Double Indemnity captured my interest a lot. I think it shared a lot of aspects with various Hitchcock films, which I enjoy watching. I've always been interested in Hitchcock's use of shadows and light, mainly in his black and white films, and Double Indemnity (and film noir as a genre) use both incredibly well.
As said in the documentary about Double Indemnity, Neff is a very likeable character and I found myself siding with him and wanting him to not be brought to justice. Naturally, I was slightly disappointed when Neff is caught by Keyes at the end. However, the lack of aggression Keyes displays helps to make the ending a little more satisfying as Neff still seems like a "nice" guy.
I found the character Lola, Phyllis's stepdaughter, wasn't explored very much. Maybe this was for a reason but her character seemed a little redundant to me (despite the plot line of Phyllis seeing Lola's boyfriend). The film was heavily focused around the crime and Phyllis's sexuality, so a lot of the smaller characters and smaller plot-lines become a little lost within the film (which is not necessarily a criticism).
Friday, 28 February 2014
Sunday, 9 February 2014
Ferris Bueller's Day Off (1986)
I recently re-watched Ferris Bueller's Day Off and rediscovered my love for it. I watched it once when I was younger, but the person I was watching it with hated it, so I didn't get to appreciate it fully.
There are some really good quotes and messages within the film, and it's great to see a good film where young people are rebelling against the organised structure of life.
There's one specific scene in the film where Ferris Bueller's friend Cameron has a breakdown and starts to destroy his dad's car as a symbol of him standing up for himself.
The scene has this magnificent use of silence which echoes the shock of the characters and the audience.
The silence really helps to drive the message into the audience of how tiring it is to conform and live by the rules made by other people. Ferris Bueller's Day Off really emphasises the idea of living for yourself, rather than be manipulated by other people.
It does this in a brilliant way as Ferris, Sloane and Cameron are viewed as the "good guys" whereas the principal of their school is seen as the enemy. At the end of the film, Ed Rooney (the principal) is seen staggering down the road in ripped, bloody clothes after being gloriously defeated by the youth.
There is a part of Ferris Bueller in everyone, wanting to break free from restrictions and rebel and Bueller lives this dream.
There are some really good quotes and messages within the film, and it's great to see a good film where young people are rebelling against the organised structure of life.
There's one specific scene in the film where Ferris Bueller's friend Cameron has a breakdown and starts to destroy his dad's car as a symbol of him standing up for himself.
The scene has this magnificent use of silence which echoes the shock of the characters and the audience.
The silence really helps to drive the message into the audience of how tiring it is to conform and live by the rules made by other people. Ferris Bueller's Day Off really emphasises the idea of living for yourself, rather than be manipulated by other people.
It does this in a brilliant way as Ferris, Sloane and Cameron are viewed as the "good guys" whereas the principal of their school is seen as the enemy. At the end of the film, Ed Rooney (the principal) is seen staggering down the road in ripped, bloody clothes after being gloriously defeated by the youth.
There is a part of Ferris Bueller in everyone, wanting to break free from restrictions and rebel and Bueller lives this dream.
Monday, 3 February 2014
If (1968) - Closing Scene Analysis
The first few shots of the closing scene of If establish the location of the youth on the rooftop and the rest of the characters down in the courtyard. This immediately creates a sense of the youth hiding from the rest of the people of the time during the 60s. The general stereotype of the time was of people, particularly young people, breaking free of the rules and constraints of the time, but the placement of the youth hiding in this scene proves how they were still being watched and restricted.
The idea of the youth firing at society is a representation of their desire for rebellion. This rebellion causes destruction and chaos which could symbolise the idea that 'Swinging Britain' was just a myth, and, in reality, the slight increase in freedom had awful, dark consequences. The scene also clearly represents the youth as the "bad guys", which emphasises the lack of freedom and independence that the youth had at the time, as well as emphasising the lack of control and intense destruction the youth were identified with.
The youth on the rooftop seem to be really getting into the firing of the guns and it really creates a feel of games and role play, where young children run around pretending to be in the war. This really emphasises how the youth really were young and should still have been guarded and controlled because of the destruction they were capable of. This, again, shatters the 'Swinging Britain' myth of happy-endings and exciting freedom. In the first shot, there is smoke forcing people out of the building. The smoke could be a metaphor for how the youth of the time would cover their actions up and rebel behind the backs of society, their parents etc. The smoke causing people to leave the building shows how the events that the youth were a part of were damaging.
At the same time, the youth (the character Travis, in particular) are firing at society in angry way to represent how the rules, restrictions and strictness were seen as unfair through the eyes of the youth.
Shots of the man in armour and religious uniform represent the idea of society forcing ideas of war, patriotism and religion onto the youth of the time. This is an echo of all the religion and war references and rules applied in the film through the boarding school and how they stopped the boys in the school from having fun.
The shot of people hiding behind the car includes a gun being passed around. This is an idea of the conflict between society and the youth of the time.
The shot where guns are being passed out of the window to the people in the courtyard symbolises the idea of society "ganging up" against the youth and causing a brutal war and divide between them.
In the shot where The Girl fires a bullet and kills the headmaster, an idea of rebellion and lack of tolerance for the constant lies told the youth in order to control them is shown ("Boys! Boys! I understand you! Listen to reason and trust me! Trust me!").
One of the shots in the film includes the image of a tree in the courtyard. The tree is dark and leafless which could represent how the bright and colourful idea of the 'swinging 60s' was false and how, in reality, the 60s were dark and lifeless.
The idea of the youth firing at society is a representation of their desire for rebellion. This rebellion causes destruction and chaos which could symbolise the idea that 'Swinging Britain' was just a myth, and, in reality, the slight increase in freedom had awful, dark consequences. The scene also clearly represents the youth as the "bad guys", which emphasises the lack of freedom and independence that the youth had at the time, as well as emphasising the lack of control and intense destruction the youth were identified with.
The youth on the rooftop seem to be really getting into the firing of the guns and it really creates a feel of games and role play, where young children run around pretending to be in the war. This really emphasises how the youth really were young and should still have been guarded and controlled because of the destruction they were capable of. This, again, shatters the 'Swinging Britain' myth of happy-endings and exciting freedom. In the first shot, there is smoke forcing people out of the building. The smoke could be a metaphor for how the youth of the time would cover their actions up and rebel behind the backs of society, their parents etc. The smoke causing people to leave the building shows how the events that the youth were a part of were damaging.
At the same time, the youth (the character Travis, in particular) are firing at society in angry way to represent how the rules, restrictions and strictness were seen as unfair through the eyes of the youth.
Shots of the man in armour and religious uniform represent the idea of society forcing ideas of war, patriotism and religion onto the youth of the time. This is an echo of all the religion and war references and rules applied in the film through the boarding school and how they stopped the boys in the school from having fun.
The shot of people hiding behind the car includes a gun being passed around. This is an idea of the conflict between society and the youth of the time.
The shot where guns are being passed out of the window to the people in the courtyard symbolises the idea of society "ganging up" against the youth and causing a brutal war and divide between them.
In the shot where The Girl fires a bullet and kills the headmaster, an idea of rebellion and lack of tolerance for the constant lies told the youth in order to control them is shown ("Boys! Boys! I understand you! Listen to reason and trust me! Trust me!").
One of the shots in the film includes the image of a tree in the courtyard. The tree is dark and leafless which could represent how the bright and colourful idea of the 'swinging 60s' was false and how, in reality, the 60s were dark and lifeless.
Sunday, 2 February 2014
If (1968) - Film Response
I thought that If was a very interesting film to watch, despite not understanding a lot of it. It emphasises the social constraints that people of the time still faced, despite the idea of 'Swinging Britain' through the rules and punishments the school has.
In terms of the surrealism, I wasn't sure what was going on, although I'm sure it had a lot of meaning. I think that one of the surreal scenes was based around dreams and maybe how the 60's were full of these huge dreams and ambitions, none of which would become reality. The scene where the two boys steal the motorbike could be a reference to the people of the time wanting to break free and escape, rebelling from the rules and constraints.
Out of the four 60's films, I enjoyed If the most. The characters and issues pulled me in a lot more than the ones in the three other films. For want of a better word, I'd say the other films felt a bit bland to me. If was generally a little more upbeat and exciting and I think that's why it interested me a lot more than the other films.
The ending, of course, was quite shocking. I had been warned, very vaguely, about it, but I wasn't expecting anything quite like a mass shooting.
In all honesty, it's taking me quite a long time to find the words for this film response as the film was so surreal and shocking in places.
In terms of the surrealism, I wasn't sure what was going on, although I'm sure it had a lot of meaning. I think that one of the surreal scenes was based around dreams and maybe how the 60's were full of these huge dreams and ambitions, none of which would become reality. The scene where the two boys steal the motorbike could be a reference to the people of the time wanting to break free and escape, rebelling from the rules and constraints.
Out of the four 60's films, I enjoyed If the most. The characters and issues pulled me in a lot more than the ones in the three other films. For want of a better word, I'd say the other films felt a bit bland to me. If was generally a little more upbeat and exciting and I think that's why it interested me a lot more than the other films.
The ending, of course, was quite shocking. I had been warned, very vaguely, about it, but I wasn't expecting anything quite like a mass shooting.
In all honesty, it's taking me quite a long time to find the words for this film response as the film was so surreal and shocking in places.
Friday, 24 January 2014
Georgy Girl - Opening Scene Analysis
The first shot of Georgy in the opening scene is of her openly and confidently walking down the street and, at one point, pushing two men aside to get past which represents her stubbornness, strength. It also represents how she would stand up for herself against the male characters in the film who keep trying to tell her who to be. She is wearing dark clothes and a very simple, no-fuss hairstyle which opposes the other women in the scene. She keeps walking and passes many shop windows and posters displaying 'sale' signs but is not distracted or pulled in by them at all which shows her non-conformity to the female stereotype of the time.
This is followed by a visual metaphor where Georgy is crossing the road. This could symbolise and foreshadow the transition she goes through later on in the film where she goes from a single woman to a married woman with a child. Her journey from one side of the street to the other is interrupted by cars as she crosses which could represent the troubles she will encounter and the disruption of the traditional way of living. This is the first hint of the film's themes of disproving and destroying the smooth, care-free stereotype of the 'swinging 60s'.
A little while after this, in the opening scene, Georgy crosses the road again after changing her mind about her look which represents her comfort zone and how she is expected to look a certain way but doesn't like it. This is supported by how characters in the film would ask her to change her large jumper or wear a dress, to which she refuses. This is an idea of how not all freedom had been achieved at this point in time and people, mainly women, were pushed into a stereotype and 'designed'.
As Georgy looks at the hairstyles in the shop, there is a fence railing which separates the street from the shop which could represent how Georgy is stopped from having the stereotypical, traditional 60s look and lifestyle she wants to have. However, beyond the railing is a glass window and glass door which shows just how close Georgy was living to these women with these other lives. Georgy and the woman in the shop look at each other through the window which emphasises the difference between Georgy and the average woman of the time.
This is followed by a visual metaphor where Georgy is crossing the road. This could symbolise and foreshadow the transition she goes through later on in the film where she goes from a single woman to a married woman with a child. Her journey from one side of the street to the other is interrupted by cars as she crosses which could represent the troubles she will encounter and the disruption of the traditional way of living. This is the first hint of the film's themes of disproving and destroying the smooth, care-free stereotype of the 'swinging 60s'.
A little while after this, in the opening scene, Georgy crosses the road again after changing her mind about her look which represents her comfort zone and how she is expected to look a certain way but doesn't like it. This is supported by how characters in the film would ask her to change her large jumper or wear a dress, to which she refuses. This is an idea of how not all freedom had been achieved at this point in time and people, mainly women, were pushed into a stereotype and 'designed'.
As Georgy looks at the hairstyles in the shop, there is a fence railing which separates the street from the shop which could represent how Georgy is stopped from having the stereotypical, traditional 60s look and lifestyle she wants to have. However, beyond the railing is a glass window and glass door which shows just how close Georgy was living to these women with these other lives. Georgy and the woman in the shop look at each other through the window which emphasises the difference between Georgy and the average woman of the time.
Georgy Girl (1966) - Film Response (UNFINISHED)
Georgy Girl was seemingly lighter than the other 60s films I've watched so far which made it a lot more enjoyable to watch, in my opinion. Whilst it wasn't exploring very positive issues, there was nowhere near as much darkness as in the other films and it didn't contain disturbing abortion scenes like the others. Rather than looking at the darker times of 'Swinging Britain', it seemed to provide a much more realistic view of how a normal life for "no one special" would turn out.
I quite liked the character of Georgy and I felt her independence, non-conformity and tendency to be strong-willed was something to be respected. Despite many other characters referring to how she could be loved if she looked like other girls of the time, she makes little effort to change as she is more comfortable the way she is.
I quite liked the character of Georgy and I felt her independence, non-conformity and tendency to be strong-willed was something to be respected. Despite many other characters referring to how she could be loved if she looked like other girls of the time, she makes little effort to change as she is more comfortable the way she is.
Saturday, 18 January 2014
Inception (2010)
I recently re-watched Inception, splitting it up into two evenings as it's over two hours long. There is so much I could talk about with this film but I want to keep it simple. I could analyse every single detail of the film as it has so much obvious meaning to it, but that would take a very long time.
However, one part that stood out for me is the scenes involving Cobb's memories. Ariadne travels around these stored memories in a dark lift that is rusty, old and is barred. Cobb has lived 50 years in a separate world which explains the old, uncared for look to the lift. The darkness and the bars are a representation of Cobb's feelings of being trapped in other worlds, as well as a visual metaphor of him caging his memories and caging Mal.
In the same scene, the curtains in the hotel window fly about in the wind. This image is shown again at other points of the film and I believe it is a subtle hint to symbolise Cobb feeling like he has lost control.
Inception wouldn't be the same without the sounds used. Intense, driving orchestral music is used throughout and blends into the film so well that you almost forget it's there. You're left with these feelings of adrenaline and tension and without the music, you wouldn't feel quite the same.
Silence and diegetic sounds are used in a genius way. In one scene, the van in one dream is falling and the music suddenly stops to leave complete silence in a slow motion scene. In the next dream, the only sound is the avalanche. The use of sound manages to captivate the audience and draw you into the film in way that makes you forget reality - which is very much like the main theme of the film.
I forgot how good Inception was. Every detail within the film is hugely important and the film itself is unbelievably impressive.
However, one part that stood out for me is the scenes involving Cobb's memories. Ariadne travels around these stored memories in a dark lift that is rusty, old and is barred. Cobb has lived 50 years in a separate world which explains the old, uncared for look to the lift. The darkness and the bars are a representation of Cobb's feelings of being trapped in other worlds, as well as a visual metaphor of him caging his memories and caging Mal.
In the same scene, the curtains in the hotel window fly about in the wind. This image is shown again at other points of the film and I believe it is a subtle hint to symbolise Cobb feeling like he has lost control.
Inception wouldn't be the same without the sounds used. Intense, driving orchestral music is used throughout and blends into the film so well that you almost forget it's there. You're left with these feelings of adrenaline and tension and without the music, you wouldn't feel quite the same.
Silence and diegetic sounds are used in a genius way. In one scene, the van in one dream is falling and the music suddenly stops to leave complete silence in a slow motion scene. In the next dream, the only sound is the avalanche. The use of sound manages to captivate the audience and draw you into the film in way that makes you forget reality - which is very much like the main theme of the film.
I forgot how good Inception was. Every detail within the film is hugely important and the film itself is unbelievably impressive.
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