The Art of Film

One of the most important aspects I learned through this course is to be open to diversity. Most, if not all, films share a similar goal in trying to portray a relatable message to their audience. I had the pleasure in studying films such as A Trip to the Moon, Double Indemnity, and The Diving Bell and the Butterfly expanded my preference for films whilst creating an impact. However, I believe that films such as Total Recall, Inception, and The Wizard of Oz are three films that should also be focused on when studying the art of film.

A Trip to The Moon, 1902 (Georges Méliès) 

This silent French film introduced me to foreign, classic, and silent film styles. Its use of special effects at such an early generation inspires many aspiring directors to further engage audiences beyond their imagination. The painted backgrounds, animated objects, and in-camera effects invites the audience into an emotional experience to voyage along with the scientists. 

Double Indemnity, 1944 (Billy Wilder)

Upon reading articles about film studies, Double Indemnity had always been the film to accurately define and portray film noir. Like a true film noir, this film includes Walter Neff as the oblivious good guy turned bad due to the seductive femme fatale, Phyllis Dieterchson. Camerawork such as the use of high and low angles truly help to set the mysterious atmosphere of the film. In addition, its rounded narration shows a interesting yet exceptional twist to the story. 

The Diving Bell and the Butterfly, 2007 (Julian Schnabel)

I believe that this was the most influential film studied in this course, mostly because of its camerawork. The audience is able to view the movie in a tasteful point of view from the main character, Jean Do... actually the audience IS Jean Do. The use of ECUs (extreme close-ups) and low camera angles draws attention to the cinematography in a powerful and unique way. 

The Wizard of Oz, 1939 (Victor Flemming) 

The Wizard of Oz not only demonstrates an exquisite execution with transition into a colored film, but also includes elements of mine-en-scene that should truly be studied in a film course. Flemming's precise placement of props set an imaginative yet homely scene. The careful use of lighting from brightness of Emerald City to the darkness of the Wicked Witch's castle, shows the obstacles and aspirations of Dorothy and her friends. All in all, The Wizard of Oz, shows complex film work that continues to prove itself as influential and noteworthy. 

Total Recall, 1990 (Paul Verhoeven)

Although this action, sic-fi film may come off as cheesy, Verhoeven's use of special effects accurately demonstrates artistry in the film industry. The deformed creatures of Mars exemplify an advanced use of makeup and CGI. In addition, the dark lighting of the film poised as a smart tool to show the darkness of Mars and its evils. Its early use of technology and equipment can be further compared and analyzed with other science fiction movies of its time and there afterwards. 

Inception, 2010 (Christopher Nolan) 

This film is a movie that makes its audience think. Although, much of American film follows the basic format of introduction, plot, resolution, Inception never really gives a clear answer and leaves its audience in wonder. Inception includes studied elements such as film noir, mise-en-scene, and outstanding camerawork and editing through its confusion between the settings of Dom Cobb's realities and dreams. The use of diegetic and nondiegetic sounds, parallel editing, varieties of shots, make-up, and propsngives a fresh analysis for even experienced film addicts. 

Leonardo DiCaprio Interviewed on The Treatment

Leonardo DiCaprio is an American actor and film producer who has participated in the film industry since the early '90s and recently won his first Oscar as "best actor" this past year (2016).Leonardo DiCaprio is known for portraying many lead roles in films such as The Titanic (1997), Shutter Island (2010),  The Great Gatsby (2013),  The Wolf of Wall Street (2013) and most recently, The Revenant (2015). In addition, DiCaprio has produced films such as Red Riding Hood (2011), Runner Runner (2013), and The Wolf of Wall Street (2013). As an actor, DiCaprio often portrays troubled, anti-heroes which depict his emotional acting style. In the podcast "Leonardo DiCaprio: The Wolf of Wall Street," conducted by KCRW on 15 January 2014, the audience gets an insight on DiCaprio's interest in the art of film.


At first Impression I thought that this interview would focus strictly upon DiCaprio's opinions on his new film, The Wolf of Wall Street -- how they filmed it, hours they spent creating the film, casting process, etc. However, to my surprise, in this interview DiCaprio incorporated details from his previous experiences in past films as well as his anticipated future in the film industry. Several times he mentioned his experience as a young actor at 15 years old, starring in This Boy's Life (1993) with Robert De Niro and how the film was emotionally impacted as the beginning of his career and any work pursed afterwards would need to live up to that same opportunity. 

Leonardo DiCaprio is known for portraying characters that often struggle and never seem fully satisfied with their "American dreamed" success. Although many artists in the film industry attempt to diversify their work, they fail because they often participate in works that do not correctly suit them. However, in comparison, DiCaprio always seems drawn to similar characters and messages of films, yet his works remain fresh and mysterious. In an interview with KCRW DiCaprio explains, "I think that we’re all beholden to a certain time period in our life when we're incredibly affected by art. I think when I was 15 years old and I got the opportunity to do This Boy’s Life with De Niro I kind of needed to catch up with all of cinema’s history. Since then,once you catch that bug, it’s this addiction of trying to emulate something that good in your lifetime and I don’t think that’s ever something that’s quenched. As an artist you always compare to the gods before you and you say, 'Well it’s never that good. I can never be that good,' so it keeps driving you forward." DiCaprio explains that similar to his characters, he is never fully satisfied with his work and therefore continues to participate in works that speak to him in order to grow in the film industry and fulfill the personalities of characters he finds himself sharing similarities with. 

Prior to listening to this interview I was unaware that DiCaprio was also also a film producer in addition to a well respected actor. In the film The Wolf of Wall Street, DiCaprio did not only play the lead role as Jordan Belfort but he also participated as one of the film's producers. The film itself portrays the life of stockbroker Jordan Belfort and guides the audience through his uprisings, downfalls, and everything in between. Jordan Belfort was a penny stockbroker that participated in crimes, corruptions, sex, and drugs and rose up to be a wealthy individual who eventually was left with a pathetic life in the end. As the film producer and lead actor, DiCaprio describes his intention with The Wolf of Wall Street as, " ... capturing something that is in the very fabric of our culture. What we’re ultimately trying to portray is something that is ramping out there in the world we live in, but as film makers what we wanted to explore is what’s so enticing and fun about it... so interesting that makes somebody not look at the wake of their destruction." As audience members, we don't realize the amount of pressure that goes into making a two to three hour film. We often mistake the purpose of the anticipated film to focus on our entertainment standards as (usually) unexperienced audience members rather than the higher standards of the knowledgable creators. 

Nearing the ending of the interview DiCaprio states, "Should we just do films about heroes? Should we just do films about Ghandi? To me those are the most influential films that I’ve ever seen-- those films that explore the darker nature of who we are. In a context that isn’t judging them, it’s exploring human nature. This guy [Jordan Belfort in The Wolf of Wall Street], like I keep saying,Jordan is different now but he represented during that time who these people are. Not that the film is trying to be expositional about any kind of a message but if you’re not honest about it and your betrayal then you shouldn’t even be doing the movie." Through this, DiCaprio explains the passion and power it takes to be successful in the film industry. You need to be unique because you can't please everyone. You need to evolve and know BE what you are doing because you are not everything. DiCaprio's views of successful movies and roles are not agreeable with all audiences, however, he is knowledgable of the intense commitment that is needed in order to pursue the craft of film. Although through first impression Jordan Belfort and Leondaro DiCaprio are slimly relatable, they both develop into respectable individuals who are constantly experimenting with new projects. 

As the star of many successful films, Leonardo DiCaprio is constantly acknowledging his big break as Toby in This Boy's Life (1995), staring beside well respected actor, Robert De Niro. DiCaprio admires his 15 year old self and claims his following works are modeled after the breaking opportunity he was given at that young age. DiCaprio also noted that he determined that his success would not be wasted on expensive cars and big houses but that throughout his career he would continue to "ride out" his accomplishments. By first judgement of DiCaprio's "privileged" looks and ultimate success,  many might think of him as a cocky celebrity that solely relied on his parents' money to put him through expensive programs as a child; however, DiCaprio describes his growth as an actor to be a humbling and hardworking experience. He acknowledges the intense competition that he participated in when landing professional roles as well as the difficulty it takes as both an actor and producer to relay the intended meaning of the film towards audience members rather than focusing on the entertainment purposes. In this interview, DiCaprio goes further beyond the mentioning of The Wolf of Wall Street and gives the reader a chance to respect the contribution and dedication of an experienced artist who has worked his way up in the industry for over 20 years. 

The Diving Bell and the Butterfly

OVERALL LOOK:

In the film The Diving Bell and the Butterfly, directed by Julian Schnabel, the cinematographer, Janusz Kamiński, does an outstanding job creating the experience for the audience to the view the movie through the mind and eye(s) of Jean-Dominique Bauby. Jean-Dominique Bauby, Jean-Do as referred by his friends, suffers from locked-in syndrome, (almost fully paralyzed-- only communicating by blinking through his left eye), as a result of a massive stroke. Through this film, Kamiński won several awards including "best cinematography" in Satellite Awards, Boston Society of Film Critics, and Los Angeles Critics Association, in addition to nominations for "best cinematography" for the 80th Academy and 33rd César Awards-- and it is obvious why. 

The professional way Kamiński shifts from close-ups and blurry images or realistically makes it seem like the audience is Jean-Do by bringing the audience through his sight and voice, accurately portrays the artwork of a great cinematographer. The use of long takes while in the hospital setting, long angle camera shots and close-ups when in contact with other persons, and tilts and pans of the camera to vividly exemplify Jean-Do's POV, contributes not only to the overall look of the film but also the emotion of the film. As a viewer, I also felt "locked-in" because I was able to see what Jean-Do was seeing and hear what Jean-Do was saying but because the hospital staff and his visitors were not able to accurately communicate with him, their responses of repetition, slow-talk, and sad facial expressions also made me feel helpless.

IMAGES:

Most of the film is shot through Jean-Do's point of view-- his left eye;therefore, many of the images reflect his action and dialogue. However, through film-clips of imagination and memory the audience is able to experience Jean Do's story and emotions, rather than only experience his current life. Jean-Do says that the two things that aren't paralyzed are his imagination and memory. For example, during scenes of his imagination we are take into a shot of glacier chunks falling apart and another image of a deep sea diver; therefore, exemplifying his helplessness... uselessness and failure. In addition, the story builds up to the last scene of his film where he acquired his stroke-- a memory -- these images create the idea that Jean-Do's happy, active spirit is still present through his disability.

SHOT LENGTHS:

Because the main objective of the film is shot through the eye(s) of Jean-Do, many of the shots are long shots. The use of long shots helps demonstrate the pain that Jean-Do is going through. For example, because Jean-Do is unable to respond but is fully aware of his surroundings anything less than a long shot would not be able to fully capture the frustration that many of the characters are experiencing. However when looking back at past memories or shifting to imagination, the shot lengths are shorter, showcasing the idea that Jean-Do is able to switch from reality to imagination and memory, but only for a brief moment.

SHOT TYPES:

Much of the film uses Extreme Close-Ups (ECUs) because of the point-of-view through Jean Do's eye. The use of ECUs helps create the idea that the audience is seeing exactly what Jean Do is seeing. However, the shots ECUs, they also go in and out of focus, showing the difficulty Jean Do has (such as focusing) because of his locked-in syndrome. While conversing with the doctors and therapists at the hospital, they are shot as ECUs in order for the audience to feel like they are locked in like Jean Do as well as switch from blurry to clear images to clearly demonstrate the frustration and much needed patience of Jean Do.

CAMERA ANGLES:

Because The Diving Bell and the Butterfly is primarily told through Jean Do's point of view, much of the camera angles are low angle shots. The use of low angle shots in the film shows Jean Do's feeling of inferiority and superiority/importance of the hospital staff and visitors.


However, in this film still of Jean Do's memory of driving while still healthy and successful, he is seen at a high angle, demonstrating that he was once a powerful figure. 


COMPOSITION:

Due to the unstable atmosphere and point of view being Jean Do throughout most of the film, the elements within the frame are arranged in a less "painterly" composition and do not reflect the rule of thirds. However, when seen through an outsider's point of view or when revisiting memories, the compositions are balanced in a way the conforms to the rule of thirds.


CAMERA MOVEMENT:

Although much of the camera movement is not stable, somewhat resembling a homemade documentary, it helps to portray the insight of Jean Do's point of view. For instance, the unstable camera movement exemplifies Jean Do's difficulty of sight and the his new unstable lifestyle. In addition, there is also usage of tilts and pans during the film, which exemplify Jean Do's different point of view of the world after his stroke. Before his accident, when showing memories, the camera is slow moving and includes panoramic camera movement, demonstrating the anticipation leading up to his accident and appreciation he had for the world he once "lived" in. However, the movie starts to become more stable as Jean Do learns to live with his condition and begins to learn that his life still exists. For example, at the beginning of the film much of the doctors and therapists move in and out of the frame but as time progresses Jean Do is more focused as well as, determined to continue to succeed in his life.

CINEMATOGRAPHY STYLE:

I believe that throughout the whole film the cinematography calls attention to itself. Kamiński does an excellent job balancing his untraditional style that others may feel are too out of their comfort zone. For example, the blurry images still create balance although they are not in traditional cinematic clarity. In addition, this film still of the inside of Jean Do's eye calls attention to the audience because it is not a familiar image or normal view; however, the image itself is very intricate and realistic.  These intentional uses of different cinematic styles portrays the director and cinematographer's success in helping to uniquely portray a first person narrative. 

What's the point of insurance?

          Imagine falling in love with someone and doing anything you can to be with that person. But after devising a cover up for the murder of her husband you and her committed in order to be together, you find out she never really loved you back… and she tried to kill you—a true Film Noir. Director, Errol Morris, describes great noir films as films about fall guys,

 “a person who finds himself caught in a net, the more he struggles, the deeper and deeper he becomes intertwined in a nightmare.”

 In Double Indemnity, directed by Billy Wilder, Walter Neff (Fred MacMurray), an insurance representative, digs himself into an insurance fraud and murder scheme in order to be with Phyllis Dieterchson (Barbara Stanwyck), a woman he fell in love with and the wife of one of his company’s customers. As Mr. Neff falls deeper and deeper into mischevious situations in order to be with Mrs. Dieterchson, the ending reveals Mrs. Dieterchson as a selfish woman who never really loved Mr. Neff and devised plans for her own well being. Director Errol Morris also states,

 “The Great Noir poses the question, Why me? Why is this happening to me? In the very dark answer that it provides, almost unacceptable, for no reason… no reason at all.” 

After working with one another for 11 years, Walter Neff and Barton Keyes (Edward G. Robinson), develop a close-knit relationship and a trusted bond. After investigating the death of Mr. Dieterchson, Keyes, the manager of the insurance company, states that Mr. Neff would never have anything to do with the murder because not only did he believe that Mr. Neff and Mrs. Dieterchson not have a relationship, but he also states that because they knew each other for so long, it wasn't Mr. Neff’s persona to commit a devious crime; therefore, exemplifying the idea that there is no explanation for why Mr. Neff was caught in this type of situation and just had bad luck. 

"The classic femme fatale, to me, is a woman that's getting the man into bed and then into trouble... that's the kind of character that people never forget. They love to hate. They often refer to my eyes as bedroom eyes and that doesn't fit for the "goody-goody" wife or nice girlfriend that's tending the home," Maries Windsor, actress. 

Film noir did not only go against traditional Hollywood happy endings, but it also contradicted the modest image of a woman by creating the femme fatale. 

In Double Indemnity, Phyllis Dieterchson portrays the typical femme fatale by first seducing Walter Neff (getting the man into bed), then convincing him to take part in both a murder and an insurance fraud (getting the man into trouble). When Mr. Neff and Mrs. Dieterchson first met, Mrs. Dieterchson is seen at an upward angle, wearing only a towel, and Mr. Neff, wearing a business suit, is shot at a downward angle; thus, providing visual dominance as described by Janey Place in the documentary, Film Noir. When Mrs. Dieterchson came down the stairs to talk to Mr. Neff, Mrs. Dieterchson was wearing a tight dress and carried a seductive voice. Days later, Mrs. Dieterchson came to Mr. Neff’s apartment by herself and told Mr. Neff that she loved him and wanted to kill her husband; therefore proving to be an assertive female figure. At the end of the film with the result of Mrs. Dieterchson’s fake love for Mr. Neff and attempt to kill him as well as Lola Dieterchson's, Mr. Dieterchson’s daughter, speculations of Mrs. Dieterchson's devious intentions, viewers find her to be a selfish, conniving, seductive woman—characteristics of a traditional femme fatale.

Double Indemnity represents a circular structure, beginning with the start of Walter Neff's story, along with the use of direct address narration (except not addressed to the audience but addressed to the insurance manager, Barton Keyes) and flashbacks, ending the film with the end of Mr. Neff's story. 

"Yes, I killed him [Mr. Dieterchson]. I killed him for money and I killed him for a woman. I didn't get the money and I didn't get the woman. Pretty isn't it? " Walter Neff

Double Indemnity includes heavy shadows, slashes of light (created by slatted venetian blinds), fog and rain, staircases, and dark interiors-- elements of a classic film noir. At the beginning of the film, there is a silhouette of a man in crutches (later identified as Mr. Dieterchson), suggesting a troubled situation to happen in the film. Furthermore, within the first eight minutes of the film, when Mr. Neff walks into the Dieterchson's living room, the scene includes dust and slashes of light; thus, setting up a mysterious atmosphere. In addition, the use of staircases  (Dieterchson household and Insurance company building) poses a dominant environment as well as a feeling of urgency due to the upward view and panoramic angles. The dark interior, fog, and rain as well as the urban Los Angeles location creates a dark mood and foreshadows the plot... predicting some type of crime to occur. 

With "film noir" translating to black film, "neo noir" translates to new black, meaning neo-noir films contain the dark element but with color photography and modern twists. Although many may believe that color photograph may not have much of an effect on a film, color can change the mood of the film from mysterious to exhilarating or deep and dark to bright and lively. 

“… it was really about something I was seeing in a lot of my friends, which was this desire to hit the big score very quickly. and that’s really the story for the central character… he just sort of is impatient and things are just not going as well, as pleasurably, as centrally as he would like. and a woman comes into his life that seems to open the door for him. where he can have all the things he wants, immediately,” Larence Kasden (writer and director). 

In relation to Double Indemnity, Quentin Tarantino's film, Pulp Fiction, an example of a neo-noir film, also takes place in urban Los Angeles as well as involves a suggestive woman and a recessive man. What makes Pulp Fiction a neo-noir film is it's bad guy vibe but with it's upbeat music and adventurous tasks, creating a more modern atmosphere. For example, rather than taking the woman on a traditional romantic dinner date, Mia Wallace (Uma Thurman) takes Vincent Vaga (John Travolta) on a groovy night out at a hip diner for dancing. In addition, the three stories of Pulp Fiction all include plots involving crime; therefore, reminiscing the classic film noir. Furthermore, Mia Wallace clearly appears as the femme fatale by taking charge when Vincent Vaga visits her home and taking him to a diner and seducing him and exemplifying a dangerous female figure by wearing skimpy clothing and taking drugs. The use of color pictures in Pulp Fiction makes the film more realistic and lively. In traditional film noir, black and white creates a sense of mystery and darkness; although "neo-noir" films also includes these elements, the use of color adds more adventure as well as more emotion to the film. 

As long as it...

     Most people walk into movies already aware of the actors/actresses or the story of the film but  with an open mind towards new ideas or concepts, surprising turns, or unfamiliar faces, two minute movie trailers becomes irrelevant to a viewer's expectations. Through pictorial and/or audial effects, an exceptional movie should captivate its audience, pose significance in a person's life, and/or create an unfelt emotion. After watching a film the viewer should engage in the underlying meaning of the film, one that lies deeper than what is produced on the screen. A viewer should feel engulfed or enlightened by the works of the actors/actresses, director(s), producer(s) and all other helping hands. A movie that is compelling, noteworthy, or exceptional is not just a movie, rather it is the untold story of each viewer.
     The common English idiom, "A picture is worth a thousand words," can be further justified through silent movies, such as Le voyage dans la lune and The Great Train Robbery. For example, even without sound, Le voyage dans la lune demonstrates exhilaration and astonishment through the excitement of the astronomers as they intently listen to the prisoner and the creativity of the moon's landscape from director and screenplay writer, Georges Melies, along with Gaston Melies. Nevertheless, with the addition of playful, whimsical scoring and  descriptive narration, the film becomes tied with a sense of nostalgia as it connects the importance of dreams and individuality. However, Edward S. Porter's film, The Great Train Robbery, did not include narration, but continued to portray senses of urgency of the antagonists and confusion of the civilians through bright, exhilarating music. As the robber shoots the viewer at the end of the film, it leaves the viewer to ponder about Porter's thoughts and wishes-- was he interested in showcasing that through hard work most anything can be achieved or did he mean to tell us that not all stories have happy endings.
As viewers, it is important for us to not only limit emotion with words of modern films, but also reflect on the art of silent films and acknowledge their ability to tell stories without audial effects.

"I get these flashes of brilliant clarity where for a second I stop and I think 'Wait, this is it, this is my life. I better slow down and enjoy it because one day we're going to end up in the ground and that'll be it, we'll be gone," Lily Collins as Samantha Borgens in  Stuck in Love.

Since first viewing the film, directed and written by Josh Boone, these words from Samantha Borgens consistently resonate in my head. They unfold my story and advise my life to write itself rather than dwell on the past or look toward the future. In addition to the reminder to live in the moment, Stuck in Love gives rise to the classic "happily ever after ending" as the Borgens family learns to accept forgiveness, despite heartbreaks, and show compassion towards one another as they rebuild their family through determination and optimism. Although the ending may seem predictable or cliche, I was reminded that second chances are given and love is everlasting.

Furthermore hrough the movie, The Prestige, screenplay writers,Christopher Nolan and Jonathan Nolan's, development of the movie has various twist and turns from the beginning and helps stimulate my mind and engage it into critical thinking. The plot is about two friends who compete against each other to perform the worlds greatest magic trick; however, one of the magicians leaves a mark by creating real magic. In the end it reveals that the magician had a twin brother that portrayed his duality in the whole film, showcasing that "not everything is as always as it seems."