Analysis Of Baz Luhrmann's Contribution To The Art Of Film

The Auteur Theory, a theory formulated by François Truffaut states the idea that the true author of a film is the director. The Auteur Theory revolves around how the director leaves an implicit mark on the film and because of this cinematic, literary, or thematic signature or motif, they are credited as the author of the film. While there are numerous people involved in the production of a film, with some directors it is truly prominent who can be described as the author of the film such as with Mel Brooks.

The characterization in the film Goodfellas by director Martin Scorsese is based on a true story of the Italian mafia, and the commonality the director Baz Luhrmann’s film The Great Gatsby (20013) share is an organized crime theme. Both film directors express the unique composition of mise-en-scène. The sets, costumes in the films are realistic to each time period in which they are set. The films elements of mise-en-scene influence the viewer’s a psychological sentiment in relation with the film.

Over the fifteen weeks of the first semester of film school, we were taught many interesting types and styles of early world cinema which were extremely informative and influenced the filmmaking style of the whole class and made us better filmmakers instantly. One such ‘ism’ which inspired me the most was German Expressionism which is a unique characteristic of Weimar Cinema. In this essay I am going to talk about the history of this ‘ism’, its impact on cinema, some significant works and how it inspired me and influenced my filmmaking style.

“From Dallas, Texas, a flash (in wire-service parlance, the most urgent level of news report, outranking “bulletin”), apparently official. President Kennedy died at 1 p.m. Central Standard Time.” Walter Cronkite. These legendary words were the first time anyone had heard that their great president was dead. This tragic day showed America and the world the flaws of their country and how things can change in a blink of an eye. The tragic shooting of John F. Kennedy, the fear it caused, the changes it made, and the flaws of many people can be compared to the Tragedy of Romeo and Juliet.

Many classic plays and novels have been transformed into movies. Often times, audiences will complain that the movie did not capture what went on in the book and that it added unnecessary scenes while cutting vital ones out. However, sometimes a film will perfectly portray a book and will capture all of the novel’s important aspects. William Shakespeare’s Romeo and Juliet is an excellent play that is dramatic, comedic, and romantic. It perfectly exhibits the emotions someone would want to feel while reading a novel (in this case, a play). The play has been adapted into many different movies, each with their own version of the heartbreaking story. I watched Franco Zeffirelli’s Romeo and Juliet, and I must admit, there were a few key differences

When people think of Romeo and Juliet, do they think of guns and powerful companies or swords and feuding families? Most people think about the Shakespearean classic from medieval times. However, is Baz Luhrmann’s modern film version really that different? When looking at the Baz Luhrmann version of Romeo and Juliet, the film shows striking similarities and differences to the original in terms of the time period shift, the details, and the visible themes.

There was a feud going on between the two families that lead to a series of tragedies. In the play and movie of Romeo and Juliet there were two young teens. One was named Juliet, her mother was forcing her to marry a guy named Paris. However she did not want to marry Paris. Then there was Romeo who was from a different household; that happened to be enemies with the Capulet household. Romeo then goes to Juliet house party; they end up falling in love that night.While some differences between the movie and play are weapons,when Romeo sneaks out and when Juliet wakes up before romeo dies.The similarities are how Mercutio dies in both the play and movie. In Romeo and Juliet the two different families didn’t get along.

The director I chose to compare was Adam Shankman. Not only is he a film director, but he is also a producer, dancer, author, actor and choreographer. His background alone, lends to his directing style in that he has history as a dancer, actor and choreographer. This is seen in his work by the exact placement of the characters and the exact movements and of course the dancing. In doing some research, his movie Bringing Down the House was a box office hit bringing in $31 million on its opening in theatres. As a Producer, his top grossing movie was The Pacifier.

The reason for these notable changes to the original settings is because Luhrmann chooses to appeal to a modern day audience rather than regurgitate the same old setting that would have appealed to the people at the time the source material was written. Similarly, Luhrmann satirises the dance world in “Strictly Ballroom” and chooses to stray away from naturalism, preferring rather to go for over the top use of make-up, wild costumes and unorthodox use of camera cuts and zooms in order to put forth the themes he finds essential, staying true once again to his personal philosophy of cinema, a reel (artificial) rather than real (natural) approach to film

Auteur theory (Sarris, 2004) is explained by way of the director as the author of the film, who gives the film its distinctive quality. An auteur uses a tool called the “camera-pen”, which is a different medium to create and adapt a story, without it being rewritten. Technical competence (Sarris, 2004) is therefore crucial for the technique of the auteur. A tool used in the film, The Great Gatsby, is Luhrmann’s sound design, and more specifically, the use of diegetic and non-diegetic sound.

Over the past century, film has served as a powerful means of communication to a global audience and has become a vital part of the contemporary culture in a world that is increasingly saturated by visual content. Due to the immediacy and the all-encompassing nature of film, the process of watching a film, is widely perceived to be a passive activity by the general masses. However, quoting Smith in his article about the study of film, “nothing could be further from the truth.” The study and understanding of film as an art form enhances the way we watch and appreciate films. It requires the audience's active participation and interaction with the film in order to fully comprehend the directors' intention behind every creative decision. With

Baz Luhrmann’s films are known their ability to make a watcher feel as if they are part of the show. Between his use of camera angles, shots and the use of a narrator, it’s no wonder he is able to keep viewers on the edge of their seat. But how does Baz Luhrmann pull off this spectacular feat of his? This is probably explained best by referring to Baz Luhrmann’s films and how he himself has evolved as a director.

Baz Luhrmann is widely acknowledged for his Red Curtain Trilogy which are films aimed at heightening an artificial nature and for engaging the audience. Through an examination of the films Romeo + Juliet, Moulin Rouge and The Great Gatsby, the evolution and adaptation of his techniques become evident. Luhrmann’s belief in a ‘theatrical cinema’ can be observed to varying degrees through the three films and his choice to employ cinematic techniques such as self-reflexivity, pastiche and hyperbolic hyperbole.

In both the films Romeo and Juliet and The Great Gatsby Baz Luhrmann uses the same specific style of storytelling to ensure his audience remains captivated throughout the entire movie. Through the editing choices, lighting, camera work, music choices and actor choices he shows how his style grips the audience.

Considering the collaborative process of filmmaking, especially nowadays in most film production, the concept of there being a singular creative supervisor is debatable. Nonetheless one cannot deny the existence of directional motifs and instances of thematic and stylistic elements within the work of filmmakers like Tim Burton and Alfred Hitchcock. These directors indicate that within traditions and genres lies the overall definition of an auteur: a director whose inventive traits are listed throughout his/her work like a signature.