The Da Vinci Code

The Da Vinci Code

Director Ron Howard takes on a controversial subject involving the Roman Catholic Church, his ability to hold our attention seemed unparallel within any movie during its time. The film opens with a stainless steel “V” appearing with the remainder of the title filling in around it. Many directors try to create themes with opening scenes while others use the title to exploit the plot. Howard creates a simple leap between title and opening scene, renowned curator Jacques Saunière (Jean-Pierre Marielle) is being chased by Silas (Paul Bettany) through the museum in search of something being hidden by Saunière. Silas shoots the curator, the scene builds upon the title by Professor Robert Landon (Tom Hanks) discussing the initial meaning behind symbols.

Howard has established a much larger agenda other than just symbols from the past, he proposes a lost society. The Da Vinci Code builds upon this simple start, exploding into a plot that challenges the mind even our basic beliefs into those childhood ideologies. Films of this nature characterize what is known in good faith throughout life, to those instances where on doubts the internal compass. Since our evaluation can be justified with a logical argument, it is without saying one can change the evaluation with another logical argument. Landon is the character that helps you connect the dots, whether actively or subliminally.

If you consider how certain actors are stereotyped, it would be hard to argue this point considering Tom Hank’s ability to create many different characters.  Howard’s use of story line seems amazing; while very few things are invented today they are often reinvented under different names. Silas uses a phrase of “key stone,” Landon uses the common term “holy grail” as to point out the same discussion.  

Howard’s ability to create an interest in uncovering secrets is reinforced during the film, the scene where Landon and Sophie Neveu (Audrey Tautou) are traveling in the armed car. The rose box is opened to discover a cryptic; Sophie remembers when her grandfather gave her a cryptic saying it’s used to keep secrets.

While the film captured my thoughts and imagination, it seemed odd that while most films use subtitles for a foreign language early on, example The Hunt for Red October which switched from Russian to English. The Da Vinci Code stayed within a native French tongue with subtitles throughout the film. At times this confused my as to why it never switched, clouding the overall meaning.

Production code seems to weaken with time; if “No film or episode may throw ridicule on any religious faith” this film draws a direct target onto the backs of those inside the Roman Catholic Church. As previously blogged it appears, nothing is off-limits any more, challenging the childhood beliefs of Christianity for a discussion of the Rose Line or family blood line from Jesus. Two thumbs up for story line and challenging the mind to think beyond simple learning.

Crash

Crash

As with any film one tries to determine “how” the title play’s into the theme of the movie or will the opening scene set the stage for how the film might progress. Director Paul Haggis establishes the theme behind the title Crash, Det. Graham Waters (Don Cheadle) and Ria (Jennifer Esposito) are involved in a traffic accident while traveling to the scene of the crime. Dazed from the crash, the stage is set as to the overall theme behind the movie racial hatred. Ria exits the car approaches the other person involved in the accident, low light is used to depict how internal hatred is very sometimes not scene until one experiences its brutality. Graphically, displayed through the use of vulgar language between Ria and Kim Lee (Alexis Rhee). Lee attempts to draw a parallel between Hispanic driving habits and the accident, Ria then fires her own volley of racially motivated speak with broken English, even attempting to paint the picture of Asians lacking the ability to see over the steering wheel.

Stereotype hatred or ethnic hatred is established from each scene moving forward, Haggis ability to capture “everyone’s” stereo type is prevalent. He continues to capture how this hatred often drives the wrong behavior in people no matter the circumstance. I found the movie at times caused in me a feeling of disgust, how is it possible for some many people to hate or is it how often is it the situation for which we have no control over that drives hatred. Haggis created or stirred a realization of how people hate internally with very few hating externally. Additionally he showed how internal conflicts are sometimes overridden during job related crisis, John Ryan (Matt Dillon) is faced with a decision to rescue Karen (Nona Gaye) who he had previously crossed the line during a traffic stop.

Film’s can shape how American’s view certain situations; race certainly is one of those as I discovered how Haggis showed that movie scenes represent to us that movies don’t create reality it just illustrates reality. Boggs and Petrie bring light to how Production Code plays part in movie endings; No film or episode may throw ridicule on any religious faith, Crime cannot triumph in films among many others (Petrie, 2008).

I believe that film rating today certainly would not have been the same rating say even 10 years ago. Take the scene where Officer Ryan is patting down Karen due to a traffic violation, first the scene may have not even been shot, had it been I don’t think it would have continued with Ryan groping Karen in retaliation to her vulgar language. As society softens on its moral views film directors take a more direct approach to show “reality” as if to actually watch the happenings live. I see a parallel with “Reality TV” or even how the media is willing to no longer ask tough questions vs. actually as pointed questions that not only has the subject squirm but the viewers also. Haggis brilliantly captured the outward expression of racial hatred within this film, Crash while the name doesn’t really lend itself to the theme of the movie one might be able to argue how the work “crash” is really about how people blend within society into one very large Crash. One thumb up for the title, Two thumbs up for addressing today’s racial issue.

The Natural

The Natural

Baseball, America’s past time is captured in the film based upon the book The Natural by Bernard Malamud. Director Barry Levinson used transitions back in time during the opening scenes of the film showing Roy Hobbs (played by Robert Redford) playing catch with his dad all memories we shared as young men.

Levinson used film transitions to their fullest during a scene were Pop Fisher (played by Wilford Brimley) is sending Roy Hobbs to class B ball. During the scene Hobbs walks into a dark tunnel as Pop yells for Roy to stop. They are now both inside the “dark” tunnel; this scene lends itself to an earlier conversation between Hobbs and assistant manager Red Blow (played by Richard Farnsworth). Blow said, Pops ran into a dark period last session selling 10% to the Judge. The scene takes place in a dark tunnel, when Pops offers to allow Hobbs to take batting practice with the light framing his face. This certainly isn’t the only time Levinson uses this technique with light.

The use of slow motion during the film is within several scenes showing Hobbs make contact with a pitch, the ball driving out of the field ricocheting into the rafters. The use of slow motion adds drama to the scenes, whether it be a scene that is securely placed in the viewers mind or forever cemented in the movies lore. Another method of Levinson was to use the flashback in color vs. black and white. Bump Bailey’s funeral was an example of how he transitioned from black and white to the live action with color.

Sound plays an important part within any movie, Levinson effective increased the dialog in the scene between Hobbs and Memo Paris (played by Kim Bassinger). The music is smooth almost soothing, with waves splashing about. As the scene progresses Memo presses herself against Hobbs, the music transitions to a sultry almost sleazy tune for the scene. Music simply adds another dimension to movies, yet most people miss their purpose.

Dramatic effect inside any film sets a scene a part from so many others. When Iris Gaines (played by Glenn Close) stood during the at bat by Hobbs in Chicago, it held the scene for what seemed an eternity. Hobbs drives the ball into the outfield clock, as Hobbs crosses home plate he strains to look into the stands searching for Iris. Levinson hit his own homerun with this scene, Roy found his way back to the person he was prior to Memo setting the direction for the rest of the movie.

I felt that director Levinson theme was a boy who lost his way, found his way into the majors then becoming lost again. The scene with Glenn Close showed the depth of storyline inside Roy Hobbs. Two Thumbs up.

The Dark Knight

The Dark Night

            Jonathon and Christopher Nolan wrote a film that pulled from the many fibers of our childhood. Reading Batman comic’s as a youth failed in comparison to this movie, it brought forth a wealth of cinematography. The film opens with a blast of flames rushing upward; Nolan uses that as what appears to be a symbol of things to come inside the flames emerges a Batman symbol.

Suspense was built within the first three minutes as the joker’s men enter the bank, as the bank manager (played by William Fichtner) slowly reaches for his glasses could it be Batman. The first look at the Joker revealed “red” over exaggerated lips, Bob Kane who was in charge of characters used this to draw the view into the film. It characterizes the villain, drawing attention to the face of the Joker even though he had a “white” complexion.  These red lips were used during several significant scenes usually just prior to carnage.

I noticed during any scene involving Bruce Wayne vs. Batman a distinct voice change, Bruce Wayne a very smooth sophisticated man to the forceful voice of Batman. Sound today in films is very much a large part, remembering back to when the Joker entered the meeting of the tugs you heard him laugh in surround sound. A echo effect building as he entered the room. The sound in or around sound effects or used in various scenes drives the view to fit into the scene. Take the scene where the Joker is pulling on the “pins” of the hand grenades, you could actually hear the tension or mechanical sound of the string pulling against the pin.

Heath Ledger played the part of Joker with what appears to be a “character” characteristic, he consistently is licking his lips. He died shortly after the filming of The Dark Knight; I think this characteristic showed his addiction to drugs wasn’t a mistaken overdose yet a scene waiting to happen. Sad to have lost such a good actor, Kane surely saw his brilliance. While Ledger had been considered somewhat of a “pretty” boy by many this role would have surely been Ledgers breakout role. He had predominately been type casted into roles of which his looks seemed more important that lines and/or character.

One of the great scenes in the movie, Ledger had escaped from jail his head outside the car traveling at high speed. I took the scene as it was a time where the Joker felt free if only for a moment. Two thumbs up, Director Nolan. s

Movie Poster

Cars

Cars    

            Cinematographer Jeremy Lasky with Director John Lasseter captured the love of cars in an animated setting along route 66. The filmed appears to be a method to pull audiences across generations, youth from its animation the elder generation for the love of automobiles.

            Lasseter seemed to brilliantly use various film techniques in this film, opening scene Lightning McQueen Owen Wilson voice was moving from black screen to full color with no sound to full race volume. The film’s chorography held my attention through the entire span often drawing from everyday sports hero’s with various mannerisms, Darrel Waltrip’s voice for starting the race along with Bob Costas for commentary. Another parallel was Lightning McQueen leaping through the smoke with his tongue hanging out just as Michael Jordan did when dunking the basketball.

            Alfred Hitchcock had a signature in his films, usually it was his silhouette shadowed or he appeared in the back ground doing some mundane task. Lasseter in one of the early scenes in Radiator Spring used a fluorescent light; as it flickered it drew attention from the bugs in the area Volkswagen Bugs that is. Often times these little nuances are missed inside of films, this film captured my imagination as to what were the days like during the early boom of automobiles.

            Inside the movie, the writers were able to capture humor within the setting of the movie. One can picture what Tow Mater played by Larry the Cable Guy really looked like, even to the point where he and Lightning McQueen are going tractor tipping. The cone motel is referenced by Lightning McQueen as don’t cars usually avoid cones, simple humor. I wondered how the director came up with the title of “Cars.”

            I found an un-authored blog; it seems that Lasseter took a trip across the U.S. in a motor home with his wife and sons. The original thought to the title was Route 66, yet he felt it might draw the wrong attention. So deciding upon the title Cars seemed appropriate, his choice on actors to lend their voices seemed to me exact ally correct.

            A film like this didn’t have a sequel which doesn’t make sense, until I researched how long it took to make it 4 long years. Stands to reason the “why” it did have a sequel. I watched this film on two different viewing platforms, my laptop and then my I-pad with the granddaughter in on my lap. Madison and I give it Two Thumbs up.

Slumdog Millionaire

Slumdog Millionaire

            Director Rajendranath Zutshi brought to the big screen a film with many different screenshots; I believe that Zutshi selected the correct aspect ratio of 2.35: 1. The wide screen shots throughout the film seemed appropriately, if he had used a smaller format it might have been difficult for the audience to take in the amazing photography in real time. Initially I wondered if Zutshi had used a set and/or location with the opening scene as the young boys playing cricket on what appeared to be an abandon parking lot. Jamal played by Dev Patel is starring into the sky is semi-blinded by the sun; the aircraft breaks the glare thus causing Jamal to miss the fly ball.

            As the local police chase the kids from the field yelling, “If the planes don’t kill you I will” adds little to opening scene until the kids crawl across the wall back into the city. Then it’s evident were the film is taking place, a third world country with a huge disparity between the rich and poor. The camera men capture the poverty with a wide angel shot of the community, showing the huts, small walk ways, and trash abound. Location on a studio set while they can sometimes capture the essences of a scene it would have been a stretch for anyone relates with this scene from pictures in the news.

            Realism is captured; you are pulled into the scene after the attack on the Muslims, Jamal and his brother Salim played by Azharuddin Mohammed Ismail is sleeping underneath a makeshift tent it just feels as if danger is lurking. Through the opening flapping in the slight wind the director enhanced the feeling of danger with a long camera shot, capturing Mamam walking up the pile of garbage. I watched this scene several times trying to capture the thoughts of the director; young boys no longer protected by their slain mother are now preyed upon. The camera work really set the stage without any dialog. 

            Zutshi I feel used color cinematography throughout much of the film his use of black & white during the rail car scene, incensed the scene of hopelessness. This was very much in contrast to the vibrant colors of the blankets laid along the ocean with people washing clothes. Scene’s inside of movies changing between vibrant and bland add to the effects, sometimes the words don’t necessary capture the director’s vision.

            Special effects can be missed inside the films, couple that jumped out that took camera placement; one is Mamam being shot the other is when Jamal enters the home where Latika played by Freida Pinto is being held. Mamam is down on his knees I suspected the pillow was to muffle the shot, although it did Zutshi also used slow motion to show feathers rushing out of the pillow. As the scene further develops, the “shot” is exasperated by Salim yelling to Jamal let’s go yet Jamal can’t hear plus the audio is in slow motion to increase being immersed within the scene.

            Camera angle played a large part of helping convey the message; Jamal is having a conversation with Prem Kapur played by Anil Kapoor Jamal’s image is upside down showing how his life has yet to find its way through a very troubling youth.

            Closing scene; the director uses blinding light between Jamal and Latika, they kiss breaking the blinding light showing how they finally get what they’ve always dreamed of. Two Thumbs up to the director and plot.