Having seen this movie before, I knew that plot line and I was able to look for subtleties in the story and on camera.
The moment I choose to describe is when Theo and Kee were in the building when it was being shelled. Theo ran into the building to search for Kee and her baby. There is constant shelling and firing between the military and the resistance. Finally, Theo finds Kee in a room and does his best to protect her. They run into Luke, however, and exchange a few reflective words, and then they try to escape. In the process Theo is shot, but one cannot tell too much because it isn't the focus of the shot. They proceed down the hallway after Luke is killed, and all the people in the building become still and reach out to touch Kee and/or the baby. Then Theo and Kee descend the stairs and run into a series of military men. All of them, once they see the baby, stop in awe and everything is still and silent. Once Theo and Kee are outside of the building and passed all of the troops, the fighting begins again. For a short moment, the violence ceased because life had begun.
Wednesday, April 18, 2012
Tuesday, April 10, 2012
Screening Notes: Hugo
This movie is visually very stunning and easily captivates its audience. At the onset of the film, I was a bit weary because I thought it would another orphan story done ad nauseum in Hollywood today. Further into the film, however, I began to admire it and enjoy it.
The first 'moment' that I had within this film was in the opening sequence. When Hugo was descending the staircase within the clock room, the shot used was an incredibly well executed tracking shot. Once I saw this shot I immediately checked to see if 'Hugo' won the Oscar for cinematography - which it did. The shot was so fluid and well constructed, it really engaged the audience well.
Another 'moment' that I had in the movie was when Hugo had his dream about going down onto the train tracks and finding the key. A train was approaching, and in order to miss hitting our main character, the train went off the tracks and into the station. Aside from being very neat in effect, when the train was approaching Hugo, I was reminded of the film 'A Train Arriving at a Station'. But here, instead of the audience being afraid of the the train in 2d as was when the Lumiere brothers showed there film, director Scorsese made it appear in 3d to scare the audience. This is a direct commentary of the innovation that Scorsese and other directors wish to take in the new 3d world of film.
A third 'moment' I had was when the Inspector had a romantic moment with his love interest. He built up the courage to go talk to her, and was bumbling over his words and didn't really know what to say, but it worked out well regardless. Aside from the way this scene plays into the plot, I thought it was very interesting being the audience is encouraged to take sides with the Inspector; up to this point he had been a sort of antagonist or enemy. This event and the connection the viewer had with the Station Inspector foreshadows the humanity of his character and makes it more believable that he would allow Hugo to go.
Overall, a really enjoyable movie!
The first 'moment' that I had within this film was in the opening sequence. When Hugo was descending the staircase within the clock room, the shot used was an incredibly well executed tracking shot. Once I saw this shot I immediately checked to see if 'Hugo' won the Oscar for cinematography - which it did. The shot was so fluid and well constructed, it really engaged the audience well.
Another 'moment' that I had in the movie was when Hugo had his dream about going down onto the train tracks and finding the key. A train was approaching, and in order to miss hitting our main character, the train went off the tracks and into the station. Aside from being very neat in effect, when the train was approaching Hugo, I was reminded of the film 'A Train Arriving at a Station'. But here, instead of the audience being afraid of the the train in 2d as was when the Lumiere brothers showed there film, director Scorsese made it appear in 3d to scare the audience. This is a direct commentary of the innovation that Scorsese and other directors wish to take in the new 3d world of film.
A third 'moment' I had was when the Inspector had a romantic moment with his love interest. He built up the courage to go talk to her, and was bumbling over his words and didn't really know what to say, but it worked out well regardless. Aside from the way this scene plays into the plot, I thought it was very interesting being the audience is encouraged to take sides with the Inspector; up to this point he had been a sort of antagonist or enemy. This event and the connection the viewer had with the Station Inspector foreshadows the humanity of his character and makes it more believable that he would allow Hugo to go.
Overall, a really enjoyable movie!
Monday, April 9, 2012
Screening Notes: A Single Man
Upon first reading the summary of A Single Man I was a little weary of it's content, but decided to go into it with an open mind. When my instructor informed me that this film's director (Tom Ford) was formerly and architect and a fashion designer, I knew the film was going to be beautiful to look at, and it was.
I had a great cinephilic moment towards the beginning of the film with all the architecture within Colin Firth's home. The home was built perfectly for the purpose because all of its lines and design were framing Firth's character, George. This moment was cinephilic for me because I know about framing and line designs through film classes. The railing and the sculpture all focused my eyes onto Colin Firth, and I knew that this was the director's intention. The house used was architecturally gorgeous, so immediately I was actively searching for ways that it could play into direction, which it did in focusing solely on George, who was alone. This was Tom Ford's purpose: to have the audience see George all by his self, without his partner. George stands out as the only living thing in the beautiful house.
I had a great cinephilic moment towards the beginning of the film with all the architecture within Colin Firth's home. The home was built perfectly for the purpose because all of its lines and design were framing Firth's character, George. This moment was cinephilic for me because I know about framing and line designs through film classes. The railing and the sculpture all focused my eyes onto Colin Firth, and I knew that this was the director's intention. The house used was architecturally gorgeous, so immediately I was actively searching for ways that it could play into direction, which it did in focusing solely on George, who was alone. This was Tom Ford's purpose: to have the audience see George all by his self, without his partner. George stands out as the only living thing in the beautiful house.
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