Rio Bravo

While Rio Bravo is visually and structurally fitting to the cliché western genre, which is hard to avoid when you involve any cowboy character, the roles and typical positions for the characters in Rio Bravo are unlike most similar westerns. Commonly the hero/lawman is on a one-man hunt for the villain against the whole world, and somehow succeeds against all odds, but not for our hero John Wayne. With his trusty six shooter at his side and a heart of gold, he has to bunker down with two half-witted and half-equipped but trusty deputies and keep the world together. This is a physical manifestation on the hero's attempts to maintain order; the bad guys keep attacking and pressuring the structure of western society and attempting to cause chaos , while our hero must do what he can to keep the peace and hold the framework of society together. While the good guy is usually the one on the hunt chasing the bad guys, the theme of the good guy having to hold strong [sometimes holding out in one location] is apparent in other westerns such as appaloosa with Ed Harris and Viggo Mortensen. With the good vs evil conventional western theme present, there are numerous other themes Rio Bravo contains. The damsel in distress card is covered, in an odd sort of romance. And as if we haven’t seen the same open baren western plain in every other cowboy flick. As in all other westerns, even against all odds, our hero still stays true to his laws and morals and always prevails.

Mon Oncle

I'm unsure of what to make of this film. Some of it is quite funny and some of it is not. I know many people who swear by this film and its a winner of numerous awards and yet I'm left scratching my head. The plot is simple, Jaques Tati's Mr Hulot tries to come to terms with a changing world as exemplified by his sisters family who lives in a modern home with all of the latest gadgets. The film is a series of loosely connected bits as we see the family and what they go through and how the basically pastoral Hulot deals with all the modern push button conveniences. Mr. Hulot lives in an old-fashioned and disorganized neighbourhood where people still travel by horse and cart and dogs can roam free on the streets. He frequently pays visits to his sister's family who live in an ultra-modern urban house where everything is geometrical, empty and pretty uninhabitable. The comedic genre allows delicious exaggeration of the contrast between the two neighbourhoods. The pacing is slow and the long runtime allows a lot of focus to be put on small details that are often ignored as self-evident: the complexity of modern kitchen appliances, the tap-walking secretary at the factory, the stepping stones on the Arpels' yard, the pedalled lawnmower, the "eyes" of the house... On the other hand, the antics of Gérard's friends in Hulots's neighbourhood are presented as joyful and unpredictable, like tricking passers-by to walk into lampposts or enjoying the aftermaths of fender-benders that never really happened after all. Hulot and the other adults also have time to enjoy themselves by sitting in cafés and chatting with the easily distracted street cleaner. Much of the first half hour, when most of the jokes are new, is very funny, as is the garden party, the "sausages", and the old man attempting to cross the street towards the end. Titled as a comedy, there are laughs. Regrettably I don't think this is the be all and end all that some people feel it is. Granted if its like all of Tati's other films a second viewing might reveal it to be much funnier and better than first thought. However as it stands now I find it to be a funny but very over rated comedy.

The Big Lebowski

The Big Lebowski is arguably the one film most dedicated to the art of cinema created in the last decade of the millennia. The film’s intricacy and attention to the most subtle details parallels with Fight Club or any Stanley Kubrick production. What makes The Big Lebowski such a mindfuck is there’s practically no plot at all! No macro action, no super objective reached, no spine to drive the storyline, almost as if there’s no point to the film; but instead, where the film lacks purpose, is filled with detail. And, if structured and told just right, seemingly pointless details can capture an audience move intensely than any well-structured plot. How? As true artists, the Coen Brothers produce films for the love of the art, and less for the money. Once they could afford to create their personal film at the expense of risking a bomb, they aimed at telling a story so compassionate with character background and detail that the events didn’t matter. While almost nothing happens throughout the span of the film, we develop an intense personal connection with the characters; caring for and sympathizing with the Dude, frustration and disbelief with Walter, and a pity for the disregarded Donny. The frustration of audiences at the box office opening stems from the public’s inaccurate expectations of the film. As Jon Bastian says, “People didn’t get it. They were expecting a simple comedy about a stoner who bowls, got something more like Raymond Chandler on Ecstasy, then missed the metaphor anyway.” The love for the film comes in finding the meaning and inner message by reading the characters and gaining an understanding for their roles. Where a typical film would contain a plot shift here or a twist elsewhere, The Big Lebowski follows it’s own agenda of plot. Where we can’t necessarily understand the storyline, we continue to watch the film for appreciation for the character. In the end, the Coen Brothers wanted to make the ideal film and break the golden rule of character/action unity; The Big Lebowski represents one of the minimal works of art that character unity supersedes action unity.

One Flew Over The Cuckoo's Nest

The weight of the message and ability to emotionally move the viewer presented in One Flew Over the Cuckoo’s Nest rests in the constant reminder that these were real moments in history, real people that changed history. In attempting to cinematically reenact and convey the important events that took place, even with sufficient information and material from the original book and play, the dedicated film artist would construct his work and efforts around the original sources with careful research to the actual events, and less on the reiterations of other authors. No matter how accurate another authors’ words are, they still contain an artistic bias which stems from the author’s writing style. Therefore, best to go to the historical sources. While the directors and producers had to research history and literature to relate and achieve the desired dedication to accuracy, the actors’ ability of dedication rests in a fully separate medium. The concept of acting is particularly bazaar; choosing to remove your identity and fully embody the role of another entity for the sake of art. It’s one thing to impersonate a friend or a compatible stranger, roles easy enough for an actor to take on because the other identity relates to theirs, but how easily can you relate and understand the existence of a clinically disabled or damaged individual? Through interacting and connecting with people of these conditions we can gain insight of how they may feel, but to be able to feel and behave in a self generated manor that is, neurologically, not familiar to us, is an insurmountable  feat of dedication by any actor. While Jack Nicholson and Will Sampson are incredibly talented actors, I’m positive they had personally connected and interacted with individuals of such mental conditions at some point in their lives, and had received a form of training to better comprehend the day to day actions and lives of such individuals.

Hudsucker Proxy

In short, the Coen Brothers are just damn weird; but because their inspiration and artistic styles come way out of left field, audiences consistently consider their works of art as revolutionary and avant-garde, with their films adored by millions. With the Hudsucker Proxy, I feel the Coen Brothers had their sights set on a lighter-sided comedy, much as Hudsucker Proxy is, but along the stretch of production too many external sources snuck in and changed or added the film, just enough for the audience to feel the presence of the studio industry as they watch the film. I feel bringing in a star actor like Tim Allen was a mistake but a necessity to receive studio support; but that’s not the Coen style, which is search diligently for an individual [famous star or a nobody] that fits the mold of the character they’ve designed in their script. While there are elements blatantly decorated with the Coen Brother style, [boss jumping out the window] while other parts of the script are borderline cookie cutter, as it’s unlike the Coen Brothers to add a fully predictable and cliché love plot. The thing with the clock keeper and evil repairman felt like a last minute addition by a third party to just quickly patch the ending together without having to give any explanation, just as dream sequences are often referred to as filler. The resolution to Mussburger’s story felt shallow and forced-moralistic; the greedy guy finally gets punished, and somehow sending him to an asylum finishes the studio-storybook fairytale. 

Sherman's March

Every human being’s life is a story, filled with all sorts of colors and history, yet some people learn to seize the moment and find more color in their day-to-day life. When we hang out with friends and tell them how our day went, we’re sharing a bond and communicating those colors of our lives. Creating a personal documentary or writing an autobiography is no different, except in the choice of medium used. For those who understand how to express the colors of their lives in an exceptionally vivid manor, they have the potention to become passionate artists. While Ross McElwee could be described as monotone and lacking color, the story behind his escapades and travels are genuine and absolutely intriguing. I will listen to the life of any man who, after being dumped and against all doubt, still preservers in his desire to travel and make a movie, let alone a man with a strong enough drive to travel across the country to find love. Regardless of McElwee’s monotone character, the sincerity of his choices and actions lead him down a vibrant life that couldn’t be mimicked by another. McElwee isn’t caught up in superficialities and establishments, and instead is choosing to “do him” by living his life to whatever extent he desires. He may be a hopeless romantic, but in seeing his motivation and drive to chase down what he loves, I developed an envy for his dedication. The world deserves to see the day-to-day life of a man who seizes the day like McElwee does, which I believe is what draws audiences to spend three whole hours watching his movie.

Exit Through the Gift Shop

Viewers who watch and expect to be delivered a message from Exit Through the Gift Shop are choosing to watch this tale unfold from the incorrect angle. Banksy's story is not a journey with a rewarding end, but a tale showing art and beauty occurring on our very streets every night. The passion these street artists possess for their craft is immeasurable, to the extent that they risk their rights and freedom with the possibility of being arrested: all for an art form. They risk their health and safety by climbing and traveling to deathly dangerous locations, all just to find their perfect canvas. This movie isn’t about some Frenchman who has a tick for filming everything, or about a prankster’s vision; Exit Through the Gift Shop brings an underground art form into the light for the public to gain a better understanding of. It’s not just vandalism and graffiti; the artists are just choosing to use the side of a building instead of an easel and canvas. The authenticity of the film is questionable, and possibly manipulative in the method Banksy uses to edit the film together, but the story told here is less focused on the people and events, but more of the underground culture continuing to form. Banksy message and aim wasn’t to profoundly change the lives of the audience in some over-the-top manor, but instead to refute the negative connotation that street art typically receives, and to draw viewers into understanding the stories and lives of the performers. When you look out your window, or as you drive down the interstate and see those colors sprayed alongside the underpass, don’t view it as vandalism and graffiti, but consider how the artist felt and the passion coursing through his hands as he sprays his art and love onto the canvas of the world.

When Harry Met Sally

The romantic-comedy genre maintains a bad reputation and, quite often, deservedly so. It isn't easy to find a good romantic comedy in this day and age, but When Harry Met Sally breaks that cliché mold and brings to light a fresh approach to romantic comedies. It's the story of two friends, trying their hardest to keep sex out of the relationship so as not to complicate things. The film is funny in its own subtle way without the use of stupid humor or sight gags.

When Harry Met Sally is a perfect example of Rob Reiner’s comedic style and it never loses its touch throughout the entire film. And while the wit and intelligence of the film remains the same all the way through, it changes its tone and pacing multiple times, making for an intriguing and diversified watch. The creative way in which the story progresses breaks away from the way thousands of other romantic comedies play out, and that makes for something so fresh and original that you can't help but love it.

When Harry Met Sally is a fantastic film that defines how all romantic comedies should be structured and filmed. Its intelligence and wit is something you don't see much anymore, making it a film that stands out among the thousands of others like it. While most romantic comedies are worse than the relationships they aim to mimic, When Harry Met Sally will stand the test of time and is a film that any viewer can take to heart.

The Thin Red Line

The primary purpose of cinema is to convey an emotion and a meaning, to send a message of information for the viewer to interpret and mold their own meaning into. While story and plot are (almost necessary) tools to communicate a director’s message, the purpose can still be delivered in many other mediums.

As the camera holds a close-up shot of a soldier’s face, caked in dried blood and mud, he stares blankly ahead, almost watching the audience—  a single tear falls from his eyes. Even though no sound is made, we can see the sorrow in his eyes and understand the emotions the character is experiencing. With the use of only the camera, in a single shot, we create a deep connection with the character and develop our own reciprocating emotions. Even a soundtrack can deliver a connection--- a single note on a violin, held for seconds and seconds but lasting forever after the scene has already cut, one steady tune fading off into silence. The gripping tension of that one note can hold an audience’s breath for half a minute.

There may not be a distinct and clear purpose of story, but we don’t have to know where this soldier grew up or what his favorite food is for us to connect and experience the emotional turmoil that he is experiencing in this war. No matter how scattered the details of the characters, Terrence Mallick’s vision was successfully delivered to the audience through his ability to show the damage and destruction of war on the men and women it inflicts.

Art of the Cinema - Pan's Labyrinth

While Pan's Labyrinth could easily have been written into a completely sci-fi genre, comparing the worlds between primary character's life at home and her fantasy world allows the viewer to get a much more intimate view into the reality of the little girl. Distraught by the chaos and destruction of the war she's surrounded by and tormented by the loss of her father, she has no choice but to escape to a self created reality. The viewer can connect with her because WE still do this on a day-to-day basis. There is a constant difference between how we perceive our surroundings, and the reality we create in our heads with our thoughts and internal conscious. While she is escaping to a world of fairies and mythical creatures, we often doze off during the day to dream about what we're doing later in the day, or of a special person who is dear to us. Without these constant looks into the personal self-generated realm of the little girl, our understanding and connection with her would be severely limited. And yet, if the movie didn't return to the external reality of the war and everyone else's lives, our natural sense of reality would begin to fade and the characters and creatures would seem less believable. By also connecting the character's lives to a horrible event in history [the war], our minds believe the story more. Because the war happened in real life and we're watching a recount of the events, we accept the events as a confirmed truth. It's impossible to prove that fairies exist, but through connecting the fantasy with the reality, a connection is created and secured that allows the viewer to naturally accept these two worlds without much question.

Art of the Cinema - Violence and Robocop

As violent and raw as Robocop is, Paul Verhoeven brings together a perfect mixture of 'fun' and realistic violence. The destruction and vandalism in major cities and slums in the 1980s was out of control, a reality accurately depicted in Robocop that audiences could relate to. While the public could relate to city-run organized crime, it's easier for the viewer to relate on a personal level to the trials and tribulations of the protagonist. Because the story is centered around the protagonist, the viewer automatically begins to alter their moral reality and sense of right-and-wrong to suit and justify the actions and feelings of the protagonist. Murdering a man is wrong; but seeking justice and removing a dangerous killer from the streets, doesn't sound so bad. As we shape this reality more and more, the negative consequences of murdering a man becomes less and less prevalent, and more of a crusade to restore all back to good. And while violence is a major staple in any action or thriller, it's only one of many traits used in conjunction with each other to create the art of cinema. When Peter Weller's character is shot to bits by the antagonists' gang, although the blood and gore is slightly over the top, it's meant to evoke a strong reaction, possibly anger towards the antagonists, or pity and sympathy for the protagonist. Even though the violence is right in your face in gruesome detail, it never overpowers or takes away from the artist purpose of the film.