the hall, on a stage and yells, "Are ze doorz larrcked and bvolted?!' Once the security of the room is confirmed, all of the witches remove their shoes and wigs - which is horrible enough. Then Huston holds her wig back, peels the skin of her forehead away, and with the help of her assistant tugging, they begin to remove what is actually a beautiful mask. Here we have one of the most shocking, revolting and terrifying moments in film - the true face of the Grand High Witch. 21 years after the film was made and the prosthetics/make-up used to create this foul witch have stood the test of time, looking more real and more horrifying than any modern day effects could even try to do.<br />
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Of course, to make the prosthetics work you need a good actress, and Huston embraces the role and truly becomes the witch. The transformation leads to her voice becoming harsher and throatier, striking fear into all of the witches. Her movements are creepy and involve a lot of waving of the arms and hands (which are also brilliantly transformed into gross claws). She is full of authority, and by using her arms/hands to express and give extra force to her words, she commands the room with prestige. As far as the audience are concerned, this isn't Huston in make-up, this is THE Grand High Witch, and as she goes on to discuss her formula that will wipe out every child in England, she becomes more and more hideous. She even destroys another witch in front of our very eyes because she dared question her. She is a monstrous and sickening woman, and I can't imagine any other actress than Huston pulling her off. She is both terrifying and comic, some of the lines she delivers do make you laugh, regardless of how they are.<br />
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This isn't the only great example of special effects in the film however, for the mouse puppets too are super realistic. The mice Bruno and Luke turn into are adorable, cute, and very real, adding a lighter touch to the dark reality that they may never be human again, and allowing children to breathe a sigh of relief at these cute furry things onscreen. Once they are mice, a lot of the camera work uses point of view shots from their perspective, so for a short while in the film you feel like you too are a mouse, everything is bigger and there is danger everywhere. Considering <i>The Witches </i>is mainly famous for Huston, the mice are equally as wonderful to watch, especially when Luke takes it upon himself to stop the witches, becoming brave little Luke the mouse.<br />
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Aside from the odd scare, <i>The Witches</i> is actually a very funny film, with Rowan Atkinson playing the hilarious hotel owner trying to cover up his shabby standards and Bill Paterson as the customer from hell picking up on every tiny flaw the hotel has. It is also really exciting for children which helps lift them out of the horror of the witches, and instead into the adventure of Luke becoming a mouse and trying to stop them. Even some tense and edge-of-seat scenes like when Huston pushes a baby pram down the cliff, when Luke and Bruno are turned into mice, and the soup scene, all contain the perfect amount of scariness. Watching the film as an adult I think the most disturbing thing about the picture was the fact that the witches in the hotel are all staying under the pretense that they are part of the NSPCC.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI-jgtcP9b2ChKjqh49b0biFn4ZfRbys6U5PhPa8lj0HS3CcYqkI264LFaxonwcuMDKdl9TG0GVDihbzA_tY2icQYV9tYqWOrCokYl-oWsLq6auhD5Bguz4bLEBTLZxzOA8AT68BNLkZa1/s1600/TheWitchesMovie-Still9.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI-jgtcP9b2ChKjqh49b0biFn4ZfRbys6U5PhPa8lj0HS3CcYqkI264LFaxonwcuMDKdl9TG0GVDihbzA_tY2icQYV9tYqWOrCokYl-oWsLq6auhD5Bguz4bLEBTLZxzOA8AT68BNLkZa1/s320/TheWitchesMovie-Still9.jpeg" height="213" width="320" /></a>There's nothing really more to say about this film without taking away the magic of it so I think I'll stop myself here. But this really is a masterpiece in children's filmmaking. It is scary enough to scare a child and stay true to the Dahl story, but it is enjoyable enough so that kids are still able to watch the film instead of wanting to turn it off. Huston is superb, everyone in this film makes it the wonderful film it is. If we are going to compare it to other children's films about witches, then <i>The Witches </i>is far superior. Although <i>Hocus Pocus</i> is very enjoyable, it is a more tame version, more Halloween-ey. <i>The Witches</i>, on the other hand, is the real deal, and no witch I have ever seen on film beats Huston. The happy ending may annoy you if you are a fan of the book, but maybe a child would be too upset and scared if Luke remained a mouse for the rest of his life. What seems a good ending in a book for a child, could be really disturbing when shown to them on film. If I had to give <i>The Witches</i> a rating, then I would give it 4 stars. One of the most enjoyable family films that any one from any age group will love.TheClaudhttp://www.blogger.com/profile/09658904647427839196noreply@blogger.com4