Jordan Valdez Post #10 Of Mice and Men

Jordan Valdez, Post #10, 1992, Of Mice and Men, Directed by Gary Sinise I read Of Mice and Men when I was in Hugh school so I thought it would interesting to watch the film for this project. I have to say I liked it but most likely because I was anticipating what had happened in the book. The movie was good however definitely not my favorite of the films I have watched. I dont want to say that it was boring, but I think the ideas and events in the book keft for a simple plot. I enjoyed the performances of the actors and I feel that Gary Sinise did a great job as both the director and one of the lead actors. Perhaps because it is not the most exciting story, I didn't get a lasting impression but I can appreciate the film. I think the most important film techniques used in this film were the close ups and the reaction shots. A wide variety of medium and long shots were incorporated as well. OTS shots were appropriately completed and establishing shots made sure we knew where the scenes were taking place. Overall, I think the techniques used did their job and allowed for the smooth telling of Lenny and George's story. I don't know if I will watch this film again but instill do not have anything bad to say about it.

Post 10: The Godfather: Part III, 1990, Directed by Francis Ford Coppola

The film The Godfather is widely regarded as one of the greatest films in world cinema as one of them on of the most influential, especially in the gangster genre. Now ranked as the second greatest film in American cinema (behind Citizen Kane) by the American Film Institute, it was selected for preservation in the United States National Film Registry in 1990 for being "culturally significant." The film's success spawned two sequels: The Godfather Part II in 1974, and The Godfather Part III in 1990. The Godfather Part III is a 1990 American gangster film written by Mario Puzo and Francis Ford Coppola, and directed by Coppola. It completes the story of Michael Corleone, a Mafia kingpin who tries to legitimize his criminal empire. The movie also weaves into its plot a fictionalized account of real-life events—the 1978 death of Pope John Paul I and the Papal banking scandal of 1981–1982—and links them with each other and with the affairs of Michael Corleone. The Godfather films start with the words “I believe in America.” The films then depict a nation where Mafia and big business are two sides of the same coin: both are corrupt, tell the truth selectively, and do exactly as they wish. The film received numerous awards including an Oscar and nominated for Outstanding Achievement in Cinematography in Theatrical Releases.

Post 9: Dick Tracy, 1990, Directed by Warren Beatty

The film Dick Tracy helps sum up the main theme of romanticism, crime, and action films in the 1990s. The film is tells the story of a comic strip detective named Chester Gould, who finds his life vastly complicated. Dick Tracy depicts the detectives love relationship with Breathless Mahoney and Tess Truehart, as well as his conflict with crime boss “Big Boy” Caprice’s united mob. Warren Beatty, produced, directed, and starred in the film, which features supporting roles from Al Pacino, Charles Durning, Madonna, William Forsythe, Glenne Headly, Paul Sorvino, Dick Van Dyke, and Charlie Korsmo. Dick Tracy was released in 1990 to mixed to positive reviews, but was generally a success at the box office and at awards time. It picked up seven Academy Award nominations and won in three of the categories: Best Original Song, Best Makeup and Best Art Direction. There are vivid textures of color while the lighting borders on neon. Whole buildings are colored blue, while some are red and some are purple. Green lights are reflected onto the pavement and sometime purple again. The compositions of each individual shot are simply perfect. There are shots were an optical diopter was applied and there are wide shots of the city that remind us of Fritz Lang’s Metropolis in scope and style. One final note on the look of the film is that even though it’s directed in an old-school fashion reminiscent of the gangster pictures from the 1930s and 1940s, the colors have a certain gloss that amplifies the pastels and adds a certain faded pink hue to the actors’ faces. It’s a beautiful looking film in the way that it looks old and when we are reminded that it was shot in 1990 we are thankful to Warren Beatty for sticking to “proper” filmmaking techniques.

My Girl '91

My Girl is a coming of age story with death being a main theme. It is about young romance, innocence, tragedy and growth. Death is a constant reality in Vada;s home. Maculay Culkin’s role supports that of Anna Chlumsky’s. Chulmsky plays Vada Sultenfuss, a little girl obsessed with death and disease partly because her mother died giving birth to her, her father is a funeral home director—the embalming takes place in her basement, and her grandmother suffers from Alzheimer’s disease.

Vada has a lot to worry about and is certain her death is impending. By the end of the film, after Thomas dies, Vada manages to deal with her grief and overcome some of her issues.

There were tears in my eyes watching these two cute kids. Vada is a bright child who lives in an emotional shell with hypochondriac tendencies. Her and her father live with their burdens, as a result, her father is slightly withdrawn. She visited the doctor on different occasions in fear that she had prostate cancer or a chicken bone stuck in her throat.

There’s something unsettling about the movie—an already conflicted child must confront a tragedy that is so deeply personal to her persona. All in good time, Vada makes her accommodation with loss. This film ‘works’ because the director did a good job depicting an easygoing rhythm. There is an underlying feeling of melancholy that is lightened by comedic and natural tension between first loves.

Even though this is an endearing film that tells a story of burdens and cope, I’m not sure what/how the director envisioned this movie to be like. It seems like it wasn’t decided what kind of sophistication to stick to—My Girl may be too dark for a very young audience. Even though I expected a cute-Maculay-Home Alone-type move, my heart hurt for the burdens of the charismatic Vada and Thomas. The film may be too ‘young’ for an older audience, but anyone can feel an aura of resilience in My Girl. 

Silence of the Lambs '91

Silence of the Lambs was one of the most popular films released in 1991. I had never seen it because I generally tend to stay away from suspenseful movies. The way I look at it, while I watch, I am filled with questions and feelings of expectancy, doubt and apprehension. When I find the time to sit and watch a movie for a couple hours, I am not going to choose a film like Silence of the Lambs because I’d rather not be frightened and disturbed—I’d rather watch something like Up or The Departed.

The director, Johnathon Demme, was voted the 45^th greatest director of all time after Silence of the Lambs. Some scenes in particular were quite freaky. I just don’t love dark psychological thrillers. I will usually switch off movies like Silence of the Lambs, Shutter Island, and Seven.

This movie definitely appeals to an audience who likes being scared. The viewer sees the strange relationship between Clarice and Hannibal Lecter. There are many extreme close-ups that create an intimately creepy experience for the viewer. These shots exemplify the powerless feelings of Clarice and Lecter’s ostracized worlds.

Even though Hannibal Lecter entirely freaked me out, he had a somewhat likeable presence.

The film techniques enhanced feelings of apprehension in scenes—I was waiting and waiting as the camera passed through hallways and down stairs to reach Lecter in his prison cell and Buffalo Bill in his basement—I don’t think this was unintended. Another aspect that should be noted is that the camera waiting for Clarice with scrutinizing shots instead of moving along with her.

Sounds of heavy breathing and low cries create terror throughout the film. Hannibal Lecter is incredibly brilliant despite being undoubtedly emotionless and dispassionate. The audience gets the feeling that he likes to amuse.

Everything about this film is clever and manipulated. The characters themselves are clever and manipulating; the play on images and visuals in Silence of the Lambs is clever and manipulating as well. Visual intercuts play within the sequence.

JFK '91

Oliver Stone directed the documentary JFK in a way that made the film better than most documentaries I’ve seen. The dramatic story is presented meticulously. Since being in Sound, Image and Motion, I’ve gotten a glimpse of how hard cinematic manipulation and technique is to understand, let alone master. I just made a documentary on Ultra Music Festival and I kept thinking about my video while watching JFK. I can really appreciate how good this documentary turned out.

The writing and the photography were blended seamlessly with some extra ‘oomf’ from the music. It is quite complex how all are edited together to produce this persuasive documentary.

There were so many characters. There was so much information in the documentary that came from interlocking flashbacks, and skillfully interweaved documentary and fictional footage. It is a surprise that the information is presented in a way that is not confusing at all. Kevin Costner’s passionate performance created an illusion for me that I was actually seeing these historical figures. The film still does not answer the mystery of the Kennedy assassination. I certainly feel like this documentary succeeded at posing a question to the viewers—who acted with Lee Harvey Oswald? He could not have acted alone. Before viewing JFK, I was not able to contemplate this significant moment in history the way I am able to now. 

Raise the Red Lantern '91

Raise the Red Lantern was a unique movie. I had never seen a Chinese film—the movie making was exciting to look at. It is a great looking movie, which helps to enhance the story. It appealed to my eye initially because of the many colors employed by the director. Reds, oranges, and yellows are vividly and stunningly captured.

I was very interested when I learned that the Chinese government didn’t approve of Raise the Red Lantern. The depiction of the role of women in China heightened the emotional power of the movie. People have compared the characters and their rules to the government and the law. We can see the closed life of a Chinese woman in a way that illuminates a larger story.  

Thelma and Louise '91

I really, really liked Thelma and Louise. The screenplay was funny and the acting was great. When the two women embarked on their road trip, the audience could only assume that before their journey’s end, there would be some self-discovery. We meet the girls on days that help explain why they’d like to go on a road trip for the weekend. After the cowboy incident, the two women become a team—on the run, they have some adventures along the way. They have encounters with people along the way—old, wrinkly men are representative of the deep experience life, the state troopers hold up a right vs. wrong, do vs. don’t do question. Brad Pitt’s role signifies a certain excitement of attraction.

The film is not a brilliant example of technical mastery, but rather, I think the director did a wonderful job showing the viewer what’s going on inside the hearts of Thelma and Louise. It is intriguing to see why they need to do what they do.

The last shot is the moment when Thelma and Louise arrive at the truth that their whole journey has been pointed toward. The screen fades to white and directs to flashbacks of the happy women.

This is a lively, character-driven movie. I think I liked Thelma and Louise so much because of the memorable personalities and the girl talk.