North by Northwest
Movie: 1959, color, 131 min.
- Director: Alfred Hitchcock
- Actors: Cary Grant, Eva Marie Saint, James Marson
North by Northwest is an adventure-mystery about Roger Thornhill who is mistaken for a secret government agent by a group of spies. He becomes involved with this spies and is pursued across the United States. Once the government becomes involved, Thornhill has two groups searching for him. He is mistaken for a CIA agent George Kaplan, who in reality, does not exist
Q: How does Hitchcock show an entire movie through one person’s point of view?
A: For the most part, North by Northwest is a movie shown through Roger O. Thornhill’s point of view. Hitchcock shows this by using several camera techniques. Hitchcock uses principles of classical cutting and continuity editing to align the viewer with Thornhill in regards to what he sees and what he knows.
Hitchock takes long shots of Thornhill looking at a scene. By staying on Thornhill for a few seconds, we know that he is observing something important and is in deep thought. The camera than cuts to what he is looking at and shows this scene in a long shot. By doing this, we see exactly what Thornhill sees and know exactly what Thornhill knows. Additionally, Hitchcock uses close-ups of Thornhill to show expression. Although Hitchcock sometimes momentarily shifts the camera away from Thornhill, the movie is primarily shot through Roger Thornhill’s point of view.
Q: How does Hitchcock create a sense of suspense?
A: North by Northwest proves to be a suspenseful film. Hitchcock uses a number of techniques to generate this suspense. Primarely, he uses long shots and quick changes to create suspense.
For example, in the scene when Thornhill goes to meet Mr. Kaplan, we see Thornhill standing on the road. The camera switches to one side of the road and stays put for a few seconds. The camera returns to Thornhill where we see his nervous and anxious expression. He fidgits and moves his hands around. The camera switches to the other direction of the road and stays on that side for a few seconds. By continuously switching from road, to Thornhill, and back to the road, we are anxious, along with Thornhill, which ultimately creates suspense. The music helps play a role as suspenseful scenes are accompanied by suspenseful and intense music.
Forrest Gump
Movie: 1994, color, 142 min.
- Director: Robert Emesis
- Actors: Tom Hanks, Robin Wright, Gary Sinise
Forrest Gump is a movie about a simple man who is not exactly the brightest man. Although he is not intelligent, he has good intentions. He has a difficult childhood, joins the army, and somehow intertwines with most of the most important events throughout his time. He falls in love with a girl named Jenny and followers her for the rest of his life
Q: How does Emesis portray the events without Hanks actually being there?
A: Emesis portrays important events throughout Forrest Gump’s life without Hanks actually being at the actual events. He depicts events from the past and makes them look like present-day events.
Emesis uses false actors. He has false presidents of the United States, false war veterans, and fake football stars. Some are just in the situation while others are specific as in Presidents of the US.
Sometimes, Emesis, uses television shots of the scenes. TO show the event at Watergate, Emesis shows a CNN news report of the actual day, as in to show the event like it was during Forrest’s time.
Oftentimes, Emesis puts these two in the same scene. Forrest is often in the same scene as the Presidents and important figures, as to show them together. Emesis portrays many important events and places Forrest in these scenes by using special false actors and using shows and clips from prior events.
Q: How does Emesis portray Forrest’s life with the use of shots?
A: Emesis portrays Forrest’s daily life with the use of close up shots. At the beginning, when Forrest begins to run, Emesis shows a close up of Forrest’s shoes. Because he shows a close up, and stays with the shot for a few seconds, he demonstrates its importance. Running plays a big role in Forrest’s life and its significance is shown through the slow close ups of the shoes.
Later in the movie, Forrest receives a medal of honor after spending time in Vietnam. When he gives the medal to Jenny, Emesis shows a close up of the medal. This demonstrates the importance of the medal on Forrest’s life, as the war was a significant part of his life.
Towards the end of the movie, he becomes a shrimp boat captain. On the boat, Forrest has a hat that says Bubba Gump. Emesis shows a close up of the hat to show the importance of the shrimp company and the importance of his friendship with Bubba. Throughout the movie, Emesis portrays the important events of Forrest’s life through long takes of close up shots.
High Noon
Movie: 1952, black and white, 85 min.
- Director: Fred Zinnemann
- Actors: Gary Cooper, Grace Kelly, Thomas Mitchell
High Noon is a dramatic western film about a small town, which encounters the danger of a villain. The Marshall has to battle his old enemy the day he gets married. He realizes the importance of this enemy and does not go on his honeymoon. He waits as noon approaches, the time the villain and his followers will arrive.
Q: How does Zinnemann create suspense in High Noon?
A: Zinnemann makes High Noon a very suspenseful film. To create this suspense, he uses a number of different techniques. First, Zinnemann plays a specific type of music. The music progressively gets faster, creating a nervous sensation.
Additionally, Zinnemann switches from shot to shot rapidly. By switching back and forth between different locations we feel the tension. We live life through the Marshall. As High Noon approaches, the Marshall gets more and more scared. As the movie is shot through his point-of-view, we feel his tension and stress.
By putting progressively faster music in the background, rapidly switching shots between locations, and using a specific point of view, Zinnemann creates a suspenseful movie.
Q: How does Zinnemann give a single, inanimate object, significance.?
A: Throughout the movie, Zinnemann gives the clock great importance. The whole movie is leading up to noon. Throughout the movie, he returns the camera to the clock, as to give it importance.
When the clock is in the shot, Zinneman uses a close up. He makes this the only object in the shot. This shows its dominance and thus, its significance.
When the clock is shown, there is a time-passing-like music in the background. This is to demonstrate its significance in time passing between scenes and time passing getting closer and closer to noon. He uses the clock as a transition between scenes, not only to use as a transition, but also to give him an object to return to after every scene. All of these various techniques help Zinnemann give the clock, a single, inanimate object, significance.
Duck Soup
Movie: 1933, black and white, 68 min.
- Director: Leo McCarey
- Actors: Groucho Marx, Harpo Marx, Chico Marx
Duck Soup is a slapstick comedy about Rufus Firefly, who is named the new president of Freedonia when the old president could not complete his duties. Freedonia is in a financial mess and Firefly tries to fix this problem. Neighboring countries send spies in to obtain secret information. Each scene has something to make you the audience laugh about.
Q: How does McCarey portray a comedy in his specific style?
A: McCarey’s Duck Soup proves to be a slapstick comedy. McCarey portrays this style through a variety of different techniques. First, his shots are long and continuous. He wants to show the sequence of events and does this by rarely cutting from shot to shot. The only time he cuts is to transition and change scenes. The shots are always medium shots, to show the entire body of the characters, nothing more, nothing less.
His continuous shots show every movement of the actors, which is what makes the movie funny. For example, the scene with the lemonade seller seems like a never-ending shot. One of the Marx brothers takes the lemonade seller’s hat and quickly hands it to the other brother. The seller looks at the first brother, unable to find the hat, and the second brother places the hat back on the seller’s head. Although these scenes seem so simple, they truly portray the comedy the way McCarey desired. The continuous shots help McCarey portray his own stylistic comedy.
Q: How does McCarey create suspense in his comedy?
A: McCarey creates a sense of suspense in his comedy. He does this in numerous scenes by having his actors make specific movements. Oftentimes, the actors make quick movements in order to keep the scene alive and create suspense in what is ultimately going to outcome.
In the same scene with the lemonade seller, the hat is passed from the seller, to one brother, back to the other, back to the seller, to the second brother, and so on. The hat never stops moving and therefore, the characters never stop moving. As an audience, McCarey wants us to be on the edge of our seats waiting to see what will occur next.
Sometimes, McCarey zooms in to show exactly what is going on. He wants us to see each and every little movement and makes this apparent by showing us what he wants us to see. Throughout Duck Soup, McCarey uses specific movements and close ups to help aid in his attempt to portray a comedy.
The Graduate
Movie: 1967, color, 106 min.
- Director: Mike Nichols
- Actors: Dustin Hoffman, Anne Bancroft, Katharine Ross
The Graduate is an award-winning movie about a recent college graduate, Benjamin Braddock. He has an affair with his neighbor, Mrs. Robinson, but soon falls in love with her daughter, Elaine. He must handle his parents, the reality of life, Mrs. Robinson, and Elaine without losing his mind.
Q: How does Nichols use specific shots to depict a meaning?
A: Throughout The Graduate, Nichols uses specific shots to depict different meanings. Specifically, he depicts a trapped feeling. In the beginning, when Mrs. Robinson is seducing him, Ben feels trapped. In order to convey this, Nichols shoots a shot where Mrs. Robinson's legs are the frame. Because he is so enclosed, he feels like he is trapped with no way out. Her legs make him seem small and insignificant, to a point where he must succumb to her demands. He feels like she is controlling him and he has to listen to her, as he is trapped and has no way out.
In another scene, Nichols makes Ben feel trapped once more. When Ben and Mrs. Robinson are at the hotel, he goes to the counter in order to rent a room for the evening. There is a specific shot where Ben is caught between the canister and he seems trapped once more. He is nervous for the upcoming affair and to him, it seems like there is no way out. As he is trapped between both sides/pegs of the canister, he feels as if there is no way out of his current predicament. Throughout the movie, Nichols creates a trapped sensation by placing Ben in specific shots, trapped by other objects.
Q: How does Nichols create a deeper meaning with certain shots?
A: Throughout The Graduate, Nichols creates a deeper meaning by shooting specific shots in a specific way. One day, Ben is in the pool. His father comes up to him and begins to discuss his future. When Ben looks up at his father, the sun is right behind him. The shining, bright sun portrays the idea that he has bright ideas and a bright future, if he will only listen to his father. The sun shows that there is something, that beam of light, beyond where he is now. If he would only take the time to go after it, he could be successful.
In another scene, Ben is looking at Elaine through his rear view mirror. He begins to stalk her a bi, as he can no longer have her due to his previous actions. Nichols shoots this shot through the rearview mirror in order to show that she is in the past, that she is behind him. This frame within the frame (the mirror within the shot) creates the effect demonstrating that he cannot be with her, as she is behind him and he has missed his opportunity. Throughout the movie, Nichols gives shots a deeper meaning by personifying the sun as his future and the rearview mirror as his past. On the Waterfront
Movie: 1954, black and white, 108 min.
- Director: Elia Kazan
- Actors: Marlon Brando, Karl Malden, and Lee J. Cobb
On the Waterfront starts with an ex-fighter, Terry Malloy, who struggles to stand up to his corrupt boss, Johnny Friendly. Terry witnesses multiple murders and soon encounters one of the dead men’s sister. Terry soon meets Father Berry who tries to bring justice to the court once and for all.
Q: Why does Kazan place specific objects where he does?
A: Kazan places specific objects in specific places throughout the movie, all for a purpose. Nothing is placed somewhere just for the sake of it. The placement of different objects adds analysis to the movie and gives the movie significance. For example, when Terry is talking to Joey’s sister, there is a steamboat in the background making noise. While standing on a pile of rocks, the woman puts her hands in her face and begins to cry. The loud steamboat is there to signify that everyrhing is loud and emotional. It seems as if only she can hear what Terry is saying, but whatever it is is a truly an emotional thing. The noise of the steamboat only adds to the “loudness” of the scene, making everything seem more dramatic as arm movements are important when the audience cannot hear.
In addition, Kazan makes a jacket represent death. Joey, the character who dies first, owns a black leather jacket. The jacket is black and not any other color, as black typically symbolizes death. After Joey dies, Doukin aquires the jacket. In turn, he is the one who is murdered. As the movie goes on, Joey’s sister finally aquires the jacket. Terry aquires the jacket. Although he doesn’t die, he is brutally beaten. The jacket symbolizes death and is passed from one misfortunate to another.
Q: Why is this movie on the AFI Top 100?
A: On the Waterfront is number 19 on the AFI Top 100 movie list. It stays atop this list for many reasons. According to IMDb.com, Brando improvised part of the famous taxicab scene because he didn’t think the initial script was convincing enough. He was one of the first to do this and changed acting forever.
The famous taxicab scene had two brothers talking in the back seat of a cab. This is one of many scenes that like together “so many beautifully structures sequences, each its own tiny movie” (Hagopian).
Additionally, the setting of On the Waterfront proves vital to its success. It has a gloomy, simple setting that signifies the decade. Although simple, it portrays the time period as it was, as religious aspects, cultural aspects, and brotherly aspects are all brought into play. Without a doubt, this movie belongs on the AFI Top 100 movie list, and belongs towards the top.
Singin’ in the Rain
Movie: 1952, color, 103 min.
- Director: Stanley Donen, Gene Kelly
- Actors: Gene Kelly, Donald O’Connor, Debbie Reynolds
Singin’ in the Rain is a comedy, musical, romance about a silent film company that experiences the difficulties of upgrading to a film company with sound in their movies. Don Lockwood and Lina Lamont are silent-movie stars. However, once sound comes into play, and Lina cannot exactly speak elegantly, problems arise. Will Kathy Selden be able to help?
Q: How and why do Donen and Kelly use special effects?
A: Throughout Singin’ in the Rain, Donen and Kelly implement special effects to show a new era. As most of my research demonstrates, this was one of the first movies to implement special effects. Donen and Kelly don’t just show one special effect one time, but rather implement their effects throughout many of the musical numbers.
During the musicals, glitter backgrounds come and go, as people are floating in mid-air without a ground. Mid-song, the backgrounds change showing some new, fancy backdrop. As these changes are mid-song, it is not as if the scenery changed after a scene change, and thus demonstrates the new era. These effets add to the musical, as they portray something that hadn’t ever been done before.
Q: What is the significance of the music numbers, especially the song Singin’ in the Rain?
A: Donen and Kelly portray musical numbers like Singin’ in the Rain by not cutting their shots often. Most shots have excessive panning and zooming. At this time in the movie industry, when a shot was cut, the words had to be cut as well. So if the directors wanted a song to not be cut, they could not cut the shots either. Therefore, Donen and Kelly panned around the scene and shot a lot of zoom ins and outs frequently.
Singin’ in the Rain has a special significance among the musical numbers. Although rain is often associated with negativity and sadness, the rain in this movie shows happiness. Lockwood is finally with his lover Kathy, something that he has been trying to do for quite some time. In addition from Lockwood being ecstatic, during the musical number, he knows his movie will finally be successful. This new idea for success gives Lockwood a “high” and he ecstatically runs through the rain. This scene shows him with no worries, and shows the significance of Singin’ in the Rain. Casablanca
Movie: 1942, black and white, 102 min.
- Director: Michael Curtiz
- Actors: Humphrey Bogart, Ingrid Bergman, Paul Henreid
Casablanca is a classic drama-romance film about an American expatriate who meets his former lover. Rick Blaine, the fighter, meets Isla in Casablanca years after they were lovers. Casablanca is a Moroccan city controlled by the Nazis. Blaine must choose between his love and escaping the city.
Q: How does Curtiz portray Casablanca and how does he do it?
A: Curtiz portrays Casablanca as the dark city it is. The Germans occupy it and the citizens desire exile, but cannot escape. Because of this dark theme, Curtiz gives the city a dark overtone. Every shot has a dark element due to poor lighting. This poor lighting was on purpose though, as to give the city a darker element. Even in the dance, a place that is thought to be livelier, the lighting is till poor.
Facial features of the actors are not easy to see due to the lighting. Quotes like “nobody is supposed to sleep well in Casablanca” prove the gloominess of the city. The constant rain and poor air quality adds to the negativity. Everyone has long shadows to portray a bit of evil, almost like a dual dimension. The shadows are casted to produce a shady effect. Curtiz portrays Casablanca as the dark city it is by using poor lighting and adding a dark overtone to each and every scene.
Q: What kind of film elements does Curtiz use throughout his movie?
A: Throughout Casablanca, Curtiz uses specific types of film elements. First, he uses quick cuts. The cuts are to create a nervous sensation, as everyone is nervous in Casablanca. The characters are nervous about being safe in the town, and also wondering if they will ever get out or not. Because every cut is quick and the scenes jump, as an audience, we don’t know where Curtiz is going to go next, which gives us the same nervous sensation that the characters feel.
In addition, he uses minimal transitions. At this time in 1942, the transitions were limited. He uses the same fade-out transition to go from scene to scene. Although this was probably something very new at the time, now it just looks like he did not use a variety.
In many scenes, Curtiz makes us, the audience, feel like we are in the scene. For instance, when Rick and his lover are at a table having a drink, the camera is placed like it was the third seat at the table. We feel as if we are sitting with them, and thus feel more connected.
Curtiz uses minimal transitions throughout Casablanca but also uses quick cuts and special camera placements in order to give the flick a nervous but connected element. One Flew Over the Cuckoo’s Nest
Movie: 1975, color, 133 min.
- Director: Milos Forman
- Actors: Jack Nicholson, Louise Fletcher, Danny DeVito
One Flew Over the Cuckoo’s Nest is based on Ken Kesey’s novel. Randall Patrick McMurphy is brought to an insane asylum after pretending to be mad in prison. He rallies the patients together to overtake the evil Nurse Ratched, who will not stand for anything out of order.
Q: How does Forman portray the insane asylum?
A: Forman portrays the insane asylum in One Flew Over the Cuckoo’s Nest by using natural light and actual settings. He wants to show that it is not much different from the rest of the world, and the two truly intertwine. When McMurphy escapes with the others, he is showing how close they are to the real world.
He shoots close ups of wire screens and bars to show how they are oppressed, and especially to signify the oppression from Nurse Ratched. Additionally, the inside of the asylum is all white. The walls, ceilings, even the attire worn by the patients. This demonstrates the contrast between the institution and the pateients that inhabit it.
Finally, Forman uses close ups of each and every patient to show their life stories. Some look older, others have scars from battles, while others look like they have never been out. Regardless, Forman portrays the insane asylum in a very specific way.
Q: How does Forman portray Nurse Ratched?
A: Forman portrays Nurse Ratched as the controlling dictator that she was made to be in the novel. When we first see her, we see that her hair has two points on either side. She maintains this hairdo throughout the movie. The two points signify horns, as she is supposed to portray the devil.
Throughout the movie, Forman includes many timeless shots of her glaring at McMurphy and the others. By showing these unending shots, we develop a hatred for her, as she is a very controlling character.
When she gives the medicine, we see close ups of her with the microphone. By having the microphone, she has all of the power and all of the characters listen to her. In contrast, when McMurphy overtakes the microphone, he attains the power. But for the majority, she has the microphone and thus, she has the power with her controlling nature.
Finally, on multiple occasions, we see her walking up the long hallway towards the institution. I believe this to be the devil’s descent into Hell, as she is made to portray the devil. Forman portrays Nurse Ratched as the evil, controlling, devil that she was made out to be.
http://www.sparknotes.com/film/cuckoo/section2.rhtml
The Shawshank Redemption
Movie: 1994, color, 142 min.
- Director: Frank Darabont
- Actors: Tim Robbins, Morgan Freeman, Bob Gunton
The Shawshank Redemption is an award-winning movie about two imprisoned men who bond over the years in prison. Andy Dufresne, an imprisoned banker, begins to help out the warden. He and his friend Red fight through the struggles of prison and try to stay sane with the little things in life.
Q: Why does Darabont shoot the prison and portray it?
A: Darabont establishes Shawshank Prison at the beginning of the movie. He pans around the prison, showing all of the prisoners walking across the courtyard. All of the prisoners look extremely small, to show just how insignificant they are in the prison. There are so many prisoners, and they all look the same, demonstrating the insignifcance of each and every prisoner at Shawshank.
A few shots lataer, Darabont shows a shot of the entry to the prison. The shot looks up at the door, with a worm’s eye view, showing the door, the rest of the building above it, and the sky. This shows the domincance the prison has over the prisoners. The prison overpowers Andy as he walks in the doorway.
Finally, when Andy and the other new prisoners enter, they all stand on a yellow line. Darabont chose to show a close up of all their feet on the dominant yellow line. This shows the order that the prison requires and shows that Andy nor anyone else will be able to break this line.
Q: How does Darabont parallel the bird with the life of Brooks?
A: Darabont parallels a bird with the life of Brooks. When Andy first enters the prison, he meets Brooks, who is feeding a tiny bird a worm. He says the bird lost its home and he is going to raise it. Both Brooks and the bird are held captive for most of their life, the bird in Brooks’ possession and Brooks in the prison.
Finally, Brooks sets the bird free. The bird flies away never to be seen again. We do not know what happened to it, but soon after, Brooks is set free. After a short while, Brooks does not know what to do with himself and soon commits suicide. I believe that because Brooks could not cope with the reality of the real world, he had no other way but to commit suicide. I believe the same for the bird.
The bird was always given everything it needed throughout its life. When it was finally set free, it probably did not know how to live and thus, committed suicide. Darabont parallels the life of the crow with the life of Brooks in The Shawshank Redemption. 