There are many tools at hand to get one’s voice out to the public, and film is simply one of them, but a powerful one at that. Film grabs the close attention of the audience, but also makes them oblivious to the techniques that are influencing them—mise-en-scène, camera work, sound, editing. It all comes together as both a work of art and message. When that message is one of freedom, movies such as Medium Cool, The Great Dictator, and Dr. Strangelove cause the viewers to reflect on reality. Respectively, these three films have spoken on behalf of freedom from political upheaval, the wrath of unjust rulers, and the dangers of war.
For instance, Hitchcock purposefully used specific shots to captivate the acting and emotions of each character. In The 39 Steps, Hannay and Pamela (Madeleine Carroll) estranged and juxtaposition relationship, is what saves this film from being more than just suspense but helps add a romance touch to the film. When Hitchcock used wide shots, he captures the Hannay and Pamela’s emotional discomfort. The primary shots that Hitchcock uses in The 39 Steps, are close-ups instead of wide shots. Hitchcock uses close-ups to create suspicion in characters’ faces.
With Tartuffe, we clearly see this with him serving as the over the top comical relief who in serving as the central piece which discredits and challenges the sanctity of the clergy and associated aristocrats, also utilizes his aloofness to sustain the comical aesthetic throughout the development of the play. Moliere’s work also stands out to me as being a signature entertaining piece of classical work due to his emphasis on utilizing the neoclassical unities of time, place, and action throughout the fullness of the work. Unlike Shakespearean works which include numerous microcosms of events and are suffocated by an extensive and at times confusing network of complicated and long-winded subplots, Tartuffe stands as a work which for all intents and purposes appears to be more direct in the progression of events. It utilizes a single major plot which carries over throughout and is influenced very little by external events or the complex intricacies of other developments between the characters, allowing for a more streamlined and enjoyable
It has great directing skills, terrific music, superb cinematography and great actors. From the camera angles to the set design, everything is calculated to make the viewer feel superior to the cloddish. It is entertaining, has some perfectly shot sequences and is overall a solid thriller that is no waste of time. I think this movie is suitable for teens and up and advise all movie lovers to watch it as it teaches you that money can’t buy happiness and whoever doesn’t follow the right path will end up living
Wings of Desire contains the fundamentals of magical realism to specific details that no likes other films before, or since has managed to accomplish. While simply containing such traits does not automatically make a film superior, Wings of Desire works as a result of these magical realist traits to better illustrate the grander ideas at hand. In the following paragraphs, an investigation and explanation of the magical realism in Wings of Desire will fall into two distinct categories, namely, the technical detail (cinematography, direction, sound and setting), and the narrative detail. As stated before, one of the primary foundations of magical realist art was the changing of perception regarding objects, to see them in a new light. Film can achieve the same target, although it has to work within the added dimension of time and the qualities of actual movement, something that painted art did not.
With the actors and the film choices, these helped diversified messages to dip into the film. Even though the film was mainly focused on the Prospera’s revenge and reconciliation, Taymor also brilliantly convey other small themes to the audiences as the tools to carry out the film. Such as the magic, which Prospera an Ariel tormented Antonio’s group, and the love with Ferdinand and Miranda, which lead to comprise with Alonso and Prospera. Furthermore, Taymor expressed usurpation, and treachery of Caliban and Alonso’s servant in a more absurd way than the original play, which I think it was one of Taymor’s dramatic choices in the film. Whereas “Much ado about nothing” is totally explicated in comedy, and love, albeit some treachery, reconciliation are in the film.
In the movie, we find the opportunity to see Harry's appearances, for example, when his name is hurled out of the Challis. Likewise, Dumbledore's savagery and paralyze and furthermore the understudies stun, and shock impact us to perceive how unsafe the opposition is. Educator McGonagall's legitimate stress for Harry solidifies this fear. It is in like manner particularly apparent in the film that Harry is creating. Not only does he look taller and higher than in the past motion pictures; his exercises are an essential measure more intelligent also.
When I learned about chiaroscuro and how to use it, I realized how important it was to notice where the light hits in certain objects and how when you change where the lighting is placed the whole setting could change. Lighting in a setting for a film is one of the most important factors. If it is during nighttime, a filmmaker wants to have the perfect light for it to be visible yet still look dark; or if it is daytime or indoors the light needs to be set to avoid too much clarity. In addition, the emotions transmitted by the scene or even the film as a whole might depend on the light used. If it is a refreshing, comedic scene then a filmmaker seeks to use lighter settings than if it is a dramatic one.
The spirit of self-discovery, which is so prominent in this movie, helps us to inculcate ourselves the true meaning of freedom quoted as “To see the world, things dangerous to come to, to see behind walls, draw closer, to find each other, and to feel. That is the purpose of life,” We wouldn’t thrive for our potentials if we never discover ourselves. Additionally, this movie also teaches us to be brave on handling uncertainty, especially hardships. Learning from the undeterred attitude from Walter Mitty is recommendable because every cloud has a silver lining. All and all, this movie is recommended to heighten your soul for your fullest potential.
In contrast, Stanley in the film is chosen in the way that he should be identified with and this decision seems to be the director’s interpretation. Kazan wanted to make him more attractive character and therefore chose a good-looking actor, understanding, that the movie is not the same as the script. Here are other factors such as visual and audio ones, determining the audience’s decision about who they would like more. Thus, I feel, which character deserves the spectator’s liking depends highly on the type of the work: whether it is reading the script or watching the film. And consequently, it depends on how one or another director will interpret the play, as it can be seen in the example with Kazan, where Stanley replaces Blanche’s position of a likable