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Theater 12 / Film as Art 1. Art analysts consider Casablanca to be the most classic romantic melodrama of the last century. Being a masterful tale of two men struggling and vying for a woman in the familiar love triangle, the film itself constitutes peculiar interest in terms of its appearance and approach to cinematography. Casablanca became one of the first films that depicted contemporary context, since the scenario of political and romantic espionage was opposed to conflict between two worlds, democratic and totalitarian. From the critical point of view, Casablanca set new standards regarding the utilization of the film as propaganda, anti-Nazi one in particular case. However, this tradition was supported throughout entire film history, when the multiple effects of cinematography on mass audience were taken into consideration.
Practically, the film pioneered other important issues for film-making vast casting and enormous budget. According to some evidence available, 34 nationalities were included in its initial cast while the films budget exceeded $ 1 million. Magical and flawless dialogues about love, honor, self-sacrifice and duty were reflected in numerous subsequent movies, namely Woody Allens Play It Again, Sam, Cabo Blanco, Barb Wire. Brian De Palmas The Untouchables revealed the familiar and very sensitive for America theme of good versus evil, depicted through images of gangsters and cops. Despite its trite theme, the film itself is not about the scenery and events, however about De Palmas eye and vision of these events. The film follows the trajectory of good law-abiding intentions of Eliot Ness, which contrast with existing reality.
From the critical point of view, De Palma introduces imagery in advance of the action, and thus the film has circular effect, mainly because depicted events have happened before and will happen again. The Untouchables constitutes an adequate example for cinematographic tradition of gangster movies, in terms of imagery, dialogues and colors utilized. 2. One of the introductory scenes of Casablanca reveals the panorama of Moroccan life. In Ricks Cafe American a crowd of various nationalities listens to jaunt singing of black pianist Sam and his It Had to Be You. Simultaneously, the camera overhears groups found at different tables, giving audience a chance to get acquainted with those stranded in Casablanca. Deploring about his life, one man says, Waiting, waiting, waiting.
I'll never get out of here. I'll die in Casablanca. The camera switches to a woman selling smuggled diamonds. In a single moment, the audience sees other men making secretive travel arrangements to get out.
And again camera pans by two Chinese refugees, discussing something in Oriental languages. It takes about fifty seconds for audience to absorb the smoky, inconstant but still unhurried atmosphere of Morocco. One of the most memorable, effective and controversial depictions done by Brian De Palma is the shootout in Chicago Union Station. Practically, extended slow-motion can be considered to be De Palmas trademark. Impressive camera work reflects incredibly complex choreography of gun fighting and nervous tension as baby carriage with a baby inside rolls down a long flight of stairs.
Evoking Sergey Eisensteins classic Odessa Steps sequence from Battleship Potemkin, one begins question the original intent of the scene, however considering particular political shade of The Untouchables it is perceived as logical and even necessary. 3. Being born in the East London area of Leytonstone in 1899, young Alfred Hitchcock received strict Irish Catholic upbringing and education at the Jesuits St. Ignatius College. Hitchcock's first interests in art became evident when he transferred to the advertising department of Henley Telegraph Company, though had technical education. When he learnt that Famous Players Lasky was opening a studio in London, Hitchcock submitted a portfolio of his work and was eventually hired on a position of title designer for the silent films. His ultimate passion for films subsequently led him to apply for the job of Assistant Director which gave him crucial experience of film making.
His directorial debut was in 1922 on the film Number 13. However, practically the first film marked by Directed by Alfred Hitchcock was The Pleasure Garden in 1925. Subsequently, Hitchcock directed six full length silent films, namely Downhill, Easy Virtue, The Ring, The Farmers Wife, Champagne, and The Manxman. In every film Hitchcock utilized trick photography, bizarre settings, striking film and soundtrack editing, and telling single shots or whole sequences that had a fantastic or nightmarish reality of their own, which shaped his original classical technique. In 1939 Hitchcock pursued his fate as a director in Hollywood, working primarily in the thriller genre, telling his stories in the strongly graphic style and taking the same infinite pains to set up particular effects.
Hitchcock's later films had a new distinguishing depth. However, all subsequent movies varied significantly, starting from bizarre Vertigo in which the hero morbidly tries to remake a girl he picks up into the image of his dead love, or Marnie, where the hero perversely determines to rape a pathological liar and thief into normality to strong and consistent North by Northwest and Psycho, which are the best of his later films. Steven Soderbergh was born in Georgia, however was raised and got primary education in Louisiana. At the age of 13 he took first steps in film making, having moved to Los Angeles.
His first directorial success came along with Sex, Lies and Videotape, which was premiered at the Sundance Film Festival in 1989. Later that year Soderbergh became the youngest ever director to win the Palme d'Or at the Cannes Film Festival for the film. In 2000 he found extreme success with Erin Brockovich and Traffic, earning twin Oscar nominations for Best Director. 4. Brian De Palma made a perfect decision inviting Robert De Niro to play vivid character of Al Capone in The Untouchables. Probably, it is De Niro's unique feature to absorb the character of the gangster and become almost indistinguishable from the latter. In The Untouchables De Niro, presenting initially a negative character arose more sympathy in terms of quality playing then positive characters of Eliot Ness and Jim Malone.
His notorious prohibition criminal Al Capone looks amazingly great and natural either holding a goblet of wine during the reception or baseball bat and a gun. These significant contrasts are achieved undoubtedly by peculiar De Niro's approach to performance on stage.
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Research essay sample on Critical Point Of View Alfred Hitchcock
