The Usual Suspects (1995)

Fig 1

The Usual Suspects, directed by Bryan Singer in 1995, follows the investigation of a criminal gang after a particularly perilous boat heist is infiltrated by one mysterious ‘Keyser Soze’; told from the perspective of the only remaining survivor. With a necessarily convoluted plot and a memorable cast of character actors, Singer manages to keep audiences entertained just long enough for the ‘whodunnit?’ of Keyser Soze to make a prominent stance in the film. With every other scene, the film enchants us with interesting compositions and set designs, with particular emphasis on extreme close-up shots (see Fig 2) and seemingly perpetual cigarettes ablaze limply on the mouths of the lead actors.

Fig 2

Regarding The Usual Suspects, I believe that Roger Ebert put it best by concluding that “To the degree that I do understand, I don’t care.” (Ebert, 1995) which perfectly summed up my own struggle to differentiate personal opinion from a well-constructed narrative. We are introduced to the enigma that is ‘Keyser Soze’ through various accounts of his unrelenting determination, which is predominantly backed-up by a distorted scene in which Soze murders his family in order to assert dominance over his adversaries. Sadly, the character is given very little dimension other than this, which leads to a ‘climactic’ finale in which narrator Verbal (Kevin Spacey) is revealed to be Keyser Soze. In terms of film being driven solely by its plot-twist, The Usual Suspects thrives in its ability to misdirect and confuse the audience (often unintentionally) to deliver a satisfying third act, which unfortunately is all that it delivers. The film is carried by its array of diverse characters, none of which feel the need to earn our approval by performing eccentrically but rather through realistic, believable character traits.

On a more positive note, a selection of compositional shots and settings gave the film a certain amount of depth, which nicely illuminated the transitional jumps of the story. “The staging and angles of the scenes between Spacey and Palminteri are amazingly well handled to never make it feel like the same old thing every time.” (Michalak, 2012) In particular, the moonlit cave in which Fenster is buried and the traditional Japanese gazebo at which the group are confronted. (See Fig 3)

Fig 3

Regardless of the fact that The Usual Suspects felt like a Tarantino screenplay taking itself too seriously, the film does boast a cinematic spectacle and features a unique perspective on contemporary criminal drama. The glorification of a strong group mentality, even in such a dark context, has made the film a greatly influential tool to countless TV shows and video games, giving it a rightful place in the hall of fame… For now.

Bibliography

Quotations

Ebert, R. (1995) The Usual Suspects Review

http://www.rogerebert.com/reviews/the-usual-suspects-1995 (Accessed on 25/03/14)

Michalak, N. (2012) The Usual Suspects Review

http://forevercinematic.wordpress.com/2012/04/21/the-usual-suspects-1995/ (Accessed on 25/03/14)

Imagery

Fig 1. The Usual Suspects Poster (1995) From: The Usual Suspects - Directed by: Bryan Singer

http://vicvapor.com/the-usual-suspects-movie-poster (Accessed on 25/03/14)

Fig 2. The Usual Suspects Screenshot (1995) From: The Usual Suspects - Directed by: Bryan Singer

http://www.listal.com/viewimage/1600567 (Accessed on 25/03/14)

Fig 3. The Usual Suspects Screenshot (1995) From: The Usual Suspects - Directed by: Bryan Singer

http://www.listal.com/viewimage/1600534 (Accessed on 25/03/14)

The Birds (1963)

Fig 1

The Birds is, put simply, a fascinating blend of Hitchcock-ian experimentation and visual effects galore, which culminates into a survival-horror story about love, family and overall, misogyny. After meeting the suspiciously suave Mitch Brenner in a California pet shot, Melanie Daniels takes a trip to Bodega Bay in pursuit of his home address in order to flirtatiously deliver a pair of Love Birds he had requested for his sister’s birthday. With the first convoluted act now over, the story follows Melanie and the Brenner family fighting for survival against seemingly random bird attacks, which miraculously brings them all closer together with scant concern for the intruding presence of Miss Daniels in their small town mentality.

A surprisingly well-regimented aspect of the film came from its use of special effects. “Al Whitlock’s matte painting of an aerial view of Bodega Bay was composited with live action footage of a gasoline fire filmed on a newly asphalted parking lot at Universal. To add gulls swooping into the frame, Whitlock had gulls filmed from atop the cliffs of Santa Cruz Island, then rotoscoped them one by one into the shot.” (Counts/Rubin, 1980) The mastery of layering particular shots over matte paintings truly served the film well, with most of the attack scenes looking polished and convincing for such an era unbeknown to grand cinematic visuals. A clear amount of focus was placed on creating both a realistic and violent atmosphere (see Fig 2), whether the Aves were animatronic, puppets or trained from birth, everything seems to roll without a ‘Hitch’.

Fig 2

The Birds shares more similarities with modern horror than it does with other Hitchcock classics, which on one hand shows the directors’ diversity and artistic integrity, but on the other shows just how important the story must be. “Where the scenario and picture slip is in the sphere of the human element. An unnecessary elaborate romantic plot has been cooked up and then left suspended.” (Staff, 1962) The story is arguably one that, had it been released under a different name, might not have reached the heights of its status today. Though the characters are perfectly well-rounded for the most part, the audience is given little or no reason to care about their fate, particularly with Mitch Brenner present as the dominant male of Bodega Bay (see Fig 3).

Fig 3

One of the most impressive feats that The Birds has to offer is its ability to captivate an audience without the aid of a musical score. “The croaks and cries of the birds that punctuate the latter part of the film were created on a machine under the supervision of Hitchcock, who, together with Herrmann, spent a month in West Berlin working on the picture’s unique soundscape.” (Kaplan, 2011) The sense of immersion in the film is somewhat heightened by its lack of music, particularly within the opening titles, in which we are placed directly within a swarm of manic crows, with only their cries to fill the silence. The only scene underneath which there is even a hint of melody includes our leading lady sat unknowingly outside a school of singing children as crows gradually hoard the playground behind her, one of the greatest uses of tension building in the film (see Fig 4).

Fig 4

Though The Birds has little to offer in the way of storytelling, it makes up for its lack of focus with memorable characters and dramatic effects, making the film exceptionally unique among the generic horror films that preceded  it.

Bibliography

Quotations

Kaplan, G. (2011) The Classic Film Scores of Bernard Herrmann
http://herrmann100.blogspot.co.uk/2011/06/birds.html (Accessed on 03/02/14)

Staff, V. (1962) Review: 'The Birds'
http://variety.com/1962/film/reviews/the-birds-1200420325/ (Accessed on 03/02/14)

Counts, K. B. & Rubin, S. (1980) The Making of Alfred Hitchcock's The Birds
http://www.hitchcockwiki.com/wiki/Cinemafantastique_(1980)_-_The_Making_of_Alfred_Hitchcock%27s_The_Birds (Accessed on 03/02/14)

Imagery

Fig 1. The Birds Poster (1963) From: The Birds - Directed by: Alfred Hitchcock
http://www.impawards.com/1963/posters/birds_xlg.jpg (Accessed on 03/02/14)

Fig 2. The Birds Screenshot (1963) From: The Birds - Directed by: Alfred Hitchcock
http://reelmovienation.com/wp-content/uploads/2012/10/The-Birds.jpg (Accessed on 03/02/14)

Fig 3. The Birds Screenshot (1963) From: The Birds - Directed by: Alfred Hitchcock
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinMw-TEyqCAOGbeD3NCs_30lZs1HCfaxgVPwSyR2_D_RemvZnjfIKa3dgj33ayAmA4mWolDmpFAFg-eokBJwbEAOha770AYqHPMEQW0lKa-Lko42pCoivHCV9r2rnJtbXltQsLtzytRN0/s1600/Birds+7.jpg (Accessed on 03/02/14)

Fig 4. The Birds Screenshot (1963) From: The Birds - Directed by: Alfred Hitchcock
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwyyqxPdWGj-lGEPa2RnE8ZTM4Ekf1WLuCohaqcqkbVDuAa01v2uGQVs4-YC8WMuVNWyHfj4JARLFkxQJNNH21IbHy3VFtVjMrrdSQ-weiS1a1fokbv0JiZKhczSdNoCYnRf9tqODI-yY/s1600/birds_shot4l.jpg (Accessed on 03/02/14)

Psycho (1960)

Fig 1

Alfred Hitchcock’s ‘Psycho’ is an unrelenting feast for the senses, from the razor-sharp opening titles to the heart-stopping final act, not a second is spared to let you decipher the next move it will make. We follow the short-lived escapades of Marion Crane whom, having stolen her employer’s small fortune, leaves town and begins a paranoia-fuelled journey to Fairvale. Along the way, Marion decides to spend the night in a motel, run by the eerily charismatic Norman Bates, at which point the film takes an inevitably grizzly turn. The story is unique in its ability to develop and shift focus at a rapid pace, keeping audiences guessing as central characters meet their demise at the hands of Norman’s ‘Mother’.

What differentiates Psycho from its successors is the definitive score, which resonates with the viewer and prepares them for an unsettling experience. The piercing shrieks of the violin completely reflect the tone of the film, cut together with long, winding chords which echo the descent into madness we are about to witness. “Herrmann wrote the main title theme for Psycho before Saul Bass created the opening credit sequence. Bass animated it to the music, creating the stabbing, wrenching look in which the credits are ripped in half.” (Nixon, 2014) Similarly, scenes of Marion driving were also re-edited to the sinister composition, giving scenes of ordinary activity a far more stressful edge. (Fig 2)

Fig 2

Norman’s Freudian relationship with his mother is brought to life entirely by the way that he acts, speaks and conducts himself. Ebert recounts a scene in which Norman interacts with ‘her’: “Marion has overheard the voice of Norman’s mother speaking sharply with him, and she gently suggests that Norman need not stay here in this dead end, a failing motel on a road that has been bypassed by the new interstate.” (Ebert, 1998) From this scene alone, we can deduce that Norman is protective over his illness and still allows his naïve fantasy life to play out in the knowledge that leaving could cause him worse problems or even lose his mother. His hobby of taxidermy is also indicative of a troubled upbringing, which foreshadows the idea of reanimation and ‘hunting’ for prey. (Fig 3)

Fig 3

Aside from the haunting soundtrack and oedipal subtext, Psycho is renowned for delivering one of the finest examples of on-screen attack in cinema history – the shower scene. Leading lady, Janet Leigh shares her thoughts on the final cut: “When I saw it condensed and edited in a way that only Hitchcock could do it, it was so frightening to me that it made me realise that it’s an extremely vulnerable position we’re in, while in a shower.” (Leigh, 2000) With countless edits reducing the scene down to a mere forty-five seconds, Marion seems to be left clutching her dying self within moments after it begins. The shadowy close-up of ‘mother’ can also be looked at as a visual metaphor for the film, as it stabs directly at you, just waiting for you to scream. (Fig 4) The creeping silhouette behind the curtain also brings with it an insurmountable tension as the audience draws a final breath for the star, making this scene all the more memorable in its unexpected chaos.

Fig 4

Psycho has become the crowning jewel of Hitchcock’s legacy in film, still shocking audiences with its bold imagery and daring themes. The horror genre of today quakes with fear in the shadow that Psycho has cast on its audience, leaving it quivering and lifeless in a bathroom as the ultimate thrill flees to strike on another unsuspecting soul.

Bibliography

Quotations

Ebert, R. (1998) Psycho Review
http://www.rogerebert.com/reviews/great-movie-psycho-1960 (Accessed on 24/01/14)

Leigh, J. (2000) Interview with Tim Lammers
http://www.ibatom.com/atthemovies-797/136377/detail.html (Accessed on 24/01/14)

Nixon, R. (2014) Behind the Camera on Psycho
http://www.tcm.com/this-month/article/191164%7C0/Behind-the-Camera-Psycho.html (Accessed on 24/01/14)

Imagery

Fig 1. Psycho Poster (1960) From: Psycho - Directed by: Alfred Hitchcock
http://movieboozer.com/wp-content/uploads/2013/09/pyscho-movie-poster.jpg (Accessed on 24/01/14)

Fig 2. Psycho Screenshot (1960) From: Psycho - Directed by: Alfred Hitchcock
http://reel3.com/images/marion-norman-and-the-collision-of-narratives-in-psycho/police_officer_marion_driving.jpg (Accessed on 24/01/14)

Fig 3. Psycho Screenshot (1960) From: Psycho - Directed by: Alfred Hitchcock
http://orphanswithguns.files.wordpress.com/2012/06/birdspaintings.jpg (Accessed on 24/01/14)

Fig 4. Psycho Screenshot (1960) From: Psycho - Directed by: Alfred Hitchcock
http://www.doblu.com/wp-content/uploads/2010/12/pyscho4752.jpg (Accessed on 24/01/14)

Rope (1948)

Fig 0

Suspenseful, nerve-wracking and downright intense, Alfred Hitchcock’s first colour picture Rope explores the use of real-time editing and dramatic irony whilst following the story of two unsuspecting murderers holding a dinner party. The film is typically regarded as one of great experimentation, which has divided critics ever since its release in 1948. The main characters, Brandon and Phillip, are shown strangling their former classmate, David, only moments after the title screens have rolled, already setting the scene for an unsettling viewing experience. The remainder of the film uses specifically-timed segues between shots in order to create the illusion that the party is being shown in real-time.

The stage play from which the film derives features further information about the murderers, involving the sexual undertones between them. “In the play, two homosexual college students become fascinated by their philosophy professor’s ideas about the “innate superiority” of some over others.” (Ebert, 1984) The Professor in question, played by James Stewart, maintains a somewhat troubled presence throughout the dinner party, which only heightens the tension further as he starts to build on the suspicious atmosphere. Several scenes in the film can be perceived as devices used to build tension whilst also suggesting an underlying homoerotic subtext. For instance, the scene in which the Professor subtly interrogates Phillip as he plays the piano to the sound of a metronome truly fastens the pace of the mystery, which is also true for the scene in which the Professor returns to the party for a drink, as the murderers crowd him in an uncomfortable, and perhaps unintentionally humorous, manner. (See Fig 1)

Fig 1

Rope is an 80 minute feature made to feel fairly longer by giving the audience a consistent sense of time passing and infrequently cutting from shot to shot. The set of the film was built specifically for this purpose: “In Rope, (Hitchcock) used a set with walls built on wheels so that he could have the cameras move unimpeded around the film’s group of three rooms.” (Arbunkle, 1999) The apartment layout coupled with an extravagant recreation of New York City in the background presents us with the perfect atmosphere for a film set in ‘real-time’. Since Hitchcock was already accustomed to filming various locations for one picture, it is understandable that he would make the most of such a theatrical setting and have it constructed on the budget of a film. The background construction was particularly necessary to the story, (See Fig 2) as the crew would not have been burdened with any inauthenticity at the behest of using a genuine view of the city.

Fig 2

There are several moments in which painfully-anxious Phillip creates tension in his paranoia. “After they kill David, they pop a bottle of champagne, as Brandon, with baited breath, shares his orgasmic exhilaration with Phillip.” (Wisniewski, 2007) This moment briefly captures the unrelenting suspense of the party to come, setting the mood for the arrival of their unsuspecting guests. (See Fig 3) At another point during the film, Phillip subtly snaps the stem of the glass he is holding and casually hides his obvious ‘red hands’, which are later commented upon by a guest saying (in relation to his musical talents) “These hands will bring you great fame.” Perhaps this quote shadows the inevitable coverage of their arrest, bringing Phillip fame in his infamousness.

Fig 3

Despite the mixed reviews of critics past and present, the essential elements of the original story are presented in a sophisticated and voyeuristic manner, making it enjoyable viewing for all fans of Hitchcock’s genius.

Bibliography

Quotations

Ebert, R. (1984) Rope Review

http://www.rogerebert.com/reviews/rope-1948 (Accessed on 16/01/14)

Arbunkle, W. (1999) Hitchcock's Film Interiors: Home Is Where The Knife Is

http://www.thewag.net/film/hitch.htm (Accessed on 16/01/14)

Wisniewski, C. (2007) Rope: Hidden in Plain Sight

http://www.reverseshot.com/article/rope (Accessed on 16/01/14)

Imagery

Fig 0. Rope Poster (1948) From: Rope - Directed by: Alfred Hitchcock

http://h.habitacion101.com/wp-content/uploads/2013/01/Rope-poster.jpg (Accessed on 16/01/14)

Fig 1. Rope Screenshot (1948) From: Rope - Directed by: Alfred Hitchcock

http://manilovefilms.com/wp-content/uploads/2012/08/rnb_soga_1603.jpg (Accessed on 16/01/14)

Fig 2. Hitchcock on Set (1948) From: Rope - Directed by: Alfred Hitchcock

http://images.amcnetworks.com/blogs.amctv.com/wp-content/uploads/1948/01/Rope.gif (Accessed on 16/01/14)

Fig 3. Rope Screenshot (1948) From: Rope - Directed by: Alfred Hitchcock

http://cdn1-www.craveonline.com/assets/uploads/gallery/fugitive-love-stories/rope.jpg (Accessed on 16/01/14)

The Shining (1980)

Fig 1

The Shining is a Stanley Kubrick film from 1980, based upon the eerie, claustrophobic nature of isolation; the grim consequences of the Oedipus complex and most importantly, the display of utter madness in every frame. Jack decides to isolate himself, along with wife Wendy and son Danny, in a vast, mountainous hotel for the winter in order to finish his writing without distraction. From the beginning it is clear that Jack has no intention of writing, as he slowly but surely becomes more demented and overcome by what seem to be hallucinations, but for Jack are all too real.

One of the most compelling aspects of the film is the set design, which Kubrick deliberately toys with to the point of inconsistency, in order to unsettle the audience further. “We wanted the hotel to look authentic rather than like a traditionally spooky movie hotel. The hotel’s labyrinthine layout and huge rooms, I believed, would alone provide an eerie enough atmosphere. This realistic approach was also followed in the lighting, and in every aspect of the décor,” (Kubrick, 1981) From the obscurely jagged pattern styles and sickly orange colour palettes, the lobbies we are taken through countless times become more and more unnerving and repetitive. Incidentally, the bathroom of Room 237 (see Fig 2) is made up almost entirely of a lime green hue, whereas The Gold Room toilets we are presented with are a much more post-modern red and white design, making the hotel seem miles away from the upper floors and therefore maze-like.

Fig 2

From the opening shots of scarce mountainous landscapes, the voyeuristic camera glides like a ghost, smoothly behind the Torrance family car at unsettlingly lopsided angles, (see Fig 3) giving the audience no time to prepare for the impending dread. “The unhurried pace, extended dialogue scenes and those sudden, sinister inter-titles (“One Month Later”, “4pm”) contribute to the insidious unease.” (Bradshaw, 2012) The scenes of dialogue, most of which occur between apparitions of delusion, expose the insidious nature of the Torrance family’s relationship, as the mother-father-son trio are almost never seen in the hotel all at once. Many scenes can be found of the family travelling through the hotel, which maintain the same voyeuristic from-behind shot, which gives the impression that none of them are ever truly alone, as if being followed or watched.

Fig 3

Many scenes in the film foreshadow the grizzly end. “He plays ball alone in the hotel as his wife and child wander playfully through the maze of the hedge. But there is no fulfilment in his game. When he writes page after page repeating the same sentence, he is unravelling like HAL the computer in 2001: A Space Odyssey who keeps repeating himself as Dave makes him come apart.” (Macklin, 1981) The ball scene in particular exposes Jack’s frustration and echoes the repetition of his stay at the hotel. Whilst analysing the model maze in the same scene, (see Fig 4) Jack appears to be the puppet-master of a more elaborate game and, coupled with the following zoom shot, almost appears to be watching his family scatter through the model walls. Other examples of foreshadowing would include the carpet design upon which Danny famously trikes and the scene in which Hallorann tours the family through the labyrinth of a hotel and concludes at the freezer.

Fig 4

Kubrick still astounds audiences today with his incredible attention to detail, cleverly orchestrated soundtrack and phenomenal casting to produce one of the true horror greats of our time.

Bibliography

Quotations

Kubrick, S. (1981) Kubrick on The Shining

http://www.visual-memory.co.uk/amk/doc/interview.ts.html (Accessed on 01/12/13)

Bradshaw, P. (2012) The Shining Review

http://www.theguardian.com/film/2012/nov/01/the-shining-review (Accessed on 01/12/13)

Macklin, T. (1981) Understanding Kubrick: The Shining

http://tonymacklin.net/content.php?cID=166 (Accessed on 01/12/13)

Imagery

Fig 1. The Shining Poster (1980) From: The Shining - Directed by: Stanley Kubrick

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_TndfAYbJepc2r83UrojzonIW3GFFY2cNyPiMxX-psMYc4U1XGRry6V7zeCuqhrdqV02j1HYUADSQVFDLp2rEx_uMyp8QDYEH8td8ydXicfRN5-MbF3HoKQIvsBru951rmp6I4EevACQ/s1600/The+Shining+(1980)+1.jpg (Accessed on 01/12/13)

Fig 2. The Shining Screenshot (1980) From: The Shining - Directed by: Stanley Kubrick

http://www.ghostgirlparanormal.com/wp-content/uploads/2013/07/The-Shinnig-Bath-Scene-in-Room-237.png (Accessed on 01/12/13)

Fig 3. The Shining Screenshot (1980) From: The Shining - Directed by: Stanley Kubrick

http://static.rogerebert.com/redactor_assets/pictures/scanners/stanley-kubrick-hates-you/shin.jpg (Accessed on 01/12/13)

Fig 4. The Shining Screenshot (1980) From: The Shining - Directed by: Stanley Kubrick

http://mostlyfilm.files.wordpress.com/2012/10/sh3.jpg (Accessed on 01/12/13)

Repulsion (1965)

Fig 1

Roman Polanski’s ‘Repulsion’ is a story of twisted psychological torment, set in the era of expressive sexual exploits and overwhelming pressure to succumb to such temptations—the sixties. The focal character, Carol, is a manicurist living in the newly thriving London, the streets of which are adorned with sexually charged louts (see Fig 2) and confidently liberated women. From the moment Carol is introduced as a quietly anxious young woman, parallels with the setting begin to ensue, and as the ever-growing burden of sexual desire begins to stagnate within her, all that was once pure becomes repulsive.

Fig 2

Isolation plays a key role in the film; an isolation from people, sex and society as a whole. “Polanski depicts Carol’s life as a series of isolated moments. Presenting her as disconnected on the job – clients think she dozes off – Polanski focuses more on her walks to and from work.” (Sorrento, 2009) It is these lengths of seclusion which give Carol more depth in her delusion, making her a somewhat disturbing ‘antagonist’. Silence (and the breaking of it) is used with the intention of chilling the audience at pivotal moments in the film, which becomes a particularly harrowing device during the nightmarish rape scenes that Carol concocts in her mind. The telephone is also used to great extent, (see Fig 3) as Carol often answers to no avail which, along with disturbing imagery of limbs protruding from the walls, making similar comparisons to Keiichiro Toyama’s Silent Hill.

Fig 3

Sexuality is at the forefront of the films’ many themes, paired with Carol’s background of speculated abuse and her inability to escape from the subject. “Carol is a child-woman both fascinated and repulsed by sex, but her nightmare fantasies of rape also suggest suppressed memories of abuse bubbling up to the surface in her isolation and eerie imagery as the fragile girl slips into helpless madness.” (Axmaker, 2009) Carol’s sister acts as the precedent for open-minded women of the time, which drives Carol to the point of madness, being that she is forced to listen to her sexual endeavours ensue. The levels of sexual dominance in the male cast are raised as the film progresses, which Carol finds herself having to consistently defend against (see Fig 4).

Fig 4

The transformation in set design completely shatters any pre-conceived ideas of what Repulsion may seem like to begin with. “Polanski employs a host of wonderfully integrated visual and aural effects to suggest the inner torment Deneuve (Carol) suffers: cracks in pavements, hands groping from walls, shadows under doors, rotting skinned rabbits,” (GA, 2008) By the final act, Carol has wrecked the apartment in her insanity, which reflects the different stages of mental illness she experiences throughout the film. Early scenes see Carol leaving food by the telephone, which decays gradually along with her mind, which then leads to skin-like textures covering the walls and the inexplicable groping from imaginary hands.

Repulsion could be interpreted in many different lights: as a horror film, an act of defiance against the repression of sexuality, or perhaps just a story of descent into madness. At any rate, Repulsion is a disturbingly layered film, and certainly not for the faint of heart.

Bibliography

Quotations

Sorrento, M. (2009) Repulsion Review

http://www.filmthreat.com/reviews/11829/ (Accessed on 01/12/13)

Axmaker, S. (2009) Repulsion Review

http://www.seanax.com/2009/07/27/dvds-for-72809-the-middleman-repulsion-the-original-life-on-mars-begins-and-the-new-battlestar-galactica-ends/ (Accessed on 01/12/13)

GA (2008) Repulsion Review

http://www.timeout.com/london/film/repulsion (Accessed on 01/12/13)

Imagery

Fig 1. Repulsion Poster (1965) From: Repulsion - Directed by: Roman Polanski

http://www.eatbrie.com/large_posters_files/Repulsion1.jpg (Accessed on 01/12/13)

Fig 2. Repulsion Screenshot (1965) From: Repulsion - Directed by: Roman Polanski

http://i436.photobucket.com/albums/qq85/cornershop15/MikePrattinRepulsion.jpg (Accessed on 01/12/13)

Fig 3. Repulsion Screenshot (1965) From: Repulsion - Directed by: Roman Polanski

http://thisdistractedglobe.com/wp-content/uploads/2010/08/Repulsion-1965-Catherine-Deneuve-pic-9.jpg (Accessed on 01/12/13)

Fig 4. Repulsion Screenshot (1965) From: Repulsion - Directed by: Roman Polanski

http://www.odeonent.co.uk/images/product_images/zoom/19725.jpg (Accessed on 01/12/13)

Black Narcissus (1947)

Fig 1

If ever a director were put to the task of showing and not telling, the story of Black Narcissus would prove to be a prime example of such an outcome. A select group of nuns travel to the Himalayas in order to set up a convent for the local villagers, with local adventurous Brit ‘Dean’ providing a dose of sexuality to the otherwise orderly commune. By using bold colour palettes, subtle character development and striking set designs, the film presents itself in many different lights throughout, resulting in the nervous breakdown of one particularly tortured nun.

Some of the most credited aspects of the film come from its uncannily realistic set designs, the backgrounds of which were made primarily from matte paintings to create the illusion of depth in a Himalayan environment (see Fig 2). “The glass painting technique involved hanging a sheet of glass between the camera and the scene, and painting in the view you needed.” (Howells, 2011) Similar techniques have also been linked to the 1933 classic King Kong, another exotic landscape which would have been inaccessible to such a film crew at the time. The use of matte paintings in Black Narcissus is noted for its incredible use of colour, which progressively changes depending on the atmosphere of the film. The use of the colour red is a particularly vital link to sexuality in this context, as it provides no graphic or obvious content, but does expose the innocent nature of the nunnery.

Fig 2

After traversing overseas, hints of red begin to appear where particularly sexual undertones or repression are present. At first we see the young Indian general wearing a completely red outfit, a colour scheme later followed by his love interest Kanchi. “It is in the second half of the film where Powell’s use of Technicolor is stunning. The introduction of the more vibrant hues dominate the film.” (Mirasol, 2010) Later on in the film, the dominating hues completely surround Sister Clodagh as she finds herself utterly suffocated by desire which, by the final act, has completely taken over, (see Fig 3) resulting in a tightly fitting red dress and classic red lipstick to provide visual explanation of her burgeoning sexuality.

Fig 3

Despite the supposed paradise in which the 1947 India dwells, it has been speculated that the film was produced to parallel the independence of the country at the time. “India achieved independence on August 14, 1947, and the final images of Black Narcissus, of a procession down from the mountain top, seem to anticipate the British departure.” (Kehr, 2001) Following this line of logic, it would seem appropriate for British filmmakers to produce a picture in which they are seen to be delivering a service to the Indian people and leaving them to their own devices in a peaceful manner.

For subject matter regarded as ‘dangerous territory’ in the 1940’s, Black Narcissus defies genres by presenting itself as a very mixed and interpretive piece of film history; an area not likely to be replaced any time soon.

Bibliography

Quotations

Howells, M. (2011) Production Design in Black Narcissus

http://guru.bafta.org/behind-mask-production-design-black-narcissus (Accessed on 30/11/13)

Mirasol, M. (2010) Black Narcissus Review

http://www.rogerebert.com/far-flung-correspondents/black-narcissus-which-electrified-scorsese (Accessed on 30/11/13)

Kehr, D. (2001) Black Narcissus Review

http://www.criterion.com/current/posts/94-black-narcissus (Accessed on 30/11/13)

Imagery

Fig 1. Black Narcissus Poster (1947) From: Black Narcissus - Directed by: Michael Powell & Emeric Pressburger

http://www.doctormacro.com/Images/Posters/B/Poster%20-%20Black%20Narcissus_01.jpg (Accessed on 30/11/13)

Fig 2. Black Narcissus Still (1947) From: Black Narcissus - Directed by: Michael Powell & Emeric Pressburger

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhftipStl4LnS5uTyDhsQz1crbtVEOqJRcbs5Xq85GHW7UqlsLfA-9-7D3GuAGszliz80afVV4tTQ5TerOwSVG1vOHJ0k4kIr-mxCuslFHYjRDn2wcDxkjz2B_sEsXnw9Vv1sn4jTddPq6N/s640/black+narc4.jpg (Accessed on 30/11/13)

Fig 3. Black Narcissus Still (1947) From: Black Narcissus - Directed by: Michael Powell & Emeric Pressburger

http://www.jigsawlounge.co.uk/film/wp-content/uploads/2012/12/narc3.jpg (Accessed on 30/11/13)

Edward Scissorhands (1990)

Fig 1

Edward Scissorhands is a heart-warming blend of gothic peculiarity entwined with fifties suburbia, made in 1990 at the hand of Tim Burton. The premise follows the story of Peg, a small-time AVON entrepreneur, who stumbles upon a strange, secluded man by the name of Edward whilst hunting for potential clients. Edward is a troubled and incomplete being whose creator died before finishing him, thus he is stricken with the disability of having scissors as an alternative to hands. Though Edward is a seemingly alien being to the townspeople, he is welcomed into the community with positive and negatives consequences for his naivety.

The cinematography and contrasting art styles together form delightful storybook visuals. The small, generic town is described as “Bright colours in unlikely combinations, (for instance, a lavender-suited Avon lady driving a dandelion-yellow car) and fashionably ridiculous late-1950’s artefacts placed prominently through the characters’ bunker-like homes.” (Maslin, 1990) The bizarre surrealism of the fifties style gives the audience a look through the filter of Edward’s perspective (see Fig 2), which presents a satirical glance into the lives of housewives with nothing better to do when a complete stranger enters their conformist town. In a world in which traditional ideas are the foundation of society, Edward manages to make himself a local celebrity amongst the gossiping townsfolk, which reflects the idea of celebrity in the real world, in which abnormality is often confused with status.

Fig 2

The film is typically Burton-esque, with the gothic nature of his style slowly developing into what it is today, through the character of Edward and typical trademarks which carry his films. “The peculiar shrine-like assemblage of clippings in Edward’s fireplace; the bladelike beams that open a hole in his roof to the heavens and the inventor’s cherished machinery, so pleasantly antiquated that the machines seem to have animal faces.” (Maslin, 1990) This statement perfectly reflects the childlike connections that Burton attaches to the cinematic narrative, opening with magical imagery of paper cuttings falling in sequence (see Fig 3) and machinery dancing to the sinister acoustics of Danny Elfman’s orchestra.

Fig 3

Edward as a character was born from varying stylistic elements. “Depp’s movements, his voice, even his eyes ache of a character that is trapped within a body that isn’t who he is, but which defines him nonetheless.” (Tauchert, 2009) The character is reminiscent of the Somnambulist, Cesare, who features in another Burton-esque film; Das Cabinet des Dr. Caligari, (see Fig 4) whose eerie presence and thin, pale demeanour completely reflects the tortured soul of Edward. Burton even references the fact that Depp was cast as he felt he was in a similar position to the character. “(Depp) was looked upon then as a handsome leading man, yet I don’t think he felt that way. That’s why he wanted to do Edward Scissorhands: he understood that thing of being perceived as one thing and being something else.” (Burton, 2006)

Fig 4

Unquestionably, Edward Scissorhands has become one of the leading films of its narrow genre; a classic tale of Beauty and the Beast seen through the lens of an abstract director who doesn’t let the audience forget for a moment how extraordinary film can be when the parameters are pushed.

Bibliography

Quotations

Maslin, J. (1990) Edward Scissorhands Film Review.

http://www.nytimes.com/movie/review?res=9C0CE2D81338F934A35751C1A966958260&partner=Rotten%2520Tomatoes (Accessed on 17.11.13)

Tauchert, C. (2009) Edward Scissorhands Film Review.

http://www.denofgeek.com/movies/14887/revisiting-tim-burtons-edward-scissorhands (Accessed on 17.11.13)

Burton, T. (2006) Edward Scissorhands Interview.

http://www.totalfilm.com/features/interview-with-tim-burton (Accessed on 17.11.13)

Imagery

Fig 1. Edward Scissorhands Poster (1990) From: Edward Scissorhands - Directed by: Tim Burton

https://lh3.googleusercontent.com/-8PfwAfSWcRk/S-xFhwi_l4I/AAAAAAAAIYs/ssod3tuoGIk/Edward%252520Scissorhands%252520-%252520Poster%25252001%252520%2525281990%252529.jpg (Accessed on 17.11.13)

Fig 2. Edward Scissorhands Town Still (1990) From: Edward Scissorhands - Directed by: Tim Burton

http://fogsmoviereviews.files.wordpress.com/2012/05/edward_scissorhands_hill.png (Accessed on 17.11.13)

Fig 3. Edward Scissorhands Opening Still (1990) From: Edward Scissorhands - Directed by: Tim Burton

http://georgieexx.files.wordpress.com/2012/01/dpvjsepjgsejpo.png (Accessed on 17.11.13)

Fig 4. Das Cabinet des Dr. Caligari Still (1920) From: Das Cabinet des Dr. Caligari - Directed by: Robert Wiene

http://davidjrodger.files.wordpress.com/2013/01/the-cabinet-of-dr-caligari-1920-werner-krauss-and-sleepwalking-cesare-conrad-veidt-are-connected-to-a-series-of-murders-in-a-german-mountain-village-holstenwall-wallpaper.jpg (Accessed on 17.11.13)

La Belle et la Bête (1946)

Fig 1

La Belle et la Bette is the closest predecessor possible to Disney’s ‘Beauty and the Beast’, shot in live-action in 1946 by Jean Cocteau. As with the cartoon feature, the story follows the character of Belle, who is forced to live under the watchful eyes of the Beast in place of her father after stumbling upon an enchanted castle whilst lost in the woods. The film flows with a combination of tragic romance, stunning production design and a lesson of moral vanity in the face of adversity.

Fig 2

Conceptual art from the pre-production stages completely reflects the atmosphere of the Beast’s castle, giving it a very real sense of mystery and unease. “Cocteau uses haunting images and bold Freudian symbols to suggest that emotions are at a boil in the subconscious of his characters.” (Ebert, 1999) There is no denying that the dark atmosphere, coupled with the prospect of living with an alpha male figure, with limbs protruding from all corners of the room, suggests that there are hints of sexual tension as the vulnerable young lady copes with the presence of a terrifying animal.

Fig 3

The facial design of the beast was particularly reflective of his attitude towards Belle. “In my opinion, one must have Marais’ passion for his work and his devotion to his dog to persevere as he did in deserting the human race.” (Cocteau, 1970) This gives the impression that the Beast was something of a human dog, as many features were designed around one, hopelessly lonely, standing his ground in his territory and endlessly loyal to the one he loves. Even the way in which the Beast sniffs at Belle’s sheets when she is away shows how truly animalistic he is, finding comfort in the smell of his beloved.

Fig 4

Prosthetics and costume design, for the decade in which it was made, were particularly awe-inspiring. “The costumes were so elaborate they were said to be ‘as much as the actors could stand up in.’” (Ebert, 1999) The production art works alongside the costumes and sets in such a way that it feels as though the film purposefully works better with the lack of colour. It is clear from the beginning that no expense was spared in order to immerse the audience in this romantic fantasy, which alongside the post-modern camera trickery makes this film a truly magical viewing experience.

Bibliography

Ebert R. 1999 - http://www.rogerebert.com/reviews/great-movie-beauty-and-the-beast-1946

Steegmuller F. 1970 - On the Making of Beauty and the Beast - http://www.criterion.com/current/posts/17-on-the-making-of-beauty-and-the-beast

(Fig 1) Christian B. - http://cineclap.free.fr/la-belle-et-la-bete-1946/la-belle-et-la-bete-1946-a04.jpg?lzv1sf

(Fig 2) Christian B. - http://venetianred.files.wordpress.com/2010/01/cberardbb2.jpg?w=300&h=263

(Fig 3) La Belle et la Bête (1946) - https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-LZf_qWN26aRly1zw5qeRAFi4N7yRPZOXTQ-D6GdKRdfGxF46gfO7MsU0oeYFHK6H8gWWFC-XMkAK4s7fX3kSSDvd9Otfsi4n4trX5HLEBEEi3Sze2rOrGR_lk-9yRuI6JunKl3c1IyAH/s1600/beauty.and.the.beast.1946.720p.bluray.x264-cinefile.mkv_snapshot_01.16.57_%255B2011.07.29_23.17.40%255D.jpg

(Fig 4) La Belle et la Bête (1946) - http://venetianred.files.wordpress.com/2010/01/cberardbb1.jpg

Alien (1979)

Fig 1

The year of 1979 brought with it two of the most terrifying spectacles the world could scarcely have anticipated: the rise of the Iron Lady, and of course Ridley Scott’s ‘Alien’. The story follows a diverse crew aboard spacecraft ‘Nostromo’, as they return to Earth from an expedition to retrieve mineral ore. Their voyage home is brought to a halt when signals of alien technology force them to explore the unidentifiable ship, which soon brings the domestic atmosphere to a grim demise. The foundation of the film is fuelled by unrelenting suspense, shocking visual terrors and sexual undertones that culminate in a fight for survival against the unknown.

Fig 2

The production of the alien completely reflects the final act. “Giger started building this graceful figure, his pipes and tubes and running, rotting sore joints and pustules and strange shapes and building it up and came up with something most bizarre.” (O’ Bannon 1979) This description of the unconventional, beastly structure slowly but surely contrasts the atmosphere of the ship, from a sheen-white homely environment to an obstacle course of flashing lights and burst pipes. Scenes reminiscent of this include the betrayal of Mother, the ship’s control system, in which our heroine Ripley misses the opportunity to deactivate the self-destruction sequence. This act of betrayal relates to the underlying route of the chaos, as if the birth of the alien was a betrayal of its predecessors, or even a violation of nature.

Fig 3

The ‘Chestburster’ scene in particular has become one of the most influential examples of horrifically gory cinema to date. Writer of Alien, Dan O’Bannon recalls the famous scene having not informed the cast of its content: “Afterwards these two people pick Veronica Cartwright up and she was weak kneed and they had to help her off the set. She was drenched, all her clothes sticking to her, and her hair sticking to her with this red dye and she was near hysterics.” (O’Bannon 1979) This repulsive visual spectacle reflects upon the theme of birth and creation, as the ‘Facehugger’ life-forms’ key motive is to breed life into the living, using existing creatures as vessels for fertilisation. Every element from the moment of entering the alien ship includes incredibly raw, organic designs which intend to bring unease to the viewer, but more subtly provoke ideas of dark sexuality in the subconscious.

Fig 4

The film is laden with this kind of sexual imagery in a variety of ways, from the phallic, organic textures that line the walls of the ship, to the more obvious Facehugger anatomy akin to that of human genitals. Associate Producer, Ivor Powell describes the Facehugger: “In a sense, the original Facehugger is f**king you orally and laying its eggs down your trachea. Very Freudian, isn’t it?” (Powell, 2009) In relation to this idea of forced sex, a scene in which Ash forcefully shoves a rolled up magazine into Ripley’s open mouth whilst pornographic cut-outs linger on the walls behind them leave a very confusing impression which has a lasting effect on the viewer.

Fig 5

Ripley’s final scenes also see the action hero that her character has developed into, stripping away her ambiguous gear to operate the ship in a scantily clad fashion. Although this means to give the impression that Ripley is safe, once it is revealed that the alien is aboard, the atmosphere becomes one of complete vulnerability, and arguably the set-up for a sexual fantasy. But amongst the defining themes at its core, Alien has become one the greatest sci-fi horror films of its genre, still referenced relentlessly within pop culture today, and at the other end of the spectrum, even Pixar’s Toy Story.

Fig 6

Imagery

Fig 1 - http://theshootening.files.wordpress.com/2011/12/alien-poster.jpeg

(Alien) Fig 2 - http://i613.photobucket.com/albums/tt220/williambean100/screenshotsListB/screenshot-lrg-34_zps378da711.png

(Alien) Fig 3 - http://basementrejects.com/wp-content/uploads/2012/01/alien-billboard.jpg

(Alien) Fig 4 - http://www.chud.com/wp-content/uploads/2012/05/alien-1979-08-630-75-610x271.jpg

(Alien) Fig 5 - http://farm7.staticflickr.com/6092/6319138081_3cb0d8b70c_z.jpg

(Toy Story) Fig 6 - http://alienanthology.wikia.com/wiki/List_of_Alien_references_in_popular_culture?file=Whack-a-Alien.jpg

Quotations

(O'Bannon, 1979) - http://weyland-yutaniarchives.blogspot.co.uk/2010/09/dan-o-bannon-on-alien-fantastic-films_24.html

(Powell, 2009) - http://www.empireonline.com/interviews/interview.asp?IID=1095