For me, this was the most difficult film to follow/understand- but then again- it is Cocteau- a famous surrealist. I took a very interesting class on Surrealism in Film last semester, studying various films and directors. But the most important thing I gathered from the class is that works of surrealism do not withhold one definitive meaning, but rather individual meanings concluded upon by the viewer.
For me, I am still trying to wrap my brain around what is happening and what the film means to me. But what we discussed in class brought up some interesting points in my head. Cocteau doesn't use narrative storytelling (which is a key surreal element!) and forces the viewer to look for symbols within the dreams (another huge element of surrealism - studying the subconscious). In class, it was discussed that Cocteau is forcing the viewer to read symbols just like a reader must do with poetry- for everything has a hidden meaning. Now with surrealism, the viewer must examine the mis en scene, and determine for them self what the hell is going on.
Now in the reading, Naomi Greene talks about her interpretation of what Cocteau was doing with his films-- serving as a gay discourse. It states, "art functions as a Utopian second world opposed to the boredom and dullness of the real world...its hidden codes and secrets can be deciphered only by those privileged few who can understand the art." During the 40's and 50's, homosexuality wasn't as accepted as it is today. Homosexuals had codes and signals amongst them in their everyday lives that would communicate to others what their orientation was. Greene states that Cocteau, being a homosexual himself, filled his films with symbolism and markings of homosexuality. What I found interesting about this is that I didn't see any underlying homosexual themes/ideas in this film. But this possibly reflects how only people who would be familiar with the signs of that orientation would be able to pick up on it. In class we discussed this further, saying how poets, like homosexuals, must constantly be looking for symbols and that they are both wired to receive signals. So through this idea, I can understand somewhat of a correlation between the two- poets and homosexuals---but still kind of confused.
But that is the beauty of surrealism. Surreal films can be viewed and interpreted however the individual may see fit. For some, it may have some involvement with homosexuality, for others it may be a story of love and passion, or possibly just about the story of Orpheus in general. What ever way a viewer reads Cocteau's work, their meaning is their own and that is what is what is most important.
Friday, February 26, 2010
Thursday, February 18, 2010
Vertigo- Those Pretty Women
Vertigo is a film that I have been wanting to see for many years now. So in that respect, I was satisfied to have that crossed off of my list. And I was also amused to notice many elements that have been referenced by the Simpsons- finally understanding parodies/jokes that I have seen through the years. However,the film left me confused and a little weirded out.
I couldn't really immerse myself into this film for some reason, when usually I love Hitchcock's work. But what is interesting here is we have a detective who falls in love with a girl that isn't who she really claims to be, somewhat
similar to Laura. But what is interesting is the way we the viewer are also drawn to this woman as well. Yes, we root for the detective, for he is the strong and dominant protagonist. While watching him though, we are also intrigued by the woman.
When discussing this subject in class it got my attention right away. I never thought about how we don't look to the woman for the narrative storytelling aspect (we got the male), but we are aware that she will be the catalyst for plot twists and the male character's wants/desires.
The reading discusses how the male gaze is caused by the woman's "to-be-looked-at-ness." This term is interesting when looking at almost every film noir
because it is true- the detective or lawyer is just trying to do his job until his day is disrupted by a beautiful woman who crosses his path. This woman
usually causes him to to things that he normally wouldn't do (Double Indemnity for example- a woman talked a man into committing murder). In film, woman have been
made to be understood as a very powerful and manipulative character, using beauty and sex to trick/convince/deceive other male characters.
Hitchcock's Vertigo is a very amusing film that shows how a woman can cause a man to do many things- from falling in love to falling into obsession and even curing a man's vertigo.
I couldn't really immerse myself into this film for some reason, when usually I love Hitchcock's work. But what is interesting here is we have a detective who falls in love with a girl that isn't who she really claims to be, somewhat
similar to Laura. But what is interesting is the way we the viewer are also drawn to this woman as well. Yes, we root for the detective, for he is the strong and dominant protagonist. While watching him though, we are also intrigued by the woman.
When discussing this subject in class it got my attention right away. I never thought about how we don't look to the woman for the narrative storytelling aspect (we got the male), but we are aware that she will be the catalyst for plot twists and the male character's wants/desires.
The reading discusses how the male gaze is caused by the woman's "to-be-looked-at-ness." This term is interesting when looking at almost every film noir
because it is true- the detective or lawyer is just trying to do his job until his day is disrupted by a beautiful woman who crosses his path. This woman
usually causes him to to things that he normally wouldn't do (Double Indemnity for example- a woman talked a man into committing murder). In film, woman have been
made to be understood as a very powerful and manipulative character, using beauty and sex to trick/convince/deceive other male characters.
Hitchcock's Vertigo is a very amusing film that shows how a woman can cause a man to do many things- from falling in love to falling into obsession and even curing a man's vertigo.
Friday, February 12, 2010
Laura- What a Dame
Well, let me first say that I am a big fan of Film Noir. I love the look, the types of characters involved, the sound, and mainly the formula. But Laura messes that formula up, leaving a much harder film noir to dissect and figure out. Laura has a lot of the elements of the film noir- a detective, low key lighting, a murder, and a femme fatale. But the femme fatale, Laura, is showcased differently in this film.
Laura is barely in the film until she shows up halfway through. But she is talked about the whole time, much like in The Third Man. But what is interesting is the woman’s power to attract Detective McPherson even “from the grave.” The detective has never even met this woman but through all his interviews and investigating, he begins to fall in love with the image conjured up in his mind. In the scene where McPherson is smelling her perfume, going through her panties, drinking her alcohol, and staring at her picture on the wall- we see a man who is providing the senses of touch, taste, smell, and sight to the image of Laura in his head. It’s amazing how a supposed dead woman took this man’s heart so quickly. The reading states that the female character in film noir “has the power to intrude visually on the narrative, often continuing to “live” through her portrait. “ And this of course fits perfectly in with Laura.
When Laura enters her apartment and finds McPherson drooling over her portrait on the wall, the detective doesn’t know what to do with his love interest being actually alive. The audience is left with this strange love triangle going on too. The composition of this scene was very interesting. From left to right you have- living Laura, McPherson, and portrait of “dead Laura.” Now the composition of the shot could have never included the portrait, there was no point if it was to just show the A storyline of Laura showing up and McPherson asking her “Why aren’t you dead?” But in addition, we have a B underlying storyline, one of McPherson’s battle of loving the living or dead Laura that was conjured up in his mind.
Laura is a very interesting film that truly shows the femme fatale at one of its high points, especially in such a twisted and difficult film to dissect. No wonder, McPherson had such a hard time figuring out where his heart was leading him.
Laura is barely in the film until she shows up halfway through. But she is talked about the whole time, much like in The Third Man. But what is interesting is the woman’s power to attract Detective McPherson even “from the grave.” The detective has never even met this woman but through all his interviews and investigating, he begins to fall in love with the image conjured up in his mind. In the scene where McPherson is smelling her perfume, going through her panties, drinking her alcohol, and staring at her picture on the wall- we see a man who is providing the senses of touch, taste, smell, and sight to the image of Laura in his head. It’s amazing how a supposed dead woman took this man’s heart so quickly. The reading states that the female character in film noir “has the power to intrude visually on the narrative, often continuing to “live” through her portrait. “ And this of course fits perfectly in with Laura.
When Laura enters her apartment and finds McPherson drooling over her portrait on the wall, the detective doesn’t know what to do with his love interest being actually alive. The audience is left with this strange love triangle going on too. The composition of this scene was very interesting. From left to right you have- living Laura, McPherson, and portrait of “dead Laura.” Now the composition of the shot could have never included the portrait, there was no point if it was to just show the A storyline of Laura showing up and McPherson asking her “Why aren’t you dead?” But in addition, we have a B underlying storyline, one of McPherson’s battle of loving the living or dead Laura that was conjured up in his mind.
Laura is a very interesting film that truly shows the femme fatale at one of its high points, especially in such a twisted and difficult film to dissect. No wonder, McPherson had such a hard time figuring out where his heart was leading him.
Sunday, February 7, 2010
The Third Man: Welles at his Best?
I never have seen The Third Man before and always overlooked its place on the IMDB Top 250 films. And let me just say that it definitely deserves to be considered a top movie. The musical score was amazing. The guitar notes and picking were such an eerie yet ironic addition to the overall makeup of this crazy film. But the thing that intrigued me most was Orson Welles.
Welles performance as Harry Lime was a very interesting one. Welles was barely on screen for a third of the film. But still his presence was always known due to the dialogue and the whole plot surrounding him. What fascinated me is the viewer is left waiting with anticipation for Welles to appear at some point in the film. The twist is kind of ruined for the discovery of the "third man" actually being Lime, but what can you expect when you put Orson Welles name in the opening credits and leave your audience wondering where he is?
Welles is an anti-hero. In the article comparing The Third Man to the stories of vampires and Dracula, I couldn't believe the similarities. You, as the viewer, almost root for this mysterious person/thing to come out of the dark shadows. Not because you necessarily want to see them do bad but because of the pedestal they have been put up on by the plots and dialogue amongst the other characters in the films. And Mr. Welles was definitely raised high with huge expectations.
In class we discussed why we all loved Welles as the anti-hero. I began to wonder if Lime wasn't portrayed by Welles, but rather by some B list actor, would I still feel the same way about the character? Is it just because of the anticipation for Welles persona on the screen that drove me to like him, or was it truly just the film and the character of Lime itself? Lime was a bad man who was doing a very bad thing, and showed no remorse for it. But yet, you can't help but become so intrigued by his performance that you kind of like him. If it was played by lets say, Joe Schmo, I probably wouldn't of cared as much about Lime and would of been very happy to see Holly kill him in the end.
Welles performance as Harry Lime was a very interesting one. Welles was barely on screen for a third of the film. But still his presence was always known due to the dialogue and the whole plot surrounding him. What fascinated me is the viewer is left waiting with anticipation for Welles to appear at some point in the film. The twist is kind of ruined for the discovery of the "third man" actually being Lime, but what can you expect when you put Orson Welles name in the opening credits and leave your audience wondering where he is?
Welles is an anti-hero. In the article comparing The Third Man to the stories of vampires and Dracula, I couldn't believe the similarities. You, as the viewer, almost root for this mysterious person/thing to come out of the dark shadows. Not because you necessarily want to see them do bad but because of the pedestal they have been put up on by the plots and dialogue amongst the other characters in the films. And Mr. Welles was definitely raised high with huge expectations.
In class we discussed why we all loved Welles as the anti-hero. I began to wonder if Lime wasn't portrayed by Welles, but rather by some B list actor, would I still feel the same way about the character? Is it just because of the anticipation for Welles persona on the screen that drove me to like him, or was it truly just the film and the character of Lime itself? Lime was a bad man who was doing a very bad thing, and showed no remorse for it. But yet, you can't help but become so intrigued by his performance that you kind of like him. If it was played by lets say, Joe Schmo, I probably wouldn't of cared as much about Lime and would of been very happy to see Holly kill him in the end.
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