Run Lola Run…In Context

I actually have viewed Run Lola Run before – yet another film that I had the opportunity to see in my high school film class. I decided the first time that I watched it that I didn’t care for it. I didn’t feel attached to the characters the way I like to be and the story felt repetitive…well it IS supposed to be repetitive.

After watching it again my opinion about Run Lola Run has changed very slightly. As an art major I do appreciate the aesthetics of the animation involved. I also do feel that the driving force of the film is important which I believe is the subtly references towards the Berlin Wall and overall history of Germany. I still don’t feel a lot of attachment to the characters. That got me thinking though about how as viewers we tend to take everything about a movie very personally. I too am guilty of this. You may see a movie you don’t like and feel disgusted or insulted that you wasted an hour and a half of your time watching- but then you have to think that someone else “wasted” well over an hour and a half of their time to make the movie in the first place.

Intention is always something I try to remember that is important to any work. After reading this weeks article by Barbara Kosta I do feel like I have truly had to come face to face with the fact that a good film might not necessarily be one that you love. What I think is important about Run Lola Run is that it’s entertaining yes- but it’s not trying too hard to do anything other than to mean something.

Overall I know that a lot of times you read film analyses and it seems like the author is reaching for something that simply isn’t there- or is pulling apart a detail that is so minute that it can’t possibly really mean anything. Kosta’s article however I really feel isn’t “reaching” for anything other than what is right in front of us but is hard to see with the pace of the film. Kosta tells us that time is significant in this film on page one hundred sixty seven- this much is clear and evident, but she also reminds us that place is significant as well “Twyker insists that the film is a Berlin film- a city that is as much in progress as it is a product of the new millennium and globalization” (Kosta, 3).

To me this film was just a reminder to practice what you preach when it comes to appreciating film. Not liking something doesn’t make it bad, boring or unimportant. Run Lola Run is as full of subtleties as it is full of the obvious, and the subtleties are what I appreciate when I watch this film.

I think this sufficiently brings me to the second part of this weeks blog. I have had the opportunity this semester to see so many amazing movies and to learn even more about film history. A couple years ago I had truly considered going to film school. Movies have been (and always will be) something I am passionate about. I HAVE taken film classes before and they continue to be some of my favorite courses to date. To me what is unique and exciting about this course is how much we learned about film history alone in one semester. It has been very fast paced and hard to keep up with at times- but overall I feel like the speed forces you to contextualize every bit of information that you have learned. To be able to understand contemporary film movements you must be able to understand all of the films and film history that came before.

This is why I get frustrated with people who do not like any movie that was made before 1990. You have to take a film class or you simply won’t understand. I will never get tired of yelling at people to go watch Double Indemnity, Rear Window or even The Shining or A Clockwork Orange. There are too many amazing films out there to enjoy for us to be biased towards movies that are flashy, new and most of the time (as of recently) unimaginative.

Either way- despite poor time management and I really did adore this class this semester. Every film we watched was impressive, fun and exciting and I always feel at a loss when a film class comes to an end because I always think ‘What am I going to watch now without someone to suggest good films?’ but then again I guess I shouldn’t complain. For any of you who never watched The Best Years of Our Lives….please do. Although I detest public speaking- if it were not for our presentation assignment I would have never watched this movie. I loved this film so much I shared it with family and friends back home (they all loved it too). It’s easily in my top three of the films that we have watched in this class. Now it’s just time for this class to be over I guess, and I can’t say that I’m not disappointed.

Cinema Du Look and the Films that Came Before

Within this week of History of Film we focused mainly on the French film movement Cinema Du Look which spans most of the 1980s. From my past film class we covered a lot of topics under various french film movements. What I have come to notice is that most french films have a focus on cinematography which is clearly evident in Cinema Du Look considering the state of the French government at the time which was heavily weighted in socialism. This did not leave french filmmakers with much financial room, therefore influencing more creative ways in which to make a film.

With this week’s film Diva, it is clear that though the story itself is immersed in drama and spectacle and “the plot is both preposterous and delightful, put together out of elements that seem chosen for their audacity” as Roger Ebert put it-  the focus is on the cinematography (Ebert, 1). To me the story of Diva is rooted in the course of french film making at the core. If we were to name drop- the films The 400 Blows (Truffaut) and Breathless (Godard) from the era of French New Wave is where it all begins. Both of these films have strange stories with a certain vagueness and dream like quality. What they all truly have in common with Diva is the attention to detail and artistry. All three films strive for new ways of utilizing cinematography as a tool to hook the audience.

Overall the underlying theme of French film is wrought with spectacle and the unexpected or untapped creative. Many film directors of the time thought of themselves almost as rebels that challenged the traditional norm of making movies. They sought to bring light to artistry in entertainment. This sentiment though sometimes viewed as overworked from a modern lens carries through to films today. French film would go on to change American and international cinemas for decades and still carrying on today. What we may see as something original now is almost certainly derived from other places and contexts obviously not only limited to the film movements in France.

As one last note, I would implore anyone with an interest in film to further explore french new wave and cinema du look. These films may not be traditionally the most “exciting” or “heart wrenching” as the movies we see today but they are influential and very much responsible for what we see now at the theater. Les Enfants Terrible is overlooked most times, but this is definitely a film I hold close to my heart as one of my favorites of the french new wave era.

Join the Cult?

The Rocky Horror Picture Show is again one of those films that has been hyped up to me for years. I have never really gotten the opportunity to watch it myself until this week. I’m not sure what exactly it was that I was expecting- anyone who has heard of Rocky Horror is aware of it’s participatory nature and quirky story line. I was still surprised by it. The entire movie was very charming and fun to watch (Tim Curry is by far the best part of this whole thing in my opinion) but what surprised me is that odd ending. Don’t get me wrong- I really enjoyed it, it just wasn’t what I was expecting.
I think in that way we can better understand the mathematics behind cult films and the midnight movies. Between the four movies we were able to choose from this week there is shock value in the content of each film. Movies that attain such an wild following generally do something to surprise the audience with something completely unexpected whether it be vulgarity, the macabre or sexuality.
While we were talking about cult films and midnight movies I couldn’t stop thinking about A Clockwork Orange. What exactly is it that draws people in about that film in particular? I have watched it a few times and there is just something so interesting about it. Of course for those of you who haven’t seen A Clockwork Orange– it’s a pretty wild film about violent british gang that terrorizes society with their unending violence, robbery and rape. It’s kind of vile and difficult to watch- but there is still something highly enjoyable and fun about it. A lot of people enjoy this film and praise Stanley Kubrick for the flawless execution. This only leads me to believe that A Clockwork Orange and many other cult films like it hold a shock value. Whatever it is- there is definitely something about cult films that are absolutely captivating.

Regardless- I did truly enjoy The Rocky Horror Picture Show for all of it’s oddities. I have to say that I am already a sucker for musicals and this film just had me smiling the entire time. It had endless horror film references, a great sense of humor and amazing (AMAZING) music. If anything though I think what truly sets Rocky Horror apart (and I know everyone will agree) is that sense of wonder in participatory theater. The audience that fell in love with the film brought it new life, new tradition and a fantastical way of bringing people together to appreciate a good film.

As a final note I found two wonderful videos in reference to Rocky Horror. One is a more lengthy interview of Tim Curry and the other is a short clip that reunites the cast years later.

The Poseidon Adventure: Opening New Doors Within Hollywood

One of the most famed films of the 1970s was Jaws, directed by Steven Speilberg. It is a widely known fact that “Jaws proved to be a genuine move watershed, marking the birth of the New Hollywood”(Schatz, 19). I myself find that Jaws is a movie that truly changed the tides (pardon the pun). However after watching The Poseidon Adventure in class this week I find myself rethinking this statement about the ‘New Hollywood’. I myself can honestly say that Jaws is cinematically the better film. There is a reason why it is still so popular to this day and The Poseidon Adventure is lesser known. I did enjoy The Poseidon Adventure somehow more than Jaws which surprised me since I still hold the opinion that Jaws is a better film. I guess it is one of those things where people hype up a film so much (Jaws in this scenario) that the reality of the movie is less than what you expected it to be. In the case of The Poseidon Adventure I did not have high expectations and by the end I found myself smiling. This is why I say that I enjoyed The Poseidon Adventure more when it is all said and done.

As for rethinking the ‘New Hollywood’ statement, it is evident from lecture earlier this week that The Poseidon Adventure is what paved the way for modern disaster films. While I was watching the only thing I could think about was The Day After Tomorrow which was made in 2004 and directed by Roland Emmerich. If you examine these films thematically you will fine stark similarities. For instance if we look at the trailers for these two films-

Both of these trailers have similar layouts and shot sequences that mainly focus on some of the most dramatic and suspenseful bits of the film rather than the story line or characters. Besides these similarities within just a short trailer are the tip of the iceberg (pardon the pun yet again). There is a common trend in disaster films that include an ‘unlikely leader’ that take charge in unexpected ways- not unlike Sam played by Jake Gyllenhaal in The Day After Tomorrow and Reverend Scott played by Gene Hackman in The Poseidon Adventure. There are moments of self sacrifice threaded throughout both films (when Frank cuts himself from the rope to save Jason and when the Reverend drops into the firey water in his last ditch attempt to save the few survivors aboard the ship).

Overall you could spend tons of time finding commonalities between these two films- but the main point is is that The Poseidon Adventure truly did pave the way for other disaster movies that continue to be made now. It may not be as “iconic” of a film as Jaws is and perhaps not as well made- but it was still on of the first of it’s kind and I definitely enjoyed it.

Exploitation Films: Paving the Way for Modern Movie Making

Films had an explosive impact on the world in the early 20th century. It was a new kind of technology that had reached a new level in terms of entertainment. There was a certain magic that came from movies that couldn’t be achieved in any other format…until the development of television. It was when film making could be transferred to the home that Hollywood and movies in general were in danger.

It was difficult to bridge the gap for many in the industry. “Yet, when independent producers undertook the risks of film production, exhibitors knew that Hollywood had to make further changes to reverse the loss of box-office revenues and bring audiences back to the theater” (180). One company above all others had discovered a niche area in films that had gone unexplored and would bring extreme success. Teenagers were the target of American International. Young people had never been singled out in this way, any movies that were made were for children and adults and there was no in between. AIP had discovered an untouched resource- the rebellion of teens spanning from the late 50s into the 70s.

For many the content of these films were shocking. Any sort of nudity, drug use or rebellion was extremely frowned upon, and AIP was looking at a lot of disgust from older people but at the same time were buying the appreciation of teenagers across the country. Teens were a huge market, an enraptured audience which as we all know is still a grand trend today. From The Breakfast Club in 1985 to the latest Avengers movie today, teens are a highly value audience in the eyes of Hollywood, something that may not have been achieved without AIP.

In terms of being outright scandalous, AIP also did a lot to push the bar and to give more freedom to filmmakers. By stretching these boundaries, films began to come out with all sorts of subject matter that was looked down upon in the 1950s and 60s. From there, it was almost common place for ‘adult content’ to appear in films.

Towards the end of the AIP years after the death of James Nichelson, yet another new door was opened. Films with a heavily African American cast targeted for African Americans. This streak of films did not last long, and AIP would soon be put to rest- but it was yet another mile stone that AIP was able to achieve.

As a whole, there is no argument that American International achieved amazing things. The films themselves were not world changing, extremely well made or appreciated- but it was the context of these films and their targeted audience that brought Hollywood to where it is now.

Casablanca…Forever a Classic

Casablanca to this day is considered a major classic in American cinema. The first time I watched it I’m going to be honest I was not majorly moved by the storyline, and by the second viewing I was still left a little confused. The romance to me is not earth shaking, the drama slow to take off, and the overall story not impassioned. To me it is not a discussion of whether it is a good film or not- it is just an observation of my own that it’s classic status falls a little short, at least in my opinion. It is interesting, and the romance is believable as are the characters- it just has never been my favorite noir film when thinking about movies such as Double Indemnity, Rear Window or Vertigo. However I do see that it is a cinematically beautiful film and there are reasons why audiences have fallen in love with this story.

To me- some of the most moving and gorgeous scenes throughout the movie are the ones in which Sam the piano player of Rick’s plays the tune “As Time Goes By”. The song is very captivating and truly captures the longing that exists in the relationship between Rick and Ilsa. It’s as if everyone else in the film stops- and while this song is playing the only two people that are important are them and them alone. In this sense I do understand why Casablanca is so captivating.

As for the story itself… I believe it is a film that american audiences and audiences of the allied nations during World War II were born to love. It came out at the peak of the United State’s involvement in the war- and therefore I think the timing of director Michael Curtiz was impeccable-“The meanings drawn from genre films when viewed, whether they are westerns or gangster films or other similar genres, depend upon the spectators’ response to the plausibility of the social reality constructed” (133). There is criminal involvement in this- in which Rick risks everything at the end of the film to get Ilsa and Victor out of Casablanca. This may have been an issue for the production code- but Rick has the moral high ground here as he is combatting the Nazis in this situation. He sacrifices love and his own safety to fight a bigger issue and to rescue the woman he loves to secure her happiness and livelihood. In this sense audiences would love this film for the tragic but moral ending that Rick would achieve.

In all- I have no true adoration for this film- but I do have an understanding for its significance to this day. It’s beautifully made and has moments that will bring a room filled with people to complete silence. In that way I do comprehend why Casablanca has the impact that it does.

A Little Reflection on The Best Years of Our Lives…

To start off, I would like to acknowledge what a wonderful film The Best Years of Our Lives is. Over the course of the past few years I have had the pleasure to watch many classic films. However I had never heard of this film in particular until now. There are lists all over the internet of movies that never age and are a “must see” and it is surprising to me that this film does not make the lists. It is incredibly timeless and emotional in a subtle way…there is an honesty to it that is devoted to reality. I do believe that a happy ending had to be inserted in order to maintain hope for the veterans that this film strives to speak for- but that is the one area in which I don’t believe it is totally honest. For many men following World War Two and any war for that matter- they are forever changed. As a whole though, I truly enjoyed this film- and coming from me, I suggest that everyone watch it. You will for sure gain something through it.

As far as the project goes, I felt that I had to research aesthetics. In my high school film class a lot of our coursework was dedicated to film analysis and technique. That being said, I wanted to return to those old roots and look into metaphor and cinematography as those were what struck me most in The Best Years of Our Lives. There is not always a ton of information out there on filmmaking as Professor Schlegel pointed out during class- but thanks to Roger Ebert and a couple of other offbeat film websites, I was able to find enough to support my own observations.

There were so many things I noticed in the film however that it was difficult to choose what things to talk about and what things not to talk about. There are many components involved in making movies including but certainly not limited to- set design, costume design, music, lighting, editing, script, direction…it is a lot to think about. This is one area where I feel like I missed a little bit- there were some parts that I left unsaid. However, the subjects I chose to talk about where the ones I felt were most important. The cinematography is key in this film- as is the storyline itself and it’s dedication to truth. Choosing to make a film about something so raw only a few years following World War Two is a road that not many filmmakers attempted to cross at the time. I ultimately felt that it’s necessary to acknowledge that bit of it in order for everyone to understand what the film is really all about and why it is so important to watch and remember.

To wrap all of this up, I was surprised by the film, moved by it’s sentiment and pleased by the outcome of our presentation for the most part. To anyone who is interested in watching this film- I definitely suggest it.  

The Rise of MGM through Grand Hotel (1932)

Metro-Goldwyn-Mayer has been an icon of film history since the beginning. The first recorded truly moving photo was made in 1878 and the first “motion picture film” was created in 1888. MGM itself was first brought into the film industry by Marcus Loew who bought into the company in 1920. It truly began it’s rise though in 1924 when the company merged with Goldwyn Production Company. “The studio reached its peak in the 1930s and ’40s” (britannica)- when MGM would make it’s true impact. Metro-Goldwyn-Mayer would go on to make many films that we consider to be classics today.

One of their first masterpieces to arise in the ‘30s was Grand Hotel, directed by Edmund Goulding. Many huge stars would appear in this film, thus dubbing Goulding “‘Lion Tamer’ for his ability to deal with many temperamental Hollywood stars, as he did in this film” (filmsite).




It truly changed how films were made and how stories in films were made. The storyline itself was made of multiple character threads, and this completely manipulated the way a screenplay was developed for the rest of film history.
The sets themselves were stunning, and the film was renowned for its ‘grand’ art directing and cinematography.
For the actors and actresses in this film, it would go on to be an icon in their film background. Greta Garbo herself will forever have the famous phrase, ‘I want to be alone’ follow her legacy.
This is just to say that this film was impactful in more ways than one. It was one of MGM’s first incredible feats and made leaps and bounds for the movie making industry itself. Many people were considered for the roles of Baron, Kringelein and Preysing, including silent film stars Buster Keaton, John Gilbert and the iconic Clark Gable who’s most famous film to date is the classic, Gone With the Wind.
Ultimately these roles would end up going to John Barrymore, Lionel Barrymore and Wallace Beery. This film would change their careers, especially that of Joan Crawford, who would from that point be considered for much more serious, leading roles.
Overall this film was huge in more ways than one, and was the host of several huge film stars of that time.      

An Analysis of Sunrise- FW Murnau

Sunrise, the film by FW Murnau is by far one of my favorite silent films that I have yet to watch. I have seen many over the past few years including Metropolis, Trip to the Moon, The Cabinet of Dr Caligari and one of the most famed films made by Murnau, Nosferatu. Sunrise truly touched me beyond any other. It is an emotion wrought story that is filled with metaphors to construct a deeper message.

I would like to address my theory on metaphors in the film. To be concise and direct, I believe that the relationship between the man, the wife and the woman from the city represents the relationship between the city and the countryside, and the old life versus the new. The first scene in which we meet the woman from the city, her lavish style and modern look are juxtaposed enormously by her surroundings. It is plain to see that these people from this village earn most of their living through farming, and have not modernized to the point of cities at that time. We then meet the man, who is a farmer in the village. The relationship between the man and the woman from the city is certainly passionate, but there is corruption there. The plan to murder his wife- whom he previously was madly in love with, clearly defines that. The man is forced to face the seduction of the city, ready to throw away his home, wife and child. Even after the attempted murder, the  man and wife are able to rekindle their love in one night, and all seems to be well. They fall into a storm, and he attaches bulrushes to his wife so she will stay afloat. The storm rages on, and their boat is capsized by the waves. The man finds himself on the shore, with his wife nowhere in sight. A search party is sent out and he believes all is lost when she is nowhere to be found. He then angrily throttles the woman from the city, realizing the treachery and corruption that she had led him to. As he furiously shakes the woman, the maid calls out to him and it appears that not all hope is gone. This then led me to the conclusion that this is the battle that the world was facing after the industrial revolution and world war one.  His wife is found alive, still afloat on the bulrushes. He stays by her side, and as he holds her to him, the sun rises. The woman from the city leaves, unable to bear to see that the man she desired no longer wanted her.

Overall, I believe it to be evident that this whole story is based around the idea that the encroaching city is represented by the woman, and the tradition and warmth of the countryside is represented by the wife. The city begins to encroach on the country, but this film has a powerful point that love overpowers corruption. This story was ultimately riveting. By the end, I had goosebumps. Murnau’s work has blown me away and I will be so eager to watch more of his films in the future.