It was incredibly difficult to not to pick one of my favorite films for this project, such as A Clockwork Orange, One Flew Over The Cuckoo’s Nest, and Jaws. However, I went out of my comfort zone and picked a genre of film I’ve never become familiar with- Western. The 1974 film Blazing Saddles was a hilarious frontier/Wild West twist about road worker named Bart, played by Cleavon Little, becoming part of character Hedley Lamarr’s (Harvey Korman) evil plan to out-run the small town of Rock Ridge by appointing an African American sheriff to the massly single-minded small town of racist’s. With the plan to destroy the town to make way for a new railroad, Lamarr is convinced that they town would be so appalled that they wouldn’t stand having an …show more content…
There were a number of scenes where Bart would begin talking directly into the camera, as if he were having a conversation with the viewer. I enjoyed this interaction because it made me feel a lot more connected to his character and the current actions going on in these particular scenes, as if I was there. With this interaction, I was really able to grasp his charm and western personality that went along with his character that never seemed to break. During the final scene in the film, a big brawl between the townspeople and the bad guys, resulting in the having the group directly travel off of the set into the studios and streets of Warren Brothers. Though this scene was HILARIOUS, Little still did not break his performance as Bart and I found it to be quite believable. When picking this film, I wasn’t exactly sure what to expect or if I would enjoy it. However, the film literally kept me laughing the whole time through and I found the overall theme to be especially clever. Cleavon Little character in Blazing Saddles was definitely a believable performance for me because he stayed true to his Wild West sheriff self from beginning to end, even during the scenes that traveled off the set through the Warren Brothers Studios. Little provided _, _ and _ to his character that made the film easily
My analysis begins, as it will end, where most cowboy movies begin and end, with the landscape.Western heroes are essentially synedoches for that landscape, and are identifiable by three primary traits: first, they represent one side of an opposition between the supposed purity of the frontier and the degeneracy of the city, and so are separated even alienated from civilization; second, they insist on conducting themselves according to a personal code, to which they stubbornly cling despite all opposition or hardship to themselves or others; and third, they seek to shape their psyches and even their bodies in imitation of the leanness, sparseness, hardness, infinite calm and merciless majesty of the western landscape in which their narratives unfold.All of these three traits are present in the figures of Rob Roy and William Wallace--especially their insistence on conducting themselves according to a purely personal definition of honor--which would seem to suggest that the films built around them and their exploits could be read as transplanted westerns.However, the transplantation is the problem for, while the protagonists of these films want to be figures from a classic western, the landscape with which they are surrounded is so demonstrably not western that it forces their narratives into shapes which in fact resist and finally contradict key heroic tropes of the classic western.
... He really sold the part and did the part justice. Furthermore in the beginning of the flashback I had no idea who the main character was, but Christian developed the character subtly yet effectively.
Bernstein, Matthew. “The Classical Hollywood Western Par Excellence.” Film Analysis: A Norton Reader. Eds. Jeffrey Geiger and R.L. Rutsky. New York: W.W. Norton & Company, 2nd edition, 2013. 298-318.
The movie “Cotton Road” is about the way American grown cotton that is sold to China and then made into products that are sold back to America for the publics use. The movie also shares the perspectives of multiple people involve in the “Cotton Road” from the growing of the cotton to the transportation to China, and the transformation from raw cotton to clothing products. The cotton is grown on a farm in South Carolina, and there are perspectives given of that farm owner and the main farm worker. When in China there are perspectives given from dock employees, transporters and cotton factory works such as the cook, fabric imperfection checker, and main clothing maker. I was shocked to see what happens and the hardships that occur in this
...the best for me was the use of voice. The way Miles used it made me see right into the character. When a person talks you can understand a lot about them. Where they grew up what kind of education they have acquired and what kind of family life they might have had. What didn't work for me was the emotional truth. I had a hard time believing that Seymour may or may not of had a hard life. A person who may have been out cast from social situations would not act out like Seymour did. Although it does not take any thought to murder someone a plant would have a hard time changing my value system in order for it to survive. Seymour would or should have felt less at ease with himself after the first victim was feed to the plant. The performance as a whole was good and I would like to see it again.
...uggles between the savagery and civility, he and Liberty Valance (Lee Marvin), are men threatening, as well as standing, in the way of the progress and later the stability of the soon to be established “recognized territory.” There are two very different characteristics of these men though, Tom is full aware what is happing to in the New West and eventually succumbs. Meanwhile Liberty knows this is happing too, but he will do, as he must to keep the frontier open, for purely selfish reasons. This is the swan song of the boots, the gun belt and the spurs, the inevitable end of freedom that was once known since its inception at the establishment of the United States of America, but the Western was and still is today, a vast frontier of compelling stories, classic American narratives and themes that will continue to capture the imagination of all freedom loving people.
The Bad and The Beautiful (1952) and State and Main (2000) are films within films that unmask Hollywood Cinema as a dream factory and expose the grotesque, veneer hidden by the luxury of stars. The Bad and the Beautiful, directed by Vincent Minnelli, is a black and white film narrated in flashback form. The films theatrical nature requires more close-ups than wide-screen shots to capture the character’s psychological turmoil. For example, Fred and Jonathan’s car ride is captured in a close-up to signify their friendship; however their relationship deteriorates after Jonathan’s deceit. While the camera zooms out, Fred stands alone motionless. Here, Fred is captured from a distance at eye-level and he becomes ostracized by the film industry and
The authentic country twang of Frankie Laine in the title sequence gives Blazing Saddles the appearance of a classic Western, but within the first few minutes, the satirical nature of the film makes itself abundantly clear. The opening scene of Blazing Saddles communicates the setting and the character archetypes, both as they appear on the surface and as they will manifest throughout the film. Though the film explores this dynamic in greater depth later on, this scene establishes that the crafty underdog protagonist around which Westerns revolve is not one of the white men, and does not receive universal love and appreciation. “‘Black’ Bart,” central character and eventual
In the book West Side Story as Cinema: The Making and Impact of an American Masterpiece by Ernesto R. Acevedo-Munoz, the author makes an evaluative judgement on the musical West Side Story and details the history of the extensive production and the making of the film and also analyzes the cultural controversy and impact of the film on society. Through the use of primary sources and thoroughly researched claims, the author convincingly demonstrates how the production, presentation, and release redefined the conventions of the classical hollywood musical, and the role of cinema in culture as a way of observing and rehearsing social issues.
The humor in Blazing saddles dates back to the 70's type of satire that was used. The jokes that were made in blazing saddles would definitely be problematic in today's sensitive audience. Jokes for example calling people the N word for fun can cause issues today , while back in the 70's it was okay to say it all the time. Senseless humor like the sign that said "Knock on barb wire first to come in", was so ridiculous that it made it funny. One good example that showed how dated the humor was, is when Mr. Hedley wanted a way to get rid of the people of Rock Ridge. The conversation between Mr. Hedley and a railroad official had a funny joke that started off with "we'll kill the first born child of every household ow wait that's too Jewish".
The film Sunset Boulevard, presented in 1950 is a black and white film. The film is about Norma Desmond an old actress, who has issues accepting that she is becoming old. The main actor in the film is Gloria Swanson, who plays Norma Desmond, an older woman who believes she is still young. Desmond is not content with the fact that Hollywood has replaced her with younger actresses. The next actor Nancy Olson, plays Betty Schaffer who falls in love with Gillis despite being engaged to his friend. The third actor is William Holden who plays as Joe Gillis, who has financial problems and decides to turn himself into a gigolo to earn money. The dilemma with Joe is he does not want Betty to know about his job because he knows he might lose Betty as
“There's kind of a Zen aspect to bowling. The pins are either staying up or down before you even throw your arm back. It's kind of a mind-set. You want to be in this perfect mind-set before you released the ball.” Jeff Bridges describes bowling to be black or white; one pin can not both be up and down. However, the character whom Jeff Bridges portrays in the classic bowling noir film The Big Lebowski, the Dude, is far from black and white. Once he was an ex-social justice warrior protesting the Vietnam war, now he is hanging out with a disgruntled Vietnam vet. With a joint in his mouth and a White Russian in his hand, the Dude goes through life without a care, only waiting for his turn to bowl. Throughout the movie, the Dude is dragged into a series of unfortunate events, none of which are his idea. What originally started off with nothing more than a piss-stained carpet spawned into a faux kidnapping and the death of the Dude’s beloved friend, Donny. The plot,
“Everybody knows,” she said with a smile, “that heroes are not to be believed. They all tend to exaggerate their achievements.” (The Neverending Story, page 99) It is no exaggeration that The Neverending Story by Michael Ende is a classic. In fact, this timeless tale has become so iconic that throughout the years adaptations have been made, with various versions created to satisfy fans. One adaptation in particular includes READ magazine’s play adapted by David S. Craig with illustrations by David Ho. The differences can be noticeable by simply observing the characters and style of both the book and play, and yet, the overall story remains the same.
The movie I chose to analyze for historical accuracy was War Horse. This movie was set in the First World War, starting in Britain but the story also explored France and Germany during this time period as well. Three scenes will be analyzed: the trench warfare scene between the British and the Germans, the scene where the British soldiers were gassed, and the scene where the British were getting patched up and nursed. War Horse does well to stick to the historical accuracy of what happened during the First World War due to the fact that the three scenes that I have chosen to analyze are not embellished and are close to what really happened.