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. 

Napoleon Dynamite

Napoleon Dynamite

            This film was the first big film for director Jared Hess; he developed a theme around the “super” geek Napoleon Dynamite. Hess used various scenes to show how Napoleon fit into the role, initial scene. I found this movie tough to stay engaged. The various how do you say, “gosh” just seem to annoy me.  In fact I was really disappointed with the entire movie.

            Several friends and/or family members said you need to see this movie as I had shared my list of potential choices. I can honestly say they were wrong, seeing the entire movie took several attempts. It showed me how bad their taste in movies was. Between the annoying noises, the squinting eyes seem as if the movie really never gained traction towards the plot. Super geek statement, I see you’re drinking 1% do you think your fat? You could drink whole milk if you needed to!

            Hess I believe was trying to show the struggles of the teenage youth, Napoleon in an effort to project more than he is self promotes himself to Pedro as potential gang member. I do think he did capture the conversations of youth while sitting on the steps of the school. The conversation is about being something and/or someone “when” I do you can be my secretary Pedro says. Actor Jon Gries who played in many other movies including (Real Genius) on my favorite movies seemed to live in the year 1982, sleazy van and all. I felt he captured the character of a person who hasn’t moved on from High School, yet repulsed when he hit upon the Napoleon’s girl friend. TWO thumbs down.

Good "Will" Hunting

Good Will Hunting

Symbolism used within this film is interesting to say the least. The fight seen was to gain revenge from childhood beatings; the director used slow motion effects to show how Will’s anger pulled his friends into the fight. The director was able to show how your friends enter situation with little regard to the outcome. Reflecting back prior to the fight on the argument in the car, “if you don’t get out of the car I’ll take care of you when I finish with them.” Maybe another reason behind the slow motion was to show “how” brutal the fight really was then finishes with Will on top of someone, with the blows increase in speed and ferocity.

I had to watch the scene inside of Sean’s office a couple times, it confused me. When you look at the paint the director didn’t have the painting to the end of the canvas. The white boarder around the paint makes it appears to be as if you are looking into a port hole or to stretch the thought a look into his soul. It was a time of loneliness and/or disparity; the loss of his wife, his soul mate had left him with a feeling of abandonment the same feeling will had always felt.

The symbolism behind the scene I think is about Will finally getting his freedom from his past; his friends had recognized it was time for him to leave the nest. The car symbolized their acknowledgement of this, and a willingness to let him go plus it showed how good friends will always be good friends.

Another example of symbolism was the scene with Will completing the math equation in the Prof’s office, and then they cancel out the equation. Upon sitting down the professor put’s his arm around Will rubbing his head like the protocol son. In the back ground the camera catches the now “cast away” protocol son shaking his head.

 I want to think that director Gus Van Sant was trying to point to were the youth of today were heading. I found the story line within this movie to mirror the youth of today, they have more in common with people electronically then through personal conversations. Will is asked by Sean if he has any friends, he has many of which are dead i.e. Shakespeare, Nietzsche, Frost, O'Conner to name a few from the movie line. The director also used various scenes to increase the dramatic effects; Sant had the scene filled with Sean in the back ground as Will asked if how he knew when he meet the right person. It almost appears third person; Will’s image is somewhat blurry then out of nowhere the director first sense of humility as Will back pedals to not offend Sean. Great scene showing the bond being built among southies.

Dramatically the scene of it’s not your fault brings forth the rage, Sant uses this sequence of events to finally bring to an end years of emotional baggage. A Serious two thumbs up.

I will say I totally missed the title and its relevance. 

On the Waterfront--discussion

This film is set during an era of union corruption something today while still prevelant within many industries “they” have learned to be more discreet. The first viewing of the film failed to hold my attention the opening didn’t really gather up my attention early on, small dock house next to a very large ship seemed irrelevant.  As the men left going different ways, it left me wondering what this movie was about. With the setting during the mid-50s, the media had no influence on me about this film. Today’s films, plot, music, and even cinematography is often discussed prior the films initial showing.

Director brilliance, I found that in one of the early scenes between Marlon Brando and Karl Malden, director Elia Kazan used a boat whistle to cover up the salty language within their conversation. Brando was explaining his involvement in a set-up murder; a few minutes later the Kazan again uses this technique to again cover the vulgar language while Brando confessed to Eva Maria Saint that he saw who pushed Joey off the roof. Today’s films use of salty and/or vulgar language isn’t covered up, it’s used to enhance various moods, web site “Askmen.com” lists the top 10 most vulgar movies.  http://www.askmen.com/top_10/entertainment/top-10-worst-movie-edits-for-tv.html.

James Berardinelli reviewed the film in July 1954, “Over the years, many critics have praised On the Waterfront for having what has been called a nearly perfect screenplay. Written by Budd Schulberg (based on the Pulitzer Prize-winning series of articles by Malcolm Johnson that originally appeared in The New York Sun), the script has the unmistakable ring of truth (despite the altered, upbeat ending). For the most part, it neither proselytizes nor preaches, and deals with its central subject with a candor that many movies of the era lacked. Watching the film today, some fifty years after its initial release, it requires little effort to span the half-century between now and then; Schulberg's screenplay makes it easy to understand the situation, even though the entire political climate has undergone a major upheaval since then.” Two thumbs up.

Blackhawk Down

The year was 1993 Somalia was the place; this film is about struggles within various countries that failed to grow both ethically and financially. I remember my first viewing of this film; I had roughly one year left on my last enlistment in the Air Force. This film brought memories back of being stationed in places like, Omar, Jeddah, and UAE. This film shows the emotional struggles that a service person deals with while in a combat zone. A scene early on shows the UN’s attempt to feed the hungry; the warlords used weapons to gun down the civilians trying to gather some food while the servicemen requested permission to engage. Ridley Scott the director use of camera placement seemed to enhance your feeling as if you were actually “on scene.”

Marines had entered the building; the view from the camera was as if from a small child, the spindles passed rapidly just as if a child were running opposite the Marines advancement. My emotional involvement grew as various scenes pulled you into the plot. The words from Gen. Garrison played by Sam Shepard, “we leave no one behind” are the early indication that this plot would be about the struggles not only to release the prisoners but that of rescue attempts. Scott’s attempt to show how the unorganized militia has little effect on their efforts to advance a military objective is depicted when a solder walk through a home as a mother cowers with her children. Then as he waves to a small child, he exits the building only to be fired upon by another youth. The youth misses the Marine and by my summation kills his father. The lack of value placed upon human life is also displayed as they initially entered the city with the young Somalia on a cell phone altering the warlords.

Cinematography was excellent; various camera placements show from high above through the eyes of intelligence and/or helicopters. Direct facial shots showed the anguish felt by the actors, this played an important role of emotional involvement from the audience.

Dan Heller’s review;  http://www.danheller.com/Movies/black-hawk.html “Discussion of the problems with the film get complex and difficult, since it's not entirely clear what story or message the film wanted to tell. From a filmmaker's perspective, this is a risky approach, and in so doing, has already alienated many people who feel that the film leaves out too much context, or that the film should take a position on whether we were doing the right thing by being there. Then again, when you're in battle, it's easy to forget, let alone think about, the political or humanitarian reasons for your presence, and the movie makes that abundantly clear.”

I totally agree with Heller’s comments; “Then again, when you're in battle, it's easy to forget, let alone think about, the political or humanitarian reasons for your presence, and the movie makes that abundantly clear.” Service men follow orders with little regards to the ramifications. Two thumbs up.

On the Waterfront--discussion