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Apocalypse Now (1979)
The Horror...The Horror
Apocalypse Now (1979) was inspired by Joseph Conrad's 1899 novella Heart of Darkness and is widely considered to be one of the most important films depicting the horror of the Vietnam War. John Milius and Francis Ford Coppola co-wrote the screenplay to adapt the work to the big screen, changing the setting to the Vietnam War. Francis Ford Coppola directed and produced the film, and cinematography was done by Vittorio Storaro. Apocalypse Now was also scored by Francis Ford Coppola and his father, Carmine Coppola. The film stars Martin Sheen, Marlon Brando, Robert Duvall, Dennis Hopper, Albert Hall, and Laurence Fishbourne. Apocalypse Now was nominated for eight Academy Awards, winning for Best Supporting Actor, Best Cinematography, and Best Sound. Apocalypse Now offers a powerful examination of the senselessness brutality of war, the psychological impact of sustained violence, and the duality of man in relation to good and evil.
Apocalypse Now chronicles the harrowing journey of U. S Army Captain Benjamin Willard (Sheen) as he undertakes a covert mission to assassinate renegade Green Beret Colonel, Walter Kurtz (Brando). Towards the beginning of the film, the audience is shown a snippet of Kurtz's personnel file, noting that he is an accomplished career officer and an incredibly well-educated individual, graduating second in his class from West Point, receiving his master's degree in history from Harvard University, and later graduating from the US Army Airborne School. However, Willard learns that Kurtz has gone rogue, becoming insane deep within the jungle of Vietnam and now holds command over his own army of Montagnards based at an abandoned Cambodian temple. Kurtz wages barbaric and savage guerilla warfare, and Willard is tasked with traveling up the Nung River into Cambodia to terminate Kurtz's command "with extreme prejudice". Willard makes his voyage on a NAVY PBR with a crew of four soldiers, most of whom are very young, one being only 17 years old.
There are many cinematic techniques utilized during the film, especially the attention paid to sound, which is often employed to heighten the audiences' sense of suspense and fear. One scene features a tiger attack within the jungle, and the preceding moments are silent except for the sound of insects chittering in the background. The result is a palpable tension for the viewer, which is present at many different points throughout the film. During another scene, Willard witnesses and contends with the death of the PBR's captain/chief, killed by a spear, and there is no music overlay - only silence and the words and utterances between the two men. This heightens the intensity of the scene and emphasizes its importance for the audience.
One of the most powerful aspects of Apocalypse Now are Martin Sheen's voiceovers throughout the film, serving as a narration by Willard. The narration itself was written by Michael Herr, who was a Vietnam War correspondent for Esquire Magazine. This narration is crucial in terms of the audience's understanding of the film, as it provides insight into Willard's thoughts and views while encountering atrocities of war, and committing acts of violence himself. For me, some of the film's most powerful scenes involved the use of this narration, especially when Willard describes Kurtz's inner sanctum as smelling "like slow death".
This was my first time watching Apocalypse Now in its entirety, a previous watch had ended just prior to Robert Duvall's famous line of "I love the smell of napalm in the morning" due to the film's graphic violence. Apocalypse Now was the most realistic and accurate visual portrayal of the Vietnam War that I have encountered, and the depiction of that reality alone secures its spot in cinematic history. Coupled with a phenomenal cast and brilliant cinematography, Apocalypse Now is an incredibly powerful and thought-provoking work of cinematic achievement. I would recommend this film, but would advise anyone who is sensitive to violence and/or animal abuse to proceed cautiously. Apocalypse Now is horrifically violent and there is an instance of prolonged animal torture. If it were regarding a different subject matter, this depiction of violence would be gratuitous, but as a depiction of the Vietnam War, it is simply a fact.
Who's Afraid of Virginia Woolf? (1966)
Who's Afraid of Virginia Woolf
Who's Afraid of Virginia Woolf, based on Edward Albee's play of the same name, was directed in 1966 by Mike Nichols and marks his directorial debut. Ernest Lehman wrote the screenplay and produced the film, and Haskell Wexler worked on cinematography. The film was edited by Sam O'Steen and scored by Alex North. Who's Afraid of Virginia Woolf stars Elizabeth Taylor, Richard Burton, George Segal, and Sandy Dennis - all of whom were nominated for Academy Awards for their performances. The film was nominated for a total of 13 Academy Awards, marking only the second time in cinematic history that a film was nominated for every category in which it was eligible. The film won five Academy Awards in total, with Elizabeth Taylor and Sandy Dennis both winning for their respective categories. Who's Afraid of Virginia Woolf is set around a New England university (some shots were filmed at Smith College), and the events of the film transpire over the course of a single evening.
The primary focal point of Who's Afraid of Virginia Woolf is the explosive marriage between Martha and George, played by the real-life married duo Elizabeth Taylor and Richard Burton. Martha is the daughter of the university president, and George is a history professor who works at the university. The two host an alcohol laden late-night gathering for another couple, Nick (Segal) and Honey (Dennis), as Nick is a new professor on campus. Martha and George's hostile relationship is showcased in full force in front of their guests, as they engage in vicious verbal battles that escalate in their intensity over the course of the film. As the evening becomes progressively more unhinged, the audience witnesses the complexities of Martha and George's marriage unravel, culminating in the exposure of a devastating secret that has bonded the two together (which won't be discussed further due to MAJOR spoilers). Taylor and Burton's own tumultuous marriage aids in fueling the vitriolic and destructive dynamic that unfolds between their characters, informing both of their performances.
It is notable that Who's Afraid of Virginia Woolf was shot entirely in black and white, a deliberate choice by Nichols. His reasoning was based on the belief that this style would be more fitting to the overall dark intensity of the film, and would also help to conceal the extra makeup used to age Elizabeth Taylor (who was only 34 at the time of production). The camerawork in the film is also very interesting, and some shots utilize a handheld camera to specifically follow character movements. One instance of this is when George travels down a hallway to retrieve a shotgun, and this camera movement makes the scene even more unsettling. Additionally, that particular scene also makes use of a zoom lens, and focuses in on the reactions of the characters (who are even more startled than the audience, if possible). In another scene, the four characters stumble into a roadhouse and continue their party, as the night spirals further into chaos. This sense of disarray is amplified by the camera angles used in the scene - at one point while watching, I actually felt discombobulated watching the group's interaction from such an intense angle.
Aside from the brilliant cinematography, Who's Afraid of Virginia Woolf features phenomenal performances by the entire cast, especially Taylor. She was absolutely incredible in her role as Martha, and I was riveted by her performance.
I would definitely recommend Who's Afraid of Virginia Woolf, and truly enjoyed experiencing the film.
Monster (2003)
Monster Review
Monster was released in 2003 and was written and directed by Patty Jenkins (Wonder Woman, Wonder Woman 1984). This film is of particular relevance, as it was Jenkins' first debut as a feature film director. Monster has twelve listed producers (among them Charlize Theron, Andreas Grosch, Stewart Hall, and Sammy Lee), with Steven Bernstein serving as cinematographer, and BT providing the score. The film stars Charlize Theron, who won the Academy Award for best actress in a leading role, alongside Christina Ricci, Bruce Dern, and Lee Tergesen. Monster is a crime-drama and biographical account of the life of Aileen Wuornos (Theron), a serial killer whose crimes occurred in Daytona Beach, Florida. Wuornos was a former prostitute who killed seven of her male clients between 1989 and 1990. Wuornos was executed by the state of Florida in 2002.
The film opens with a distraught and suicidal Aileen meeting another woman, Selby, while at a gay bar. Aileen insists that she isn't gay, but talks to Selby while the two have a drink. Selby appears taken with the fact that Aileen behaves protectively towards her, and the two women leave the bar together. Aileen and Selby quickly begin a relationship, but Aileen struggles to support them both financially, to Selby's displeasure. The attempts Aileen makes to leave behind prostitution and seek legitimate work are unsuccessful, as she has a prior criminal record and no educational experience. Because of this, potential employers refuse to hire her and are unabashedly hostile. During an encounter with one of her johns, Aileen is brutally beaten, raped, and sodomized, and subsequently kills her attacker in self-defense. From there, we watch Aileen begin down a path of murder, she robs her johns and kills them - using the stolen money to support herself and Selby.
Monster does not dispute the fact that Wuornos committed these crimes, nor does Jenkins try to deflect from the brutality of the killings. However, Jenkins' choice to have Theron include a narration throughout the film provides the audience with a different perspective of Wuornos than what would otherwise be available through court documents or newspapers. The audience is able to recognize her crimes, while also acknowledging that she is and has been a victim of horrific abuse at the hands of men throughout her life, including during her childhood. Jenkins enables the audience to be frightened by Aileen, but also to feel some form of compassion towards her (at least that was my experience). Jenkins had corresponded with Wuornos while she was in prison, and Wuornos provided Jenkins and Theron with access to letters she had written to her best friend during her incarceration.
After watching Monster, it was evident to me why Theron won the Academy Award for her performance - she was phenomenal and provided a distinct physicality to the role, particularly with her facial expressions and deranged wide-eyed stares. Had I not previously known that she starred in the film, I would not have recognized her as Charlize Theron.
I understand why Monster is an important film, and why it is so well regarded in cinema. However, I don't believe I would recommend it to anyone. The graphic brutality and viciousness depicted in scenes of rape and assault made Monster almost unbearable to watch, and I would advise any survivor of sexual assault or abuse to steer clear of this film.
Do the Right Thing (1989)
Do the right thing...watch Do the Right Thing
Do the Right Thing (1989) was produced, written, and directed by Spike Lee. The film's cinematography was done by Ernest Dickerson, was edited by Barry Alexander Brown, and was scored by Bill Lee. The film stars Spike Lee, Danny Aiello, Ossie Davis, Ruby Dee, Rosie Perez, John Turturro, and Bill Nunn (Samuel L. Jackson also shines in the role of Mister Señor Love Daddy). Do the Right Thing received an Academy Award nomination for best screenplay, and Danny Aiello was nominated for best actor in a supporting role. The film is widely considered to be a seminal work in examining race relations and racial tensions within the United States, and the consequences of police brutality.
The plot of Do the Right Thing takes place over the course of the hottest day of the summer in a predominantly black Brooklyn neighborhood, centering around an Italian-American owned pizza parlor. The audience watches the racial dynamics amongst the neighborhood's various groups - African Americans, Italian-Americans, Koreans, and Caucasians -- build over the course of the film. These tensions eventually reach a boiling point, and the ensuing chaos (which will not be discussed due to massive spoilers), serves as a powerful social and political commentary. Over thirty years after its release, watching Do the Right Thing is frighteningly similar to the horrific violence enacted against unarmed black individuals practically every single day in the United States. Despite the graphic brutality of Do the Right Thing, the reality of this violence is even worse than what is able to be shown on screen. When compared to the other films in the module, Napoleon Dynamite and The Great Dictator, Do the Right Thing is by far the most striking in terms of its current relevance, as the violence shown mirrors many current news stories. Spike Lee also dedicated the film to the families of six black individuals, five of whom were killed by the police.
There are many cinematic devices that cause Do the Right Thing to stand out from other dark comedy-dramas, especially in terms of the film's use of intense camera angles (a hallmark of Lee's filmmaking). Throughout the film, Lee uses different types of high and low camera angles in order to explore the various power imbalances amongst the characters. Additionally, he also utilizes cinematic Dutch angle shots, which have the effect of being disorienting for the viewer. These shots become more pronounced as the film progresses, which emphasizes the spiraling chaos of the storyline.
This film is incredibly important viewing, especially considering the racial reckoning that has been taking place in the U. S. within the last few years. I would recommend Do the Right Thing, with the caveat that it is unbelievably difficult to watch at points due to the realistic depiction of racial violence, especially if police brutality is emotionally triggering for the individual viewer. However, if one is looking for a more lighthearted comedy, I would suggest another film in this module - Napoleon Dynamite.
The Great Dictator (1940)
A Great Film - The Great Dictator
The Great Dictator (1940) was written, directed, and produced by Charlie Chaplin, and made history as his first ever talking picture. The film's cinematography was done by Karl Struss and Roland Totheroh, was edited by Willard Nico and Harold Rice, and was scored by Chaplin and Meredith Willson. The Great Dictator stars Chaplin in the dual leading roles of Adenoid Hynkel and The Jewish Barber. The cast also includes Paulette Goddard, who was married to Chaplin at the time, and Jack Oakie. The film received numerous accolades and award nominations, including the Academy Award nomination for Best Picture, with Chaplin also receiving an Academy Award nomination for best actor in a leading role and best original screenplay. Additionally, Jack Oakie was nominated for best actor in a supporting role, and Meredith Wilson was nominated for best original score.
The history behind the conception and production of The Great Dictator is fascinating. Charlie Chaplin's prior filmography had found success with German audiences, which was shown firsthand when Chaplin visited Berlin in 1931 while touring with his film City Lights, and he was greeted by huge enthusiastic crowds. This positive reception came at the dismay and scorn of the Nazi regime, who loathed Chaplin for the content of his filmmaking, and he became a frequent target of their vitriolic propaganda. In relation to social and political change, it is difficult to overstate The Great Dictator's relevance. The United States did not enter WWII until 1941, a year after the film was released, so producing this film was incredibly risky. Chaplin was advised by several studios not to make the film, and was warned that the film wouldn't be allowed to be shown in many countries, including Britain and possibly even in the U. S. When President Franklin D. Roosevelt learned of this news, he actually sent his right hand man, Harry Hopkins, to encourage Chaplin to still make the film. Chaplin ended up financing the entire film himself, and it was his biggest ever box office hit.
One aspect of The Great Dictator that is especially noteworthy is the way in which Chaplin deliberately leaned into the similarities that he and others had noticed between himself and Adolph Hitler in order to further push his satirical portrayal. Chaplin and Hitler shared a similar physical stature and likeness, and were born only four days apart. Additionally, Chaplin studied films by German director and propagandist Leni Riefenstahl to help him more closely match Hitler's wild gesticulations and mannerisms. In terms of cinematic significance, the fact that The Great Dictator was Chaplin's first talkie was hugely important. Because of this, he was able to blend his superb physical comedy with a full sound production, heightening the effect of his actions and movements. In comparison to another film in this module, Do The Right Thing, The Great Dictator relies more heavily on this type of physicality to inject humor into the storyline.
I truly enjoyed The Great Dictator, and laughed much more than I anticipated. The famous globe dancing scene was one of the funniest film moments I've seen in a long while, and I was also struck by the symbolism of that scene. Additionally, the ending five minute speech was profoundly impactful, and the fact that Chaplin performed it on public radio speaks to its importance. I would definitely recommend The Great Dictator, especially due to its historical significance.
Napoleon Dynamite (2004)
Is Napoleon Dynamite, Dynamite?
Since its release in 2004, Napoleon Dynamite has left its mark on cinematic history by becoming a classic cult comedy with a massive fan following. The film was written by Jared Hess and his wife, Jerusha Hess. Napoleon Dynamite was adapted in part from Jared Hess's production of Peluca, a short film he submitted as an assignment while he was a student at Brigham Young University. The film was produced by Jeremy Coon, Chris Wyatt, and Sean Covel, with Munn Powell serving as cinematographer. Napoleon Dynamite's cast includes Jon Heder, Efren Ramirez, Jon Gries, Aaron Ruell, Tina Majorino, and Diedrich Bader.
Jared Hess's Napoleon Dynamite is very unique comedy, and is vastly different from the other module films - Charlie Chaplin's The Great Dictator and Spike Lee's Do the Right Thing. Both latter films contain starkly clear political messaging and are based on circumstances that literally carry life-or-death consequences, while the former offers a more light-hearted viewing experience. Napoleon Dynamite's messaging is more subtle than The Great Dictator or Do the Right Thing, and it emphasizes the outsider perspective and explores the intricacies of grassroots political organizing. The film's main plot involves the awkward and socially inept outcast Napoleon (Heder) assisting a fellow student outcast, Pedro (Ramirez), in successfully managing his candidacy for class president at their rural Idaho high school.
Napoleon Dynamite has an interesting history in terms of the film's creation and development. Jared Hess and Jon Heder met at Brigham Young University, and became friends through frequenting the same social circles. The film is inspired by Jared Hess's experience of growing up in Preston, Idaho - which is also where the film was shot. Hess constructed Napoleon's character from aspects of himself and his brothers, which he describes as their collective dorky and nerdy qualities.
One of the most notable cinematic devices Hess employs throughout the film is the use of jump cuts, which produce the effect of movement through time. Additionally, the sound effects used throughout the film emphasize the onscreen character's physical actions, which makes them more pronounced and heightens their comedic effect.
This was actually my first time watching Napoleon Dynamite, and I found myself noticing moments from the film that were often referenced in jokes and memes when I was in middle and high school, that I never truly understood the origin of (particularly "Your Mom goes to college!" and "Vote for Pedro" apparel). One of the elements of Napoleon Dynamite that stood out to me was the universal and timeless application of the high school trope. The film was released in 2004, but it could have easily been set in the 1980s or 90s based on the style and aesthetics of the characters. The specific time period isn't relevant to the story though, as these high school dynamics highlighted in the film (social outcasts, bullies, complicated family lives, etc.) are something that most, if not all, viewers can relate to. I would recommend this film to anyone looking for a relatively short and culturally significant comedy.
Raging Bull (1980)
Raging Bull
Raging Bull (1980) was adapted to the big screen from Jake LaMotta's 1970 autobiography Raging Bull: My Story, with Paul Schrader and Mardik Martin writing the screenplay. The film was directed by Martin Scorsese and produced by Irwin Winkler and Robert Chartoff, with Michael Chapman serving as cinematographer. Raging Bull stars Robert De Niro, Joe Pesci, and Cathy Moriarty, with De Niro in the title role of professional boxer and world middleweight champion Jake LaMotta. Pesci plays Jake's brother, Joey LaMotta, and Moriarty plays Vickie LaMotta, Jake's wife. DeNiro, Pesci, and Moriarty were each nominated for Academy Awards for their performances, with De Niro winning for Best Actor in a leading role.
Raging Bull opens in the mid 1960s with an aged LaMotta, practically unrecognizable as De Niro, rehearsing a comedy routine. From there, the film flashes back to the early 1940s where the audience sees LaMotta in the middle of a brutal boxing match. The match had been fixed, resulting in a loss for LaMotta, which causes the scene to spiral into chaos. The film continues highlighting the stretch of LaMotta's boxing career, as well as the brutality and viciousness inherent to the boxing world and surrounding subculture. This violence does not stay within the confines of the boxing ring, but instead bleeds into every aspect of LaMotta's life. The audience sees a 23-year-old LaMotta become romantically and sexually involved with 15-year-old Vickie, and the two subsequently marry. The relationship between LaMotta and Vickie is prominently featured throughout the film, often showing LaMotta erupting with intense anger and physically assaulting his wife. Additionally, LaMotta is incredibly jealous and possessive of Vickie, which results in further abuse. The film continues to show the trials and tribulations of LaMotta's boxing career, including his eventual retirement from the sport, followed by an arrest and prison sentence for promoting prostitution of an underaged girl.
After watching Raging Bull, it's obvious why Robert De Niro won an Academy Award for his role as LaMotta. DeNiro delivers a stellar performance, I felt as if I was watching a masterclass in acting. Filming Raging Bull in black and white places an even greater emphasis on the entire casts' acting ability, because the audience is in no way distracted by the film's scenery or surroundings. I would recommend Raging Bull, with the caveat that the graphic brutality was difficult to watch at points, and I would caution survivors of physical or sexual abuse to tread carefully if/when viewing.
Vincent & Theo (1990)
Vincent and Theo Review
Vincent and Theo, directed by Robert Altman, was released in November of 1990. The film was produced by Ludi Boeken and written by Julian Mitchell, with Jean Lépine serving as cinematographer. Gabriel Yared, who has previous experience working with Altman, composed the film's musical score. Vincent and Theo stars Tim Roth as Victor van Gogh and Paul Rhys as Theo van Gogh.
Vincent and Theo focuses on the dynamic between Vincent van Gogh and his brother Theo van Gogh, and the way that the two men move throughout their interconnected lives. The film opens by showing an art auction, at which we see van Gogh's painting Vase with Fifteen Sunflowers sell for millions of dollars. Van Gogh's work was largely unrecognized during his lifetime, but gained prominence and fame after his death. From there, Altman takes the audience on a journey of the two brother's lives, showing Vincent's development as an artist under the financial support of his brother, along with his deteriorating mental stability. Concurrently, the audience learns about the events of Theo's life, including his battle with syphilis and the pressure for him to be a successful art dealer. Additionally, Altman uses part of the film to highlight the time Vincent spent in Arles, France, with Paul Gauguin (played by Wladimir Yordanoff).
Tim Roth is masterful in his performance as Vincent van Gogh, he completely commits to the character and offers a deeply moving portrayal of van Gogh's tragic life. Paul Rhys also has a very compelling performance, as the audience learns more about the history of his life in relation to his brother's. The cinematography of the film is beautiful, and many of the landscapes shown almost looking like paintings themselves (which is noteworthy because van Gogh painted so many versions of the environments around him). Additionally, Gabriel Yared's musical score complements the visuals of the film, and is also used to showcase Vincent's erratic emotional state. During the film, scenes in which Vincent is shown having emotional outbursts are set to intense music which enables the audience to appreciate the severity of these episodes. One of these scenes takes place in a field of sunflowers, also providing a callback to the opening of the film in which Vase with Fifteen Sunflowers sells at auction.
I enjoyed and would recommend this film, especially for viewers who are interested in an untraditional look at some of the intricacies of van Gogh's life.
The Grapes of Wrath (1940)
The Grapes of Wrath Review
The Grapes of Wrath (1940) based on John Steinbeck's Pulitzer Prize winning novel of the same name represents an unflinching depiction of the realities of farming during the Great Depression. The film was directed by John Ford and produced by Darryl F. Zanuck, with Nunnally Johnson writing the screenplay. The Grapes of Wrath stars Henry Fonda, Jane Darwell, and John Carradine. The film was nominated for seven academy awards, with John Ford winning for best director and Jane Darwell winning for best actress in a supporting role.
The Grapes of Wrath focuses on the Joads, a family of Oklahoman farmers in the 1930s. The film opens on Tom Joad (Henry Fonda), the eldest son of the Joad family who has recently been released from prison and is hitchhiking home to his family. He encounters Jim Casy (John Carradine) along the way, a preacher who baptized Tom years prior but has since lost his faith. The pair travel together to the Joad's farm, where we learn that the dire economic circumstances caused by the Great Depression and the devastation of the Dust Bowl has seen the Joad family forced from their land, along with thousands of other sharecropper families throughout the state. With scant options and desperate for work, the Joads decide to migrate west to California, which at the time was being touted as a haven of opportunity.
The film follows the Joads as they make their way to California and depicts the heartache and hardship that migrants faced while traveling westward. Upon their arrival, the Joads quickly realize that California is not the welcoming and opportunity-laden promised-land that had been advertised. As the Joads travel through migrant camps experiencing deplorable conditions and brutal treatment, Ford takes the viewer on a journey that documents the stark realties faced by hundreds of thousands of displaced migrant workers.
The events that transpire in the latter half of the film (which will not be described due to major spoilers) culminate in Tom recognizing the importance of social organizing in the face of injustice, and taking on an activist mantle to fight for change.
In summary, The Grapes of Wrath is a cinematic achievement that stands the test of time. Henry Fonda's portrayal of Tom Joad was marvelous, his acting style perfectly suited to the role. The musical score was a huge technological feat during the time it was produced, supplementing the film's striking visuals and cinematography. While faithful to the novel, the film ends on an uplifting note, an excellent choice (in my opinion) that offers the audience a sense of hope and purpose.