Film 101

Throughout this course, we’ve study films from multiple countries and cultures. From early American Hollywood to Communist Russian propaganda, to the French New Wave, we’ve covered a lot of ground in fourteen weeks. However its easy to forget the darker potential to cinema. Starting with World War 1, Germany has used film in multiple ways to convey a variety of messages—everything from ‘mountain movies’ to promoting Nazi propaganda. As Wim Wenders (German film maker) once said “Never before and in no other country have images and language been abused so unscrupulously as here [Germany].” Germany has experienced great change and turmoil in the past century. As such many German film makers struggled to move past their countries tainted past with film. The beginning of ‘New German Cinema’ steams from a country’s strong desire to remain true to its roots while thriving in pop culture.

Tom Tykwer’s Run Lola Run (1998) is fast paced, inventive, and really, really fun to watch. The moment I heard the music, and that clock started ticking I thought to myself “Yeah, this is gonna be fun.” And I was not disappointed. But I had questions after the film. Questions Barbara Kosta answered in her paper “Tom Tykwer’s Run Lola Run and the Usual Suspects: The Avert-Garde, Popular Culture and History.” The concept for ‘redoes’ or start-over scenarios is not unheard of, but the execution of Lola’s three attempts is down right fantastic. What I loved about the film was how some events were fated (the two cars crashing) and how others were by chance (the woman losing her baby, winning the lottery, or becoming an evangelist). And those running scenes! God, I wanted to get up and run too. Franka Potente really played her role well as Lola. She’s a strong character, a woman hero who is badass just as herself and kinda inspiring. Even though her and Mannie aren’t the purest of people, I wanted them to succeed (hell, at least live).

Barbara’s paper went into get depth about Run Lola run, but some points that I found most interests were her explanation of Lola’s scream and the reason for the redo scenarios. Run Lola Run is a movie full of Pop culture—and yet does not feel out dated. As stated by Kosta, “The film incorporates the elements of popular culture that are non-conformist, rebellious (Lola’s scream) and subversive and that test mainstream forms of representation.” Even the setting, Berlin, is a place full of history. Sent in post Berlin Wall Germany, small details in the film hint at the city’s turbulent past. Like Lola and Mannie, the German people want to move forward. They want to run to a solution, and most of all, they want a chance to start over. Just as Lola and Mannie eventual find their happy ending, Kosta theorizes that the German too wishes for a chance to set things right.

While I may have started this class thinking film was only a form of entertainment, I now know better. Film captures the values, culture, and history of countries and its citizens. It’s incredible just how quickly cinema has evolved in only a century, and how quickly technology has advanced in the pursuit to put bigger, grander, more fantastical stories on theater screens. So, now that the semester is nearly over, its time to talk about my highlights of the class!

Can we start off by talking about how crazy fast film evolved over time? And it all traces back to some British photographer trying to capture motion in a picture! Eadweard Muybridge’s simple fascination with capturing a horse in motion eventually led to the first film studios, led by Thomas Edison, the Lumiere Brothers, and Georges Melies. By the early 1900s nickelodeons and early films like “The Great Train Robbery” fascinated audiences around the world. And so, the story continues!

The first movie that made me appreciate film history was “Grand Hotel”. I’m still amazed that the first star cast talkie film could be so similar to many modern films of a similar nature. I remember many of my first impressions of the film and its characters being proved wrong by the end of the story. Watching all those stars interacting in the hotel, overcoming their own problems that weaved together to lead up to the film’s conclusion was quite enjoyable. Although I can’t say that Grand Hotel holds up too many movies today, its clear to see how MGM set high standers for the Big Five Studios during the early years of sound Hollywood.

One of my favorite weeks was when we discussed the early 40s. Film during the World Wars was used so differently by many countries, but all to further the same end—to influence audiences. In the aftermath of WWII, it was film that captured the real horrors of the Holocaust. A Documentary of World War II in Color showed by far the most powerful and terrifying images of concentration camps. Watching the German citizens, who up to that point were unaware of what was happening in those camps, see the bodies of people piled up like kindling beside furnaces was just…wow. And that was capture on film. Film captures and preserves these moments in history far better than a single picture or autobiography can. And that’s incredible. As a result, people lost their innocence and naïve. Suddenly no

one wanted musicals and slap stick humor—and so Film Noir took the 40’s by storm. This genre, born and breed off sense of hopelessness that came after WWII, had its

main character struggle for a dream that in the end led to the “protagonist’s” death by the law. Rather depressing, really. However, Casablanca, while sharing many themes of Film Noir, isn’t a Film Noir. I watched Casablanca in another film class last spring, and loved it. History has marked it as a classic, and I agree. Rick and Ilsa’s doomed romance set in the back drop of a world torn by war worked so well on so many levels. And while Rick doesn’t get the girl, he gets something arguably more important back—his moral code. Seeing him and the Captain walk off in that ending scene is just so iconic—two men once just trying to survive now off to fight for the greater good. Rick gives audiences hope of not just redemption, but hope back in the common man, and in the decisions, we make to stand up for something greater than ourselves—even if it means letting our own happiness go.

While America and France were gushing over Film Noir, other countries were experiencing a change in film as well.  From 1945-1954, directors like Roberto Rossellini and Luchino Visconti used the power of film to influence postwar Italians to repel the fascist views of Germany after the war, which would later lead to a new genre of post-Italian WWII, called Italian Neo Realism. We watched Wild Strawberries by Ingmar Bergman, and looking back I’m glad we did. Although it was one of my least favorite movies we watched, I appreciate what the film did in way of story telling and technique. The characters were incredibly real and relatable…maybe even too real. Bergman films are definitely a required taste, one that sadly I do not have at this time in my life. Another film style that I respect but am not totally in love with is Cinema Du Look. I didn’t say this in my last blog, but I’ll be perfectly honest here—I did not care about anything in that movie except the music. Was it gorgeous? Yes. Was that chase scene really fun and inventive? Totally. Did I silently chant “Do it” when the two gang members were about to kill the main character? Yup. BUT—Cinema Du Look isn’t about plot, good characters, or even making sense. Its about looking good and being stylish. Which, Diva is. I understand why we had to learn about, even if genre isn’t for me.

Finally, I want to go over my favorite parts of the class as well as favorite movies. First, I like the blogs. Writing a few pages about what I learned made me look up cool movie facts that I never would have known otherwise. Second, I like the energy of the class. Its laid back and fun, not too demanding and enjoyable to go to. Prof. Schlegels’s enthusiasm is contagious, and I genuinely liked learning about film. Now, my favorite movies for this semester were The Fly, The Poseidon Adventures (which should really be called Poseidon’s massacre but hey what do I know), Bonnie and Claude, and 39 Steps. And these are all movies that I never would have watched if not for this class. 39 Steps was a fun, quirky spy thriller full of whit and likeable characters. The Fly was a beautifully tragic and gory sci-fi tale gone wrong, and Poseidon Adventures was way more emotional for me than I was expecting. Hell, I thought we would be watching a retelling of the Odyssey or something! But no, I got to watch Grandma die a heroic

death along with Pastor Badass. Seriously how can a movie so cheesy be so good? Lastly, Bonnie and Claude was just incredible. So many conflicting emotions—their criminals, but likeable. Their romance was both touching and tragic, and I felt like I was on that crazy ride with them. And that ending…God talk about intense.

I can say that I am waking away from this class with a more open mind towards movies of all genres. The skill behind making a film, the technques that have grown and changed, and watching how film has both guided and mirrored modern culture is fascinating. And I’m excited to take another film class next semester!

CGI & Cinema Du Look in the 1980’s

While Hollywood in the 1980’s was focused on cashing in on Blockbuster hits with merchandise and sequels, French studios were entering a brief but important film era—Cinema Du Look. This new genre was led by three directors. Jean-Jacques Beineix, Luc Besson, and Leos Carax who each had their hand in stylizing Cinema Du Look. Many of the themes found in this new genre were similar to American Film Noir and the new wave of teen films headed by John Hughes. However, while American movies during the 80’s focused on using new CGI techniques and engaging story lines, Cinema Du Look was a genre centered in visual brilliance and style.

While the storytelling of Cinema Du Look films can be nonsensical at times, what really makes this genre stand out are the shots and edits. The reflection of a character in the sunglasses of a suspicious man, a wide shot capturing the silhouette of two people under a brilliant archway, or the high energy chase scenes in the subway. These are what make movies like Diva enjoyable. Many Cinema Du Look films had common themes of doomed love affairs, trust in friends over family, an oddball hero and scenes placed in the Underground train station. Diva, a French film by Jean-Jacques Beineix in 1981 became an instant cult classic over in the States, just as loved by American audiences as by the French. While French film critics ripped Diva apart for its weird cast of characters, relationships, and overall use of style to cover up the films questionable plot, many American critics loved the film. They praised Beineix for Diva’s originality, and urged audiences to see the film in theaters as soon as possible.

Now, I won’t lie—Diva is by no means my favorite film. But it doesn’t have to be for me to acknowledge its uniqueness in style. While I had no love for the plot (or characters to be honest) I loved the music in this film. Hell, after that opening number I automatically started clapping with the audience on screen. Another thing that struck me was how little dialogue was used throughout the film. There had to be a solid fifteen minutes before Jules said a word. And yes, while I could give an entire paper questioning Diva’s plot, what I really enjoyed in this movie was the visuals. My personal favorites were the moped chase scene with the cop, and the lighthouse shots. What can I say? It looks great.

My favorite take away from this week’s lessons was the documentary on CGI. Having grown up with Pixar, Marvel, and films like Forest Gump, it was fascinating learning how CGI evolved over time. I’d never heard of Young Sherlock Holmes having the first CGI character, or that Star Wars basically started CGI. Now you can’t throw a rock in Hollywood without hitting an actor who either played a CGI character or worked with one. The biggest shock I got from the documentary was the use of CGI in Forest Gump. I had no idea CGI could be used so quietly in scenes such as Forest excelling at pin-pong. It’s fascinating learning how something so common in today’s films evolved over time, and seeing just how much it has improved.

My favorite movie trilogy is How to Train Your Dragon. While the first movie came out in 2010, it’s incredible to see just how much the CGI has changed in nine years alone between the first and third movies.

The 1980’s: Be Afraid. Be Very Afraid.

While reading the text book this week, I was pleasantly surprised by how many of the films I recognized. Back to the Future, Goodfellas, Fargo, even Twin Peaks are all titles that I’m familiar with. I grew up watching my parents’ favorite films, such as Indiana Jones and 16 Candles, and always joked with them that I was really an 80’s kid born too late. But behind all the action, stunning film scores and gorgeous actors the 80’s was a time of fear. Fear of the body, as the AIDS epidemic finally started to be addressed by citizens after the diagnosis of beloved actor Rock Hudson.

Goodfellas-full of dark humor, gangsters, and this nut job character

While the 1940’s and 1960’s craved films that reflected the audience’s every day lives, films from 1980’s up to present day mainly focus on one genre—fantasy. George Lucas and Steven Spielberg became known for their action-adventure epics in films such as Star Wars and Jaws. Since the success of these films, Hollywood has continued to see the most profit from fantasy action adventures. The Harry Potter series, Pirates of the Caribbean, and ever popular Avengers franchise are just a few modern examples of movies that have capitalized on the action genre. However, while the younger generation of film makers entertained audiences with reimagined myths of good vs evil, movies like Deer Hunter and Coming Home tackled a more realistic danger many Americans shied away from. The after effects of the Vietnam War.

Directed by Michael Cimino Deer Hunter, follows a trio of men from the Pennsylvania who see the horrors of the Vietnam War. The film received critical praise, even winning five Oscars in 1978. Much of the audience at the time of the film’s release were shocked by the depiction of torture and violence in this film. While fantasy primarily dominated the box office, anti-war films like Deer Hunter stood out as eye opening films that depicted a brutal reality that many audiences were unaware of before. Just as audiences turned a blind eye to after effects of Vietnam, so too they try to ignore the AIDS epidemic—until a famous actor took center-stage in a real-life tragedy.

The 1980’s also brought a new series of teen films. Save Ferris anyone?

Rock Hudson’s passing in 1985 caused a panic in Hollywood as the media covered Hudson’s slow death. As a result, directors like Adrian Lyne created films like Fatal Attractions, in which the main message of the film is to fear casual unprotected sex. The film also was famous for reversing character roles, such as having the male lead meeker and more sensitive while the leading lady showed more masculine qualities. These simple role reversals started to break the mold of generic characters, in which a hero/heroine had to act a certain way to fit societies’ image of the gender. However, no movie depicted the horror of loosing a body to diseases better than that of The Fly, directed by David Cronberg in 1986.

At its core, The Fly is movie about body horror. Although I’m not usually a fan of horror, this film really kept me engaged. The plot was simple, yet intense. Watching Seth and Ronnie slowly grow closer, then to be ripped apart by an experiment gone wrong made me wish for a happy ending, even though I knew it would never happen. But what really caught me attention was the make up for Brundlefly. The gore in this film was realistically horrible—never over the top like the B-movies in the 50’s, but honest in its depiction of decay. I was fascinated by the effects in this movie—like the arm breaking in half, or the limbs melting (that was hard to watch not gonna lie).  The make up was done by Chris Walas, who worked on the movie Gremlins a few years before The Fly. In the beginning, Walas was concerned that Goldblum’s face would be too difficult to work with for the makeup. In an interview asking about the stages of Seth’s transformation into Brundlefly, Walas stated “We really needed to have a carefully worked out, logical visual development of the character that would keep Jeff onscreen as long as possible. The final transformation wasn’t as drastic in David’s original script. I think the jaw coming off and the head splitting open are the only descriptions.”

Overall, I’m glad that out of all the films we could have seen from the 80’s, we say The Fly. It’s a kind of horror that everyone can relate to—the fear of having our own bodies turn against us.

Cited Work

https://www.tested.com/art/movies/532460-chris-walas-makeup-effects-fly/

https://www.hollywoodreporter.com/review/deer-hunter-review-1978-movie-1161827

https://www.imdb.com/title/tt0091064/

https://www.hivplusmag.com/people/2015/03/11/23-celebrities-who-lost-their-battle-aids

Cult Classics & Midnight Movies

While the 1970’s was a time for box office hits, it was also the beginning the midnight movie premiers—and the birth of cult classics. Films like El Topo, Night of the Living Dead, and Eraser-head developed a following of fans who all bonded over their shared experience of watching these bizarrely fantastic films. But what makes a cult classic? How does one make a cult film? That’s for the audience to decide.

Eraser-Head

When referencing Midnight Movies, we have to look at New York City. Starting in the late 1960’s, midnight movies where originally shown in the underground theaters. The films shown at Midnight Movies were more risque, controversial, and over all exploitative. By the 1970’s multiple New York theaters featured midnight premiers. The shift in culture encouraged film makers and audiences to seek out movie topics that had never been shown before—extreme gore, controversial sexual content, moral corruption, etc. Midnight films had a way of showing the counterculture of society—forming a niche where fans could feel both unique and excepted by others like them.

I think what fascinates me the most about the midnight movies is how different there reception was in the main stream, and the ‘underworld’ culture. El Topo (1970), one of the first cult classics was loved by the midnight fans, but failed miserably in the major box office once shown during regular hours in theaters. Still, El Topo was shown seven days a week for six whole months before finally leaving theaters. How can a movie be so well received by one group, but so disliked by another? What interested me the most about these films is seeing these two groups—the counter culture and the man-stream-slowly start to bend together.

Before I even knew what made a cult classic film, I knew Rocky Horror Picture Show was one such film. When people say ‘cult class’ I automatically thought Rock Horror—it’s a film I’d heard people talk about, but I never knew why. After watching it this week in class, I finally have some answers. I’ve never seen anything quiet like Rock Horror. The bizarre but catchy songs, the characters that so much fun to watch and mock, themes of sex and….aliens?! By the end of the film I just sort of thought to myself “Well, that happened.” And yet when I got back to my room and my friend asked how I liked the film and I started doing the Time Warp—and burst out laughing! I think the key to enjoying the film is to not take it too seriously. When I started questioning Frank’s motives for creating Rocky, to just make his own personal lover from scratch, and then CHAINED HIM TO A BED, I started feeling freaked out. But once you let all sense of reason go, you can just smirk and laugh at how much Brad (Asshole) and Janet (slut) change throughout the course of the film. I mean, what the hell was even that ending? Aliens?! I love it!

Audience participation

On Monday, when the president of the Rocky Horror fan club described how the audience took over the film by acting out the scenes, I thought the guy was nuts. But I kinda get it. The audience script made the film more enjoyable (and way more funny). I’m glad I finally saw it. I get what makes it a classic—cult or otherwise.

Hollywood Reborn: the 1970’s

By 1970’s everything was groovy for Hollywood. Never before had directors been give the freedom to make movies how they wanted. Greatly influenced by French New Wave cinema, the young generation of directors (many of whom worked under Roger Corman) were eager to create the films they’d always dreamed. With box office hits making headlines every other week, its no wonder that the 1970’s is often referred to as the last decade of outstanding cinema.

But what was happening behind the scenes that led to Hollywood’s New American Age of Cinema? First was the change in target audiences. Just as explotationist studios like AIP had captured the attention of teenagers in the 50s, Hollywood finally started making movies for the rebellious youth. Secondly came the change of leadership in the big studios. During the 1960s MGM, Universal, Paramount, Warner Bros. and UA all experienced mergers, something had never happened to such an extent since the 1920s. The once great film studio MGM fell from influence after being bought out by Kirk Kerkorian, who cut back on film making to focus on other areas like hotel real estate. The bastard even auctioned off many of the studios prize items, like Dorothy’s Ruby Slippers! But from the fall of one great icon began the rise of film classics that people still love today.

Steven Spielberg

It all started with a little gangster film called The Godfather (1972). I first watched this film with my Dad a few months ago and man—no wonder Dad never shut about it! Director Francis Copula based the gangster epic off a book by Mario Puzo of the same name. Robert De Niro (who worked under Corman) would continue the story with The Godfather II in 1974. De Niro would later director another family favorite of mine call Goodfellas in 1990, another gangster story full of violence, drug abuse, and crazy criminals. Once the ball started rolling it didn’t stop—after The Godfather can The Exorcist, which brought a new face to the genre of horror film (and causing more than a few people to faint in theaters). From there came Jaws in 1975. Directed by a young Steven Spielberg, Jaws is arguably the most influence film of the 70s. For opening weekend, the film was booked for over 500 theaters, a world record at the time. The studio was shocked by the film’s great reception, as there had been many technical difficulties while making the film. Needless to say, this film left audiences fearing their own bathtubs after watching this classic!

Now let’s take a step back a bit to 1972, when a newer genre of film made headlines thanks the first of its kind—The Poseidon Adventures. Stop me if you’ve heard this one before—the world is ending and only a few of civilizations most attractive individuals struggle to survive one disaster after another. Apocalyptic stories can be found in any form literary medium, from the current stories like World War Z to the Bible. But it was The Poseidon Adventures that redefined the disaster genre on the big screen. I enjoyed this film immensely. I loved almost every character and, surprisingly, didn’t hate any of them. I loved the creativity with some of the situations in this film. For example, the underwater passage way in which the characters must swim through was pretty cool to watch, and very tense. I was holding my breather with them the whole time! I got rather attached to a few of the characters as well. I adored the Rosens, who reminded me a lot of my own parents. Their interactions as a couple going through this nightmare warmed my heart and (eventually) had me crying. Another group of characters I could relate to was the brother and sister. I have a baby brother, and the whole time I was watching this film I couldn’t help buy place myself in the older sisters’ shoes. Even Nani, who I wasn’t particularly found of, made me tear up when she said she couldn’t leave her brother behind in the ballroom.

I could talk about this movie forever, but we don’t want that. I will say that the use of sound in this film was clever. Through the movie there was little to no music, only the creaking of the ship and the sound of rushing water (and the screams of drowning passengers). That limited use of sound really ampted up the tension, especially in the scene where the Reverend goes up to the boiler room alone. If you have already guessed, I’m crazy about this film—and will definitely watch it again. It’s the first, and in my option, the best of its genre I’ve ever seen. I greatly enjoyed this week’s classes. Many films from the 70s are still considered classics today—and you don’t have to look hard to see why.

Cited works

THE STUDIO SYSTEM AND CONGLOMERATE HOLLYWOOD TOM SCHATZ

https://www.ign.com/articles/2017/01/25/13-hollywood-legends-discovered-by-roger-corman

https://www.filmsite.org/boxoffice2.html

https://www.imdb.com/title/tt0069113/

Hollywood’s Revival

Although Hollywood struggled during the 50s against independent studios like A.I.P, by the 60s the famous film producers had emerged as the center for commercial film making. Although late to the game, Hollywood finally caught on to the value of teen viewers. To this day Hollywood continues to target many of their films towards young adults. If the 1950s was the decade of rebellion, then the 1960s was the age of revival and change.

Clockwork Orange,
Ludovico Treatment scene

The 1960s in America was a time of fear, peace, and revolution. Unsparingly Hollywood drew most of their inspiration events such as the Cold War, Vietnam, and the Civil Rights movement. During this time, Hollywood turned its back on its classic genre films like westerns, film noirs, and musicals, and began to experiment. As a result, a new character emerged on the Big Screen—the anti-hero. While film noirs depicted stories of corrupted men meeting their down fall by the law, Hollywood now showed criminals in a more controversial light. In movies like Bonnie and Clyde (1967) and Clockwork Orange (1971), audiences are shown the thin line between good and evil. Stanley Kubrick (1928-1999), an innovator of converting novels into beg screen hits, produced Clockwork Orange as a response to his fears of a future in which morals and virtue are thrown out the window. Although the main character in the film Alex is a murder and a rapist, Kubrick shows the corruption of this fictional world by making audiences pity Alex after his Ludovico treatment. It is a film with no heroes, only villains smart enough to gain power while lesser thugs go through hell. However, while I personally felt little sympathy towards Alex, I couldn’t help but fall in love with the Barrow Gang in Bonnie and Clyde.

I can honesty say that Bonnie and Clyde was one of the best films I’ve ever seen. A romanticized version of the tales of notorious outlaws Bonnie Parker and Clyde Barrow, this film holds up better than most box office hits today (Avenger’s got nothing on this!). What stood out most to me was how real the Barrow Gang felt. I honestly expected it to be a lot darker. Every time Bonnie and Clyde argued I’d think “This is it, now he’s gonna hit her or threaten her.” Instead, the love the two have for each other comes off pure and genuine. Heck, I was surprised by how loyal the whole gang was to each other. Even when L.C is shot, or Moss is lagging behind, the Barrow Gang never left one of their own behind. They acted more like a group of vigilantes than outlaws, and that struck a core with me. I couldn’t help hoping the gang would find their happy ending. But that finally…damn. In that moment when Clyde and Bonnie share one last look at each other, my heart bleed for them. They were murderers and thieves, but in the end the movie closes with the law as the villains. It reminded me of a scene from The Godfather, when the oldest son is shot down by a rival mob by machine guns. In that final scene, the law isn’t seen as heroes but another violent group no better than the outlaws themselves. And man, did that speak volumes.

Imagine how long he must have practiced for this scene alone? I know I was smiling the end of this video!

I can’t finish this week’s blog without talking about another American classic, Singin’ in the Rain. This is a film have yet to see but is high on my bucket list. Watching the movie clips in class I was amazed by the choreography in the dance numbers, and how great everything held up, even to more modern musicals like La La Land and Greatest Showman. It was also starting to learn that only one of the films musical numbers was original, the rest taken from hits in the 1920s. It’s funny, I think I posted last week how a survey done by Hollywood showed that audiences wanted a musical with Gene Kelly—and that’s what they got! Staring the single most remembered musical scene to date, this is a film that I can’t wait to enjoy to the fullest.

Cited Works

https://www.fbi.gov/history/famous-cases/bonnie-and-clyde

https://www.newyorker.com/culture/cultural-comment/bonnie-and-clyde-fifty-years-after

https://www.rogerebert.com/reviews/great-movie-singin-in-the-rain-1952

Gazetas, Aristides. An Introduction to World Cinema, McFarland and Company Inc., pp. 248-257

Exploitation Films-Hollywood’s Rebellious Phase

Samuel Arkoff & James Nicholson

Hollywood experienced a roller coaster of highs and lows during the 1950s and 60s. The end of vertical control thanks to the 1947 ruling of United States vs. Paramount opened the way for independent studios to finally leave their mark as the Big Five struggled to gain control over their filming empires. As televisions became common place in many American households, Hollywood struggled to bring audiences into theaters.  That’s when two underdog producers named Samuel Arkoff and James Nicholson changed Hollywood forever by targeting an audience most studios chose to ignore—teenagers.

This film is a prime example of the movies teenagers would flock drive ins to see-it’s so cheesy it’s comical, but just the kind of film couples would get cozy with.

As Warner Bros. introduced Cinerama to entice audiences, Arkoff and Nicholson became pioneers in making explotationist films by American International Pictures. These films attracted audiences young and old by means of controversial content, such as teen rebellion, bikinis, dope and nudes. While MGM and FOX sneered at the cheap sets and novice actors, A.I.P racked in cash from on box office hit after another, all thanks to Roger Corman. A master of cult classic films (Little Shop of Horrors, The Raven), Corman had a talent for making box office hits on the lowest costs possible. This ‘B-Movie King’ also helped launch the careers of actors such as Jack Nicholson and Peter Fonda, making him a mentor to many modern-day stars.

As independent producers like A.I.P brought millions of young Americans to drive-ins, MGM conducted a survey to find out what films audiences most wanted to see. Results showed a demand for big actors like Gene Kelly and Fred Astaire in musicals. Shockingly enough, the survey also showed a rise in popularity of European and Asian films, which showed more adult themes of social and sexual relationships. Lastly, Hollywood found that the best way to lure audiences away from TVs was to show bigger films with better visuals and sound. A personal favorite film of mine that came out during this era is Ben-Hur. Made by MGM in 1959, this movie runs almost four hours long and is an epic in every sense of the word. It’s a movie that was made for the big screen, with panoramic landscape shots and heart racing chariot scenes so grand that its easy to miss some of the films best details if you tried watching it on a television set. Its amazing how even during this time of great change, Hollywood managed to make a movie that, in my option, is a stand alone classic that holds up even to modern films. While A.I.P made cheap, silly flicks that the 50s youth ate up like corn chips, big name studios made some of their best works as they competed for attention on the big screen.

“When I die, I’ll make movies in Hell.”
-Doris Wishman

Out all the videos we watched for this week, the one person who fascinated me the most was Doris Wishman. Shlock! The Secret History of American Films was by far the most eye-opening film we’ve watched this semester, but Wishman stood out to me as a woman making explotationist films to appeal to male audiences. She was funny during the movie interviews, her charm and sass making her likable instantly. Although she directed ‘Ruffy’ films later in her career (which I found horrifying to watch) I found her early nudist films romantic, in that although the protagonists were often butt naked the plot was always a soft love story.

Overall, this week was incredible eye opening and overwhelming for me. So much to write about, but what to choose? The connection between the 50’s rebellious youth and Hollywood’s scandalous films was what I found to be the most fascinating topic this week. Its incredible to believe that there was a time when being a teenage was hardly addressed, especially when most modern films today have major themes of growing up. Although I will NEVER watch any of these exploitation films, I respect how these independent producers changed Hollywood for the better.

Cited Sources

Gazetas, Aristides. An Introduction to World Cinema, McFarland Company, Inc. pp. 179-189.

https://www.biography.com/people/roger-corman-9257734

https://www.imdb.com/title/tt0052618/trivia

When I Die I’ll Make Films in Hell: Doris Wishman in Miami

Italian Realism and Igmar Bergman

Just as World War II influenced Hollywood into creating a new genre called Film Noir, Italian film makers perfected a film style called Italian Neo Realism. From 1945-1954, directors like Roberto Rossellini and Luchino Visconti used the power of film to influence postwar Italians to repel the fascist views of Germany after the war. Films of this nature where unique in many ways, starting with their strong contrast to films made in Hollywood. Plots where no longer restrained by a formatted plot but episodic, evolving organically on their own. Many scenes where shot on location, often with the backdrop of a war-ruined-city. Shot in a documentary style, many of the actors in these films where everyday people who had similar roles to the character, he/she would play in the film. Lastly, the dialogue in Neo Realism films were like actual conversations than literary speech making the characters standout not a fiction characters, but as actual people. Described as ‘simple styles style’ of film making the focus of Neo-realistic films was to show the struggles of everyday people as they faced problems both within their world and within themselves.

Bicycle Theives shows a man and his son trying to find a stolen bike to make a living.

A prime example of a beloved Italian Neo-Realist film is Bicycle Thieves. Directed by Vittorio De Sica (once an actor himself) the film follows the story of a man and his young son trying to recover a stolen bike. However, as the father becomes more desperate to provide for his family, he attempts to steal a bike himself. The film ends of the crushing conclusion that the father has become the very thing he had fought against the whole film while his own son can only watch his father turn into a criminal. Like Bicycle Thieves, many of De Sica’s films focused on the corruption of young children. Themes of survival in an uncaring society were promote in his film. Although lacking any obvious villains, character set in Neo-Realist films often struggled between their own sense of honor and their will to survive.

Ingmar Berman, famous director

Just as Film Noir lost popularly by the 1950s, so too did Neo-Realism. As Italian views turned to Hollywood to lift their spirits, a film director from Sweden started to gain international fame. Born in 1918, Ingmar Berman’s films explore what it means to be human through themes of doubt, guilt, and alienation. Must like Italian Neo-Realism Berman’s characters live in a world indifferent to human suffering. A such the main character is offend confronted by a sense that their life is meaningless, and throughout the film he/she struggles with thoughts of the death, questioning their effect on the world around them. One of Berman’s most accessible films is Wild Strawberries, in which an old doctor visits places of his youth as he reflects on his own mortality, questioning his past choices and who he truly is.

I loved the relationship between the old man and the young teenagers. It was endearing, and brought out more of the lighter moments in the film, as well as the comedy.

I won’t lie—although Wild Strawberries stood out to me a unique and rememberable film, I’m afraid I have no interest in watching anymore of Bergman’s films, at least not at this time in my life. The film was incredibly real. The dialogue, the characters, the mundane yet uncomfortable situations the Professor and his daughter-and-law find themselves in as they travel. One scene that stood out to was the bitter married couple that got run off the road. Hollywood often plays those sorts of characters is a comical light, but in Bergman’s film the pair were just…unsettling. And all the while three teenagers are focused to watch two people, once in love, verbally (and physically) attack each other. It was an incredibly harsh scene, but one the audience can relate to. Another thing that stood out to me was how none of the Professor’s flashbacks where of his own memories. What he sees are things he imaged happened, but never truly witnessed himself. I found that odd, and…unbelievable. If what he is seeing is only his imagination, how can the audience except it as fact? Regrettably that was just one thing that distracted my total enjoyment of the film.

Overall, I’m glad we watched Wild Strawberries and got to experience one of Bergman’s films. He is, in every definition of the word, a genius director. However, due to my own personal tastes, I’m afraid it may be some time before I watch anymore of his films. They are just too real for me.

Cited Works

Gazetas Aristides, An Introduction to World Cinema, McFarland & Company Inc. pp.141-146, 190-196.

https://film.avclub.com/ingmar-bergman-s-wild-strawberries-finds-regret-and-pea-1798235330

Film After WWII

“I live in a world of death.” This single line quoted from the diary of a Holocaust victim barely begins to describe the horrors of the Second World War. It was a war that shook the very core of society, one that showed just how cruel, how twisted, how blind humans could be to the suffering of others. Soldiers returned home, only to find that their home was unrecognizable. As citizens, victims, and soldiers tried to find normalcy in their lives, Hollywood struggled from within. The Golden Years (1930-1945) of cinema drew to a close as the House of Un-American Activities (HUAC) turned Hollywood against itself on a mad witch hunt for Communist supporters. From these dark times came a film genre unique to its era—Film Noir. As the name suggests films of this nature had sinister twists, bleak themes, and corrupt characters all doomed to never reach their goals. As audiences flocked to the theaters looking for an escape, Hollywood instead reflected the cruelty of the world on the big screen.

Who’s doing this? Who’s killing us?
(No joke I was balling at this scene. )

Of all the videos we watched this week, the two that captured my attention the most where A Documentary of World War II in Color and The Thin Red Line. The images of holocaust victims piled up like kindling next to furnaces—the diary entries of kamikaze pilots before their last flight—the crinkled body of an old woman crying as she was dragged out of the caves in Okinawa. Those clips hit me hard. I cried during the clips of A Thin Red Line. That fight scene was just insanely well executed. The whole point leading up to the battle a clock is heard ticking in the background. The audience doesn’t just watch the scene, they live it, the camera following right behind a young soldier as his squad raid a Japanese camp in the woods. I was horrified, yet mesmerized. It captured the insanity of war, the hatred between the countries, the savagery and cruelty of boys killing boys. It’s no wonder after a time of such brutality that a genre like Film Noir became popular to the masses.

Crime is a common thread between all Film Noir

Women in Film Noir were often portrayed as sexy but greedy and manipulative, leading the main character astray with her cunning and “feminine charm”. Is seen as a retaliation to women joining the workforce during WWII. When men came home, they found that ladies didn’t want to go back to home, injuring their male pride.

All film genres such as westerns, musicals, and film noir gained popularity due to their design to resolve basic human tensions and reinforce important cultural values of the American viewers. A common practice for many film writers is to create a dramatic story with a historical backdrop. An example of this would be It Happened One Night, a romance set during the Great Depression. The film tried to show that love could conquer all, even poverty and hunger, themes that those living during the 1930’s could have easily related to. But while films during the 30s rallied the people to join the war and to keep hope alive, the Film Noir style focused on corruption. Films of this nature often included an every-day-Joe meeting a sexy woman right before his world comes crashing down. As quoted from the test book, characters in Film Noir were “caught in contradictory dreams…that created problems rather than resolve them.” Another common trope of this genre was how the main character was often an antagonist. As the Hay’s Code forbid studios to make criminal behavior appealing, the leads in Film Noir would often come to a gruesome end by the hands of the ‘true hero’ in the film, often a detective. Critics from the documentary “Bringing Darkness to Light” described film noir as the “son of German expressionism and American tough guy. With scenes shot in deep angles, shadows in the background, and a focus on expression over dialogue, Film Noir is revered as not just a genre, but a style of storytelling in a class all its own. However, just because a movie doesn’t have a perfect storybook ending doesn’t mean it’s a Film Noir.

“Here’s looking at you, kid.”
-Rick, Casablanca

At first glance, Warner Bros. 1942 film Casablanca looks like the post child of dark themes and drama. Set in the backdrop of WWII, two ex-lovers reconnect political corruption and danger closes in all around them. However, the film doesn’t end with a tragic death but a message of sacrifice for the greater good. In this way, Casablanca both embraces dark themes will ending on a note of hope. I first saw Casablanca a year ago during a Film Music History class. And I can only agree that Casablanca is a classic in every meaning of the word. Personally, I never cheered on Rick’s and Ilsa’s relationship, but I never discouraged it either. One thing I noted about the film is how there are reoccurring characters, such as the young couple Rick helps win in gambling. You see them at the start of the film watching the planes, then later as they try to get tickets out of town. That detail, of a story within a story, always stood out to me about the film. And I love the ending. Rick doesn’t get the girl of his dreams, but he does get his morals back. You see him make a sacrifice for the greater good and walk away to stop the war. That ending fit perfectly, as the year in which the film was released was also the year America joined WWII. Overall, I really enjoyed this week’s classes. Watching how the film is affected by history is more fascinating than I originally thought.

Cited

https://www.filmsite.org/casa.html

Gazetas Artistides, An Introduction to World Cinema, McFarland & Company Inc. pps 128-129, 165-166

Spies, Veterans, and the Dreaded Hay’s Code

During the Golden Age of Hollywood, there grew a rising concern over what was to be considered appropriate in films. How sexy was too sexy? Where’s the line between shocking and obscene? As religious groups and concerned parents demanded censorship, studios big and small would soon face an advisory of their own creation—the Hay’s Code.

Hay’s Code in the beginning

It all started towards the end of the Silent Film Era. Numerous Hollywood scandals became revealed to the public, most famously that of Fatty Arbuckle and the horrible death of a young actress. The demand for Hollywood reform was too great that the Federal Government threatened to censor the studios themselves. To prevent this from happening, Hollywood created the Hay’s Code—a list of rules and regulations that films would how to follow. One such rule was to never show crime in a positive light, a restriction what would have ruined a film like “Scarface”, which was released before the Code was truly enforced. However other films like “The Best Days of Our Lives” were altered, the first to face restrictions placed by the new Hay’s Code.

Advertised as a romance-not so much heartwarming as it was eye opening.

Directed by William Wyler and released in 1946, “The Best Days of Our Lives” depicted the lives of three soldiers returning home after WWII. Originally advertised a romance, the film’s main focus was to show the struggles veterans faced returning to a home they no longer recognized while finding their place in a society that chose to look away from their sacrifice. Harold Russell, who played the armless vet Homer, was an actual veteran former WWII. He had no experience as an actor and only took the role because he wanted to show the world the struggles he and others faced as a result of their injuries. The film’s reception wasn’t a hundred percent positive, however. Some even criticized RKO studios for casting an actual veteran, claiming his injuries were too distracting. This only proved how reluctant society was to acknowledge the suffering of war survivors. The film was a huge success, grossing $23,700,000 both overseas and in the states. As a result of the Hay’s Code, the film was given a mandatory ‘happy ending’, ending on a high note with a wedding. Had Hollywood not strangled itself with its own restrictions, “The Best Years of Our Lives” could have had a drastically different ending.

“Oh look, it’s a whole flock of detectives”
-Hannay

While America and Hollywood faced the Great Depression, one of the most famous directors in film history launched the grandfather of all spy movies over in Great Britain. “39 Steps” was released in 1935 by Gaumont British Distributors Studios. Directed by legendary Alfred Hitchcock, the movie followed the adventures of a man on the run, wrongly accused of murder as he goes out to clear his name and save Britain from an international spy. Full of twist, action, and just a hint of romance, I’ll admit that I enjoyed this film a lot more than I originally thought. When the film first started, I didn’t know where the plot was initially going to go. I didn’t start enjoying the film until Richard Hannay (played by Robert Donat) burst into the train cabin of Pamela and kissed her. I loved the humor in this film. The interactions between Hannay and Pamela, especially when they were chained together, were so witty and clever. My part about Hannay’s character was just how

Hannay and Pamela at ending scene

done he was by the third act of the film. His quick comebacks and snide remarks reminded me of the snappy replies of James Bond and other spy heroes. The movie was full of tropes that today mark any good spy film, such as the twist villain reveal and chase scenes across a beautiful landscape. The only things that slightly bothered me were the somewhat rushed ending, and the multiple ‘love’ interests Hannay met along the way. First the mysterious spy woman, then the farmer’s young wife, and finally Pamela. Honestly, I really wanted to see the young wife run off and join Hannay of his adventure, but maybe that’s just me. Overall, I absolutely loved this film. Witty, charming, and full of twists, I would gladly watch this film again.

Cited

Gazetas, Aristides. An Introduction to World Cinemia, MacFarland & Company, Inc. Pg 88

https://www.rottentomatoes.com/m/1000121_39_steps

https://www.imdb.com/title/tt0036868/

https://tvtropes.org/pmwiki/pmwiki.php/UsefulNotes/TheHaysCode