Violence is Always an Answer

In the film Pulp Fiction, Quentin Tarantino creates a gruesome fusion of the lives of two hit men, a boxer, a couple who robs restaurants and a gangster’s wife that all share the common thread of “violence and redemption.” The story takes place in Los Angeles starts out with a middle-aged couple having breakfast and plotting a robbery in that very restaurant. Throughout the film, several other stories are taking place, and in the last few scenes all seem to fit together. This film is the winner of an Oscar for best screenplay and has been critically acclaimed for its creativity for the use of character development, camera angles and sound.

The character development in this film thickened with each scene, which made each scene exciting and unexpected. The film begins with a couple plotting to rob a restaurant, as they get up to rob the place, they shot abruptly ends and moves to two hit men, non-chalantly discussing McDonalds around the world, while going to kill four men for not paying Marsellus. Marsellus is first introduced while he is talking to Butch (Bruce Willis) , the boxer, in this shot his face is not exposed and his deep voice portrays power and intimidation. As the story develops Marsellus is the one common factor that is in everyone’s story. As Tarantino develops the character of two hit men who go on a wild goose chase to give Mersellus a case full of gold, he is also intricatly developing Butch’s character. Butch, a retiring fighter, is trying to escape from Marsellus’ power with his foreign girlfriend, yet gets caught in the drama, finally after killer two people to save Marsellus’ life, Marsellus is “cool” with Butch. In this film as one story ends, another begins. For instance after the two hit men, Vincent (John Travolta) and Jules (Samuel L. Jackson) , Vincent takes Marsellus’ wife, Mia (Uma Therman) out, on his request. While they dine at an Elvis dinner, she overdoses on cocaine, adding yet another aspect to these characters. Throughout this film as the characters are being defined they all seem to want revenge and a money, and the one sure way to achieve those goals are violence.

Camera angles also greatly contributed to this film, by giving a dramatic tone to moments as well as leaving the viewer wondering about certain characters. For instance in the scene where Mia (Marsellus’ wife) and Vincent are at dinner, they are always in separate shots, giving the effect of separation, that they are together, but not really together. Close ups were also used often to create a dramatic effect. For example when Butch was on the look out for Marsellus’ men, but was entering his apartment, the camera went close up to the key going into the lock, making it seem suspenseful because you couldn’t see what else was going on in the scene.

The element of sound used in the film created a mysterious tone, as well as kept you on the edge of your seat. For example in the scene where Butch is talking to Marsellus, the camera is only on Butch, yet Marsellus is the only one talking. This creates a sense of mystery and power to Marsellus’ voice. Also Tarantino chose to tie in music in the scene where Vincent and Jules are driving to kill four people, giving it an up beat tone and an attitude that killing, and violence is just another list of things to do during the day.

It is impossible to overlook the role violence and revenge has in this movie, yet the detail and creativity makes this movie smart, interesting and suspenseful. Tarantino created a film with a thick plot as well as character, cinematography that enhanced each character and sound that added suspense.

On The Waterfront

On the Waterfront, critically acclaimed to be an outstanding, gritty drama portraying a life of corruption on the New York City docks. A low budget film, released June of 1954, the winner of 8 Oscars, this film captures the real hardships and corruption of the working man in a New York ship yard. Marlon Brando creates the character of an ex-fighter, who is very rough around the edges, yet has a sensitive side. He finds himself caught in the middle of a moral dilemma of what he is supposed to do, and what he should do. The film starts out with Terry (Brando) setting up Joey Doyle to go on the roof, to get a little talking to. Little did Terry know that Johnny Friendly, the waterfront mobster, was planning on pushing him off the building and killing him. This scene shot in low-key lighting gives the first clues that Terry, even though involved in the gang, still has a moral code and is affected by the mobs wrong doings. This scene also introduces Joey’s sister, Edie (Eva Marie Saint) who later while trying to bring justice to the docks, with the help of Father Berry (Karl Malden) falls in love with Terry Malloy. In these grimy docks, Johnny Friendly’s mob has control over everyone’s life; there is a rule that everyone must act D and D, deaf and dumb. They don’t hear anything or see anything, making it possible for the mob to have all control over work, wages and their lives. With the murder of Joey and another shipyard worker, Father Barry, Edie and other try to stop this corruption.

Marlon Brando in the role of Terry Malloy gives a riveting performance both rough and tumble, yet soft around the edges. Brando executes an, I don’t give a damn, attitude but also the film sneaks in a childish, and sensitive side to Terry. For instance he climbs up to his roof to check on his pigeon coop where he looks after them with two young boys. While leaving to go meet with the mob, he tells the boys not spill any water, because he doesn’t want to the birds to get sick. Expressing somewhat of a contradiction of character, Brando gives an outstanding, multi-faceted performance.

Another reason why I think that this film won 8 Oscars was for the lighting and camera angles. Many of the scenes involving the mob were set in low-key lighting giving setting a serious tone, and also giving the viewer an uneasy feeling, not really knowing what would come next. Lighting was also a critical element in Terry and Edie’s relationship, while the lighting for Terry was always a little darker, almost in the shadow, Edie’s was always bright and a somewhat warm light. This not only literally but visually described how Terry was rough and thought only of himself, while Edie was kind, thoughtful and always thinking of others. This contrast in characters created a great chemistry on screen and was also a catalyst for Terry to start standing up for himself, and getting what he deserved. In the scene where Terry finds his brother Charlie murdered, lighting plays a very important role in portraying that emotion of loss. The ally is completely dark, except for one bright street light, shining on Charlie’s body. With the use of a long shot, it creates and overwhelming emotion of despair and hopelessness.

Camera angles were also very important in showing the power each person has to stand up to what wrong. In the scene where Father Barry is praying over a dead worker, killed by the mob. Father Barry is shot in a high-angle on a dock below everyone and is preaching to the mob. This is a very powerful shot expressing the fact that even though the mob may seem powerful, they can be defeated.

I think that the movie On the Waterfront deserves more than 8 Oscars. It was a powerful film that dealt with harsh realities, the plot had many layers as well as the characters and it kept you on the edge of your seat. Marlon Brando’s performance as well as Eva Marie Saint’s made this movie what it is, a film about how an underdog can overcome, and to never sell your self short.

Critique the Critic

James Berardinelli a regular “Top Critic” on the well-known web site, rottentomatoes.com tends to give an honest, and sincere opinion of films, yet does not care about hurting other people’s feelings. In this review, Berardinelli expresses the fact that the movie Juno, directed by Jason Reitman, isn’t your average romantic comedy but is littered with wit, humor and love.
While first reading the review, Berardinelli spends quality time talking about how much underground hype the movie has received. While reading this I assumed that this might take away from the film, possibly building it up too much. As the review continues, Berardinelli shifts from facts about the premier at the Telluride Film Festival, to how this is a “hybrid” romantic comedy. He states that Juno “is smart, witty, and engaging - three ingredients that, when applied to any film, comprise a recipe for success.” Berardinelli expresses why this movie is such a treasure, because it is not your typical Cameron Diaz flick, it has substance, without being too heavy. He also makes the point that it is a smart movie, that the dialogue is impeccable, which you don’t see often in movies. I think that in this review he sold the movie with this paragraph:

"Juno isn't one of those "laugh riots" that will have audience members rolling in the aisles, getting fake popcorn butter and spilled soda all over their clothing. Instead, it's funny in a sassy way - the kind of humor that causes a lot of smiles and chuckles to go along with the occasional stomach-jiggling laugh. The script is polished to near perfection. Almost everything that Juno says is worth listening to, whether it's dialogue that comes out of her mouth or her thoughts expressed in a voiceover narrative."

Another element of this review that I agree with and think is important is the performance of the cast with the leading roles of Ellen Page and Michael Cera. The critic especially raves about Ellen Page’s performance as a teenager who is faced with a very adult situation, being pregnant. She portrays a witty, matter of fact kind of girl, who is looking for a loving family for the baby she is carrying. Berardinelli doesn’t forget the rest of the cast, including Jason Bateman, Allison Janey, J.K. Simmons and Jennifer Garner all greatly contribute to this film, but says: “However, all of these actors, as good an experienced as they may be, are simply orbiting Page's star. This is her film from start to finish.”
In all James Berardinelli writes a very good review for this film, giving the movie 3 ½ starts out of 4. I think that this review covered all the bases, and I completely agree with it. Even though I have seen Juno, if I hadn’t seen it, this would have influenced me to spend $8.50 and watch this movie. Berardinelli, in my opinion did a good job of being thorough, and honest throughout this critique.

“Juno is the kind of the film where a viewer almost needs to look for a reason to dislike it for it not to work. It's charming without being saccharine. It's funny without being rude or dishonest. It's smart without being smart-assed. And it's got enough heart to keep the comedic elements in check.”

Berardinelli ended this review by bringing up one of the best elements a movie can leave you with; Juno keeps you thinking after you’ve left the theater, marking a truly good movie.

Video

Taking a Second Look

This clip of the movie Garden State takes place when Mark takes Sam and Largeman on a full day excursion to the most random places, all to find a family heir loom for Largeman. Just when Largeman has had enough with his immature friend Mark, they find a man who lives in a house boat along a huge canyon, who happens to have the family heir loom they are looking for. This clip is kind of the turning point in the movie when Largeman realizes he has to start dealing with the emotions he has with the loss of his mother.
This clip starts out as a medium shot, showing the house boat and the three characters leaving the warm house to venture into the rain with their make shift rain coats. The camera then turns to face a close up shot of Largeman saying goodbye to the man in the house boat. The shot then goes to a medium shot again while Largeman climbs the rusty tractor. This shot is also using high-key lighting with he drab colors of the sky and bright color of the tractor. When Largeman is on top of the tractor the camera goes to a close up, and while he is screaming is scans aways to an extended long shot. This extended long shot has a huge impact on the clip. When Largeman is screaming and the camera is close up, it seems like his problems are the only ones that matter. As the camera moves to the extended shot and uncovers the "abyss" it makes Largeman seem minute and unimportant in the grand scheme of things.

Favorite Movie?

My favorite movie is Almost Famous, for the IMDB link click here

The movie Almost Famous released in 200o, tells the story of William Miller who is striving to be a young rock journalist for the Rolling Stone Magazine. He grew up with an overbearing mother who put him in 1st grade when he was four years old, so he has always been the weird kid, and now at 15 he is trying to find himself and possibly be "cool". At a Black Sabbath concert William meets a groupie of the band Stillwater, Penny Lane, which is where his journey begins. In the matter of a few days William meets the bad, becomes friends with Penny Lane and is asked to write a piece about Stillwater for the Rolling Stone Magazine. Williams then goes on tour with the bad, which becomes a wild goose chase discovering the ins and outs of a rock band in the 70s and in turn finding out who he really is.
Throughout the movie William tries to get an interview with the lead singer Russell, but never seems to get him at the right time. This is an ironic theme in the movie, that this band is trying to pick the best moment to come off as cool to this reporter, William, and in reality William is everything but cool.
This is one of my favorite movies because it not only covers many aspects of music, which I love, but it is also a coming of age story. Critics also agree with this, saying that the acting was "true and honest" (USA Today), and also a balanced coming of age story, romantic comedy, with a twist of a documentary type feel. In all I really like this movie and would definitely recommend it.