Self Relection Week 7

We have hit the end of our first major project--the Documentary Profile. I'm not totally thrilled with how our film "the Playground Pimp" went, but it was a great learning experience. I know now how risky it is to work with a subject so young (a 2 year old in this case), and am glad I had a team of people willing to do what it took to get the assignment done in a half decent fashion. It's hard to work on something like a film when everyone has minimal to no experience, but everyone did what they could. While I did the filming, producing, and editing, James worked on the script and directing, Carter acted and was the grip, and Angel and Radiance did a good job fawning over our subject for the film. It wasn't as hard to edit as I thought it was going to be, but I also could have done a much better job. There was definitely room for improvement on the camera angles, and I will see what I can do to improve this next project. Again, definitely a great learning experience.

Lost in Translation

It's hard to say exactly why I liked Lost in Translation, especially when it left me feeling so...empty. Bill Murray plays a character very unlike his usual, and Scarlett Johansson finally looks healthy. I didn't want their relationship to turn sexual, and it didn't, thanks to Sofia Coppola's directing and writing. But we don't find out if they stay with their other halves or if their lives get better. It is a slow moving film, and does an amazing job of depicting the feeling of the characters without the script forcing the characters to have a therapy session with each other.

Bill Murray is Bob Hanson, a fading movie star on a trip to Japan. When Charlotte (Scarlett Jo) asks him why he is there, he replies, "Taking a break from my wife, forgetting my son's birthday, and getting paid two million dollars to endorse a whiskey." Charlotte is a Yale graduate, on a trip with her husband John, a professional photographer. Feeling lost and alone, Charlotte attempts to figure out who she is and why she got married. Both characters roam Japan, crashing into each other seeking solace and comfort.

There is actually very little dialogue, considering the movie focuses on two people. Murray does an excellent job portraying the sleepless, weary, and sad man trying to deal with the fact that he is in a familial situation that leaves him feel as though he isn't needed, or wanted. He does have a few zinger lines, but this is an unusual role for him. He plays it convincingly, and with style. Johansson doesn't step out of her comfort zone in this movie, except maybe where here waist line is concerned. For the first time, looking at her without pants on isn't a painful experience because she is actually at a healthy weight. She does a good job looking lost and alone- just like in most movies she plays in (Vicki Christina Barcelona, anyone?). Her girl-next-door look was great for this movie, it added to the feeling that she was definitely out of her element.

Like I said before, probably the best part about this film is the fact that there is little dialogue that actually tells you how someone is feeling, but the actors and film work combine to give the viewer more than enough insight to know just that. The music varies between 80's reminiscence to 90's punk, and it all keeps in sync with the emotion of each scene. There are a lot of close ups to convey emotion. Even the full shots are appropriate, giving the viewer a feeling of being disconnected from the world (which is exactly how the main characters feel). There is a shot of Murray in the bathtub when his wife calls, a full still shot. It captures how distant he feels from his significant other. The cinematography was also very detailed, though a little generic (sweeping car shots of Japan lit up at night). I did enjoy the scenes where Johansson sits at the edge of a giant picture window looking down at the city during the day, giving the viewer a feeling of smallness and insignificance.

Overall, I loved this movie. Yes, it left me feeling empty (seriously, what the hell do they decide to do?), but that is part of why it is so great. Nothing is handed to you in this film, you are forced to think yourself into their shoes. Does Bill tell his wife about his affair with the redhead? Does Charlotte ever leave her husband? Or do they just stick it out, continuing to live a monotonous life? Does she ever figure out what to do with her philosophy degree, does he ever act in something fun, or does he sell himself for what money he can get to fund his family? The usual Hollywood solution is divorce, but the director doesn't sell herself out though such a cliche venue. Thumbs up on this one, for sure.

The Lion King

The Lion King has always been my favorite childhood movie. I can sing all the songs, I can quote all the characters. My first stuffed animal was Simba as a cub. And I cry every time Mufasa dies. There are very few movies that can tap into my emotional well every time I watch it--but with James Earl Jones as the voice of Simba's father, it's hard not to feel kinship to the deep, thundering voice that is so convincingly the King of the Savannah lands. Jonathan Taylor Thomas, a child actor of little fame since Home Improvement was the voice of young Simba, but the hugely famous Matthew Broderick took over as the adult Simba. The Lion King was directed by Roger Allers and Rob Minkoff.

The film opens with the birth of a cub to Mufasa and Sarabi. Simba is seen as precocious and eager to take his place along side his father. He wants to be brave, big, and bold. He also envisions the world bending at his feet--hardly the perfect King material. Constantly getting into trouble, Simba has no idea that his uncle Scar, Mufasa's brother, is going to play on Simba's youthful naivete to plan the 'coup of the century.' Convincing Simba that he has killed his father, Scar tells the young cub to "run, run away and never return," before turning to the hyenas--"Kill him." Simba does manage to escape, and is found on death's door in the desert by Timone and Pumba, a singing duo willing to raise the carnivore as their own. Eventually, fate brings Simba back to Pride Rock to challenge Scar's right as King. He finds out that Scar killed his father, and in turn, allows the hyenas to kill his uncle. The movie ends with Simba and Nala introducing a son of their own to the world.

It's difficult to judge actors in an animated film. Either a voice fits, or it doesn't. Thomas as the young Simba was a good fit--his voice was just as petulant as the cub liked to act. Broderick took Simba into the world of adulthood, a more mature and responsible lion, but reminiscent of the "Hakuna Matata" mantra taught to him by Timone and Pumba. And who doesn't love James Earl Jones as Mufasa? A strong and godly voice, he fit the image of a truly powerful yet loving King. Shenzi comments on how just saying Mufasa's name is spine tingling--Jones is fit to be a badass lion. The animation is fantastic. Mufasa is big and beefy, it is clear why he became King over the small and lanky Scar. Scar slinks around in a devious fashion--just as clear a statement on his character as the actor's words. Simba's movements are fluid but determined, especially at the end as he ascends Pride Rock--he is the future King. The expressions on the lion's faces are just as clear as those on a human, making it easy to relate to these animals.

Speaking of film techniques--there were a few moments when, to emphasize a moment, the 'camera work' adjusted to fit a feeling. Simba running back to Pride Rock was in slow motion, the music just as powerful and determined as his stride. Nala tries to wake Timone to ask where Simba went, and the 'camera' switches to a POV angle as he blinks awake, emphasizing the shock of seeing a lion stooped over you. Slow motion is used again as Simba battles his uncle, and when he climbs Pride Rock as the victor. The music, I believe, is based on traditional African music, scored by Hans Zimmerman. Not only does this reflect an authentic atmosphere to the movie, but it gives a primal surge to the feelings that accompany Mufasa's death, Scar's rise to power, Simba's return, his victory.

This movie, like I said before, has always been my childhood favorite. Watching it last night with my husband, I sang along with the songs, lamented the addition of two new scenes (really Disney, really? Not only were the lyrics terrible, but the added animation was so clearly defined it made the rest of the scenes look ridiculous), and cried on his shoulder as my favorite character was found dead under a broken tree. We debated if Simba and his pack ate all the hyenas to survive while they waited for Pride Rock to grow lush again. While some people take issue with certain scenes (apparently there is one where Simba flops to the ground and the resulting debris spells some kind of inappropriate word), I can't find a flaw in it. Obviously, Simba could be a smarter child--I mean, Scar does basically tell him he was there watching him be attacked by the hyenas: "Oh, and just between you and me, try to work on that little roar of yours." But, he is just a kid. And kids miss crucial evidence sometimes. All in all, The Lion King is fantastic. One day I may even see it on Broadway.

Pride and Prejudice

After years of loving Pride and Prejudice (the 2005 movie), I have finally figured out why Joe Wright, the director of the film, has captured my heart with this movie. Cinematography. I have an unadulterated love of English landscape. As I watched Elizabeth Bennet (Keira Knightly) and Mr. Darcy (Matthew Mcfadyen) clash on the screen, I realized: the acting isn't actually that great. In fact, the only person who does an outstanding job of creating their character is the dreaded Bennet cousin: Mr. Collins (Tom Hollander).

I hate to say it, but even Donald Sutherland (Mr. Bennet) falls short of his usual brilliance. The only scene in which passion is felt between Lizzy and Darcy is when she confronts him, wet to the bone, about breaking Jane and Mr. Bingley up. The moment Lizzy finishes ranting "And those are the words of a gentleman. From the first moment I met you, your arrogance and conceit, your selfish disdain for the feelings of others made me realize that you were the last man in the world I could ever be prevailed upon to marry," the two actors lean in as though all they want to do is kiss. Of course, being the 1800's, stealing kisses was as hot as things got (in literature). Of course, I still love this movie. It's just easier to enjoy when my husband isn't making fun of it the whole time. Funny that my favorite romantic fictional story is mocked helplessly by the most romantic and caring man I know. Anyway.

Based on Jane Austin's book "Pride and Prejudice," the story revolves around the social woes of the Bennet family, but focuses most prominently on Elizabeth Bennet and Mr. Darcy. Lizzy, a bookish girl whose beauty pales in comparison to her older sister Jane, does not share the family worry: marriage. Though her views on men are called 'bitter' by her aunt, Lizzy is actually an example of the future feminist. Mrs. Bennet's one goal is to marry her girls off to save them from a life of destitution after the eventual (and expected) death of their father. Lizzy, courted by Mr. Collins (the cousin who is to inherit the Bennet home) at one point, angers Mrs. Bennet by refusing his proposal. "You could not make me happy and I'm convinced I'm the last woman in the world who could make you happy." Lizzy makes it clear to her mother that she will not marry for anything less than happiness and love. The battle of the sexes does not truly begin until the bookish Bennet encounters the seemingly standoffish (and handsome) Darcy.

As I stated before, the chemistry within the movie is less than stellar. The romance between Darcy and Elizabeth appears less passionate of that between Jane and Mr. Bingley, though they are not the focus of the plot. Strangely, I can not see anyone else playing Elizabeth Bennet. Knightly appears the tomboy, and with her spunk and clever wit, I can hardly imagine anyone else chosen to portray one of my favorite literary characters. As for Mcfadyen. . . I've never actually seen him in anything before, but it seems his romantic side is not the best. It was his acting I took most fault with. He seemed practically turned off by Lizzy for most of the movie. Their dynamic is in its element in the rainy confrontation scene, but it tapers off again from there. Every other emotion (happiness, worry, anxiety, ect) are conveyed excellently. . . but his chemistry with Knightly is lacking. As for the rest of the Bennet family, their close-knit and quirky ways were enjoyable to watch. Jane and Mr. Bingley convincingly play the shy and loving couple, and Caroline Bingley was a proper nasty piece of work. Of course, who can fault the talented Judi Dentch as Lady Catherine de Bourge?

 

 And now, the cinematography. It should be noted that almost all the important scenes are shot at either sunset or sunrise--the warm glow over the English landscape casts the scenery in a permanent incandescent glow (take a look at the cover picture above, it is a great example of this). There was also a softer focus to most of the film, conveying a rustic age (better suiting the environment to an 1800's feel). The three most important scenes in the movie that made the best use of camera work and lighting were: rainy rejection scene, 

Lizzy's meditation scene,


their first dance scene,

and the final scene in which Lizzy and Darcy meet in a field to declare their feelings.

Not only was the acting at its best in the rainy scene, but the softer lighting, the editing between the arguing couple, and the close ups that conveyed the lingering emotion came together to produce...well...greatness. It's my favorite part of the movie. The audience just knows in that moment, all they want to do is grab each other and kiss. Kiss a lot. The audience groans in disappointment as they finally lean away from each other, remembering that they are angry with each other. Their first dance scene occurs right after Lizzy finds out her potential date, Mr. Wickham, avoids coming to the ball because of Darcy's presence (also after being lied to by Wickham shamelessly about his lack of fortune). Darcy's feelings show little here, but it is clear he is interested in Lizzy by stating "I hope to afford you more clarity in the future" in reference to her inability to make out his character. It is after this exchange that the music swells and the crowd around them disappears (literally) so that Lizzy and Darcy dance alone, eyes only for each other. Now, it is the scene in which Lizzy stares at herself in a mirror all day that is a great example of lighting change. The scene is a still shot of her looking into a mirror (the camera looking at Lizzy as though it is the mirror). The daylight crests and wanes around her before Darcy appears to hand her a letter (this is just after the rainy rejection scene) explaining her allegations against him (breaking up her sister and Bingley, the situation with Wickham, ect).  The final scene is outdoors at sunrise--Darcy and Lizzy meeting after a long sleepless night. The camera sweeps around them both as the sun breaks over the horizon, casting their 'love' in a warm glow as though the world was smiling with them in their new happiness. Whoever the DoP was for this movie: bravo.

Overall, this movie is worth the watch. I haven't seen the earlier versions of the movie, but I have read the book (once). The movie is better. I've never really been a fan of Austin's books (Charlotte Bronte's Jane Eyre is more my style), but the overall plot of Elizabeth and Darcy has always appealed to me. Elizabeth is not just a woman looking to get married, she is looking for the ability to be independent, but happy. She wants to find love in an era where arranged marriages were all the rage. Yes, the acting could be better, but the movie is still one of my favorites, and I will continue to watch it over and over again (just maybe without my mocking hubby in the room).