42nd street is a classic and beloved tale telling the story of Peggy Sawyers rise to stardom in Broadway. This film embodies every aspect of what a classic film should be; good triumphs every obstacle thrown at the cast, the story is clear and ends on a happy note and of course the star ends up with her soulmate and everything is perfect. However, if one was to take this beloved classic and turn it into a modern film the plot and its components would have to be drastically changed. For starters Peggy, would not have been a success as the star role, the classical genre is known for its happy endings while modernism film is quite the opposite, therefore Peggy’s success in the production could not happen in order to fit the criteria the modern …show more content…
The audience can easily see that throughout the movie Julian is suffering from an unknown illness and he states multiple times that he is soon to die, so instead of him putting on a successful show while defying all the odds against him and living to hear the critique about it, he would pass either before the production of his musical or even afterwards, this change further pushes the film out of its original genre and into a new modern one. Other than the plot, many changes in the films production would have to be altered to fit into its new genre. 42nd Street is very deliberate in its camera movements, the audience is shown only a few different camera angles throughout the entire movie, there’re are a few close-ups but other than that there isn’t much dynamics in its cinematography. To transcend this into the modern genre not only would the camera angles have to be more effective but also the editing would need to be altered to compliment the updated techniques. For example, when the audience is shown a dancing sequence instead of the camera staying stagnant in one position, it should bounce around at varying angles to showcase a more modern
The portrayal of art cinema is to some extent accurate when considering the time period of this film. Art film was first introduced to the American film industry during the period of time when this film came out. Art cinema utilizes its own set of artistic expression. Hollywood classical films on the other hand, are at odds with the artistic concept, and are considered to be mainstream. When we look at Classical films, we think of the basic Hollywood movie where there is a beginning, middle and end, and the whole movie comes together at the end, with a little bit of romance. In this specific movie, the audience is faced with a confusing dilemma of choosing whether this movie is an art film or a classical film. Most even think it has a documentary approach, but what makes this movie even more successful and even more entertaining, is that it is both art cinema and classical cinema.
The Classical Hollywood style, according to David Bordwell remains “bound by rules that set stringent limits on individual innovation; that telling a story is the basic formal concern.” Every element of the film works in the service of the narrative, which should be ideally comprehensible and unambiguous to the audience. The typical Hollywood film revolves around a protagonist, whose struggle to achieve a specific goal or resolve a conflict becomes the foundation for the story. André Bazin, in his “On the politique des auteurs,” argues that this particular system of filmmaking, despite all its limitations and constrictions, represented a productive force creating commercial art. From the Hollywood film derived transnational and transcultural works of art that evoked spectatorial identification with its characters and emotional investment into its narrative. The Philadelphia Story, directed by George Cukor in 1940, is one of the many works of mass-produced art evolving out of the studio system. The film revolves around Tracy Lord who, on the eve of her second wedding, must confront the return of her ex-husband, two newspaper reporters entering into her home, and her own hubris. The opening sequence of The Philadelphia Story represents a microcosm of the dynamic between the two protagonists Tracy Lord and C.K. Dexter Haven, played by Katherine Hepburn and Cary Grant. Through the use of costume and music, the opening sequence operates as a means to aesthetically reveal narrative themes and character traits, while simultaneously setting up the disturbance that must be resolved.
One of the most prominent and influential directors in New Hollywood was Italian-American Martin Scorsese. His first major critical success, and what is often considered his “breakthrough” film, was 1973’s Mean Streets. This film helped to establish Scorsese’s signature style in regards to narrative and thematics as well as aesthetically. Scorsese developed a unique and distinct directorial flair to his films, with reoccurring themes, settings, cinematography, and editing techniques, among other elements. This led a number of film critics to declare Scorsese an “auteur,” similar to Jean-Luc Godard, Francois Truffaut, and other auteur directors of the French New Wave.
The hit musical "Singin' in the Rain" may possibly be one of if not the greatest musicals of all time. With it's tale of the film world of the mid 1920's and its creative underlining love story between Don Lockwood (Gene Kelly) and Kathy Selden (Debbie Reynolds), it provokes the interest of someone who would not generally be attracted to a musical. It is a classic masterpiece that set the standards that musical films of today will be judged by. It is a classic performance by the great Gene Kelly and displays outstanding performances by Debbie Reynolds and Donald O'Connor. As well as starring in this brilliant movie, Gene Kelly teams up with Stanley Donen to make their mark in film history.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
After two world wars, the balance of power between the genders in America had completely shifted. Tennessee Williams’ A Streetcar Named Desire is a harsh, yet powerful play that exposes the reality of the gender struggle. Williams illustrates society’s changing attitudes towards masculinity and femininity through his eloquent use of dramatic devices such as characterization, dialogue, setting, symbolism, and foreshadowing.
Sunset Boulevard is macabre movie designed for mature audiences who would be able to acknowledge the emptiness of a fallen celebrity, the vanity of stardom and insights of the movie industry. It features the transitory nature of fame, a pessimistic perception of Hollywood and the corruption of a celebrity with the example of a once legendary actress - Norma Desmond. Through the movie, audiences identifies with an alienated celebrity.
From the lavish mansions of Hollywood stars to the cigarette smoke filled offices of broke screenwriters, the 1950 noir movie Sunset Boulevard remains a timeless classic with a stunning story of an actress gone mad, and a screenwriter just trying to squeak by. This film is the first pre-1960’s flick that has left me with a feeling of awe. The first word that comes to mind after the credits begin to roll is just“wow!”. I was struck by the intriguing plotline and brilliant execution of the story. Not only is the film a classic for its gripping story, and twisted power dynamics, it also shows amazing camera work and brilliant acting.
Read the online reviews and essays of Sunset Boulevard attached as MATERIALS on this session's Timeline.
The period between early 1940s to mid-1960s or so, alternatively, the period between when the musical Oklahoma! (1943) was produced till the time when Hair (1968) was produced, is usually referred to as the Golden Age of the American musical (Kantor, 2010). It is during this period, that most of the noted titles such as “Carousel”, “South Pacific” etc. were produced. 1940s and early 1950s were dominated thoroughly by MGM musicals, while the late 1950s and 1960s belonged to Broadway. Initially, the musicals of this era had simple plots, unchallenging themes, with romantic or comedic characters and lots of singing and dancing. But towards the end of it, the plots were sophisticated, serious with singing, dancing as well as dialogue. In this paper, I choose to elaborate more on the musical – Arthur Laurents’s West Side Story. In the first part of this paper, I discuss the plot, songs and other aspects of the musical such as the awards etc. Later on, I explain how this musical revolutionized the theatre and the cultural effects it had on Americans. Finally, I conclude in the end the historical importance of this musical piece.
Sunset Boulevard directed by Billy Wilder in 1950 is based on how Norma Desmond, a huge Hollywood star, deals with her fall from fame. The film explores the fantasy world in which Norma is living in and the complex relationship between her and small time writer Joe Gillis, which leads to his death. Sunset Boulevard is seen as lifting the ‘face’ of the Hollywood Studio System to reveal the truth behind the organisation. During the time the film was released in the 1950s and 60s, audiences started to see the demise of Hollywood as cinema going began to decline and the fierce competition of television almost proved too much for the well established system. Throughout this essay I will discuss how Sunset Boulevard represents the Hollywood Studio System, as well as exploring post war literature giving reasons as to why the system began to crumble.
In this essay the following will be discussed; the change from the age of classical Hollywood film making to the new Hollywood era, the influence of European film making in American films from Martin Scorsese and how the film Taxi Driver shows the innovative and fresh techniques of this ‘New Hollywood Cinema’.
When I first watched Chicago at the movie theater, I was not fully satisfied. I wanted more, so I went back to get some and watched it six more times with different friends and family members! Last summer during a visit to my native Mexico City, I had the opportunity to watch drag queens perform several numbers from the movie-musical. They did an amazing job, without surpassing the outstanding performances of the actors in the film. Last year, I visited NYC for the first time and indulged in the rows of the Ambassador theatre experiencing Chicago, the Broadway musical, and because I had seen the movie many times before, I knew all the songs and dances by heart. I loved it, but it was actually the movie that influenced me to become a “Chicago fan.” The movie is based on the 1996 Chicago revival of the original musical version of 1975. It was thrilling knowing that the making of the musical into a mainstream production would increase its accessibility and widen its distribution into all the corners of the world; now there is no excuse for people not to experience Chicago, and though not everyone can go to Broadway to see it, just about anyone can indulge themselves in this dazzling movie in the comfort of their homes. In addition to a fantasy world of singing, dancing and Vaudeville, the film also provides a narrative that is explicitly presented through Roxie’s point of view, creating a counter human side to Roxie’s fantasy world so that the audience can easily identify and engage. Chicago is a must see film for anyone who likes to spoil themselves with an outstanding award-winning musical composed of a catchy plot, truly superb acting, commendable direction, and a clever soundtrack.
Owing to its high intensity emotional plot and subtle yet powerful acting by its lead cast ensured that the movie became a blockbuster. Tennessee weaves a plot set in New Orleans around three characters: Blanche, her brother-in-law Stanley and her sister Stella. The following essay‘s objective is to compare both, Williams’s play with a motion picture based on it, highlighting similarities and differences between the two. Similarities After watching the movie and going through the drama text, one can only agree with the fact that Elia Kazan retains the core plot and the originality of the play written by Williams, perfectly. Williams was responsible for working on the screen play of the movie, and this fact reflects clearly on the onscreen version of the play as his thought and personality are clearly reflected in the movie.
*(2)- Critic- Tharpe, 513- source (http://www.cercles.com/n10/bak.pdf): CRITICISM ON A STREETCAR NAMED DESIRE, A Bibliographic Survey, 1947-2003, JOHN S. BAK, Université de Nancy II-C.T.U.