...and then the whole world explodes, the end.

At first glance Kiss Me Deadly may look like a decent movie, but let me warn you - I would classify it as one of the biggest let-downs I have ever experienced. Don't get me wrong I thought the script was well written, the characters were fairly well developed but the ending pushed the film from a depiction of the realistic everyday world to science fiction ridiculousness.

I truly did enjoy the beginning of the film. I thought the opening scene with the pyschotic woman running down the street was a creative attention grabber. As gross and discusting as it was, I also thought the torture scene was somewhat tasteful. It was disturbing but most certainly didn't give me the feeling that I was going to vomit.

I also found it noir-like that the main character wasn't quite likeable. He was horrible to his secretary/girlfriend and basically used her to get information from other people by encouraging her to sleep with them. He also set himself up to fail by making stupid decisions, similar to other film noir detectives.

But the closing scene caused the film to take a turn for the worse. Throughout the entire film the suspense of the "the great whatsit" is built. We follow Mike Hammer, played by Ralph Meeker, on his mission to uncover the secret the hitch hiker was hiding. After a pretty drawn out excursion we discover that inside the "great whatsit" is a light? a burning light of some sort? But the "great whatsit" is not just a burning light! - we then follow Mike Hammer to Gabrielle (who was pretending to be the hitch hiker Christina's roommate but ends up playing the femme fatale) who now has possession of the "great whatsit" she asks Mike to kiss her, and then shoots him - but no, he does not die! She then opens the box which happens to be some type of radionuclide material and screams mixed with flames take over the scene. Mike saves Velda and they run out of the house onto the beach and escape to happiness - psych! The whole world then explodes and everyone dies.

I know this ending may have been intended to indirectly display nuclear fears of the Cold War. But I feel it is a little too unrealistic to actually achieve that goal. The ending seems so ridiculous that it becomes almost humorous. If I could have the opportunity, I would love to speak to A. I. Bezzerides and ask him if he intended for the closing scene of the film to be realistic or actually wanted to portray the outrageousness - either way the viewer is still left asking, what the heck just happened?

it's called fate

Eternal Sunshine of the Spotless Mind directed by Michel Gondry takes a science fiction view on love and memory. I really enjoyed the film although at times it was a little confusing to follow because of all the flashbacks and vanishing characters and objects within the setting.

The one thing I found ironic in the film was that the characters, who choose to erase their past lovers from their memories, end up being attracted to their "ex's" again. Obviously Joel and Clementine are perfect examples, they both choose to erase their memories of each other (good and bad) but eventually end up meeting each other again. The fact that they are not only still attracted to one another, but meet up and fall in love emphasizes that they are "meant to be together." I see this as fate, when two people find each other against all odds - and fall in love.

Another exemplary couple is Howard and Mary. The doctor and his assistant had a previous relationship and in this case, Mary was the only one who had her memory erased. Similarly to Clem and Joel's re-encounter, Howard and Mary reconnect and fall for one another again. Unlike Clem and Joel, their connection isn't truly based on fate because Howard knew about their previously relationship - but the fact that Mary was still connected to Howard even after having her memory erased must have something to do with destiny.

It makes me wonder if this would happen in real life, if two people are destined to be together - then will they end up together? or do all the complications of our world today get in the way... Atleast in the Eternal Sunshine of the Spotless Mind fate was allowed to play it's game.

I don't want to be a hero!

In class we watched Stage Coach and Unforgiven - both westerns - whose main characters are reluctant heros. This theme of undesired glory seems to be prevelant throughout all westerns especially in Unforgiven. William Munny is a widowed pig farmer with two kids and a history of ruthless killing.The last thing he wants to do is go back to his "old ways." But with some convincing by the Schoefield kid, Will decides he'll do the job. Throughout the film Will's lack of desire to be famous becomes appealing. The audience roots for him because his killing is "justified," he's doing it for the good of man kind, not for the glory. In contrast to the Schoefield kid who is searching for a way to become a hero. Schoefield need for attention makes Will look better than ever. As time goes on, the audience hopes applaudes Will when he kills others. At times the killing becomes excessive (especially toward the end of the film), but the audience pays no attention to this - they seem almost pleased. Due to Will's reluctance to be a hero, the audience becomes more engrossed with his story of success. They constantly push for Will to rise to the top and kill the bad guy. Will's consistent resistance to being the center of attention or the hero makes him more likeable because of his humility and selfless actions. In a world that's consumed by egotisical, self centered people - it's very attractive to find someone who isn't that way, and the audience finds that in Will Munny.

Music sets the scene...

In the film Babel directed by Alejandro Gonzalez Inarritu, music helps create the setting. Gustavo Santaolalla, composer, received a BAFTA film award for best film music in the film, although creating a score for it was no easy task.

Babel portrays four intertwined stories which take place all over the globe. The film begins in Morocco with a family of goat farmers, then travels to Susan (Cate Blanchett) and Richard Jones (Brad Pitt) visiting Morocco from America. The setting then switches to Japan where Yasujiro (Koji Yakusho) a recently widowed man and his deaf/mute daughter Chieko (Rinko Kikuchi) struggle to cope with the suicide of a family member. Again the setting switches to the US where Amelia (Adriana Barraza) is taking care of two children Debbie and Mike in a wealthy home. Like I said before – connecting these four stories with music was a true test of ability, but Santaolalla was up for the challenge.

Santaolalla peaked early in his career by winning an Oscar last year for Brokeback Mountain although his approach to score writing is somewhat unorthodox. Unlike others, Santaolalla composes music before the film is finished - specifically with Babel. Santaolalla followed the director, Inarritu, around the world to find a deeper connection with the settings and film. He provided the director with material to use before the actual rolling of the camera.

Particularly in Babel, music plays a large role in setting the scene for the audience. Due to the fact that there are four intertwined stories to follow, it sometimes becomes difficult to keep track of the location; this is when the music comes into play. By creating certain “motifs” (if you will) Santaolalla aids the audience in finding the site where the story is now taking place. The music travels across cultures combining sounds from Morocco, Japan, America and Mexico. “The experience is a musical assault on the senses, a real voyage of discovery for the listener” (Mike Beek, a film reviewer) Specific songs such as “Cumbia Sobre el Rio” and “Tu Me Acostumbraste” depict the Mexican culture, while songs from Takashi Fuji help portray the “pop” lifestyle of Chieko in Japan.

Not only does Santaolalla use music as a tool to “set the scene” in the film he also uses it to connect the many settings and stories. “Two Worlds, One Heart” and “The Skin of the Earth” combine music from cultures across the globe creating more ties between the seemingly random stories.

Gustavo Santaolalla created an amazing score full of culture and variety for the film Babel. It could be listened to an enjoyed, without ever having viewed the film. But because of his phenomenal talent and dedication this composition encourages the viewer to travel around the globe and become immersed in the story itself.

play it again Sam

Casablanca a film noir directed by Michael Curitz and released in 1942 defines the word “classic.” The romance film takes place during World War II in the Moroccan city of Casablanca starring Humphrey Bogart as Rick Blaine and Ingrid Bergman as Ilsa Lund.
Rick Blaine owner of Rick’s Café Americain struggles to choose between his love for Ilsa and helping her husband, a resistance leader, flee to America. Ilsa and Rick had a passionate love affair in Paris which ended abruptly due to the German invasion of the city. Rick along with his piano playing friend Sam, fled to Casablanca and opened a bar. Years later Ilsa and her husband walk into Rick’s Café, leaving both lovers in a state of shock; “of all the gin joints and all the towns in the world, she walks into mine” –Rick. When Major Strasser (a Nazi) realizes that Laslow, Ilsa’s husband, is trying to flee the country Rick must make a decision between his love for Ilsa or saving her husband; love and virtue.


Although the plot is at times “cliché” the constant question of whether Rick will save his love life or that of Ilsa’s constantly keeps the viewers attention. The couple’s love song motif, As Time Goes By hints that their love with last, but until the last seven minutes the audience waffles on the choice that must be made. The costumes and lighting both allow the viewer to step into Rick’s Café during World War II. The costumes are exceptionally beautiful; Ilsa’s especially, her long gowns and waved hair truly make her look like the ideal, unforgettable women. Along with Ilsa the Major, Captain and other soldiers uniforms symbolize the ever present war. Although the lighting is usually pretty dim, shadows are often used – especially with Rick – giving the viewer a mysterious feel. The cinematographer, Arthur Edeson also uses catch lighting with Ingrid Bergman to make her eyes sparkle, giving the overall effect of sadness and nostalgia.


Music also plays a large role in the film. Along with the love motif, As Time Goes By and Sam’s constant piano playing the “battle of the anthems” scene was unusually memorable. The Nazi’s, with the help of the piano, start singing their national anthem in Rick’s café, which is then challenged with the French national anthem started by Laslow and café’s band. This powerfully emotional scene ends in tears by many of the characters, depicting their struggle to maintain their French culture during this time of War.

Casablanca will forever remain a classic film due to its romance and captivating storyline, after viewing this film you too will be asking, “play it again Sam.”

Juno - far from great? I think not...

Upon reading Peter Rainer’s critique of Juno directed by Jason Reitman, I became a little angered. Although Mr. Rainer (who writes for the Christian Science Monitor) accounted for the valueless quality of Ellen Page’s (Juno) acting in the film, he thought it didn’t score very high on the “greatness scale.”

“’Juno’ the second feature directed by Jason Reitman, is far from great but it has qualities of feeling that lift it far above the ordinary. The screenplay by 29-year-old Diablo Cody, is her first to be produce, and it has the tang of a lived in experience.”

I do not agree with Mr. Rainer what-so-ever, I thought the film Juno was remarkable. Not only did it provide great laughs, but it also embodied Juno’s sense of struggle which lead to tears toward the closing of the film. Ellen Page was absolutely amazing; her quick, sarcastic humor carried the show. Mr. Rainer argues that, “as talented as she is, Cody relies too heavily on Juno’s wisecracking.” I never felt that the Juno’s jokes were overpowering the film in anyway – if anything it allowed the viewer to look through an optimistic lens during the long teen pregnancy.

Ellen Page is not the only strong actor in the cast - Michael Cera who plays Paulie Bleeker (Juno’s best friend and the father of her baby) is exceptionally excellent. Bleeker is a scrawny, nerdy, track runner who sticks beside Juno the entire way, hoping eventually she will feel the love he feels for her. Along with Michael Cera, Juno’s father (J.K. Simmons) and stepmother (Allison Janney) provide many fits of laughter throughout the film. When Juno informs her family that she will be having a baby their response is far from predictable, “I was hoping she was expelled or into hard drugs – anything but this.” Rainer feels that the parents are too understanding, giving the movie a lack of reality:

“Another flaw is that the entire enterprise is engineered a bit too transparently to be heart warming. There is nothing terribly painful or humiliating about Juno’s high school experience as a visibly pregnant teenager; her parents are unwaveringly sympathetic; Paulie is OK with whatever Juno wants to do about the baby, and so on. It all culminates in a moral lesson from Dad: ‘In my opinion, the best thing you can do is to fine a person who loves you for exactly what you are.’”

Again, I disagree. Any person who is visibly pregnant in high school will experience humiliation – and during the film it is extremely apparent that Juno is made fun on multiple occasions for eating too much food, not being able to go to prom etc. Although I do agree that her parents’ reaction to the news is somewhat underestimated, they are kind parents who choose to support their child throughout the entire pregnancy, giving her the advice life’s goal is to find someone who loves you for who you are – nothing more.

something about film...

I guess for my first post i'm supposed to write something about film. Unfortunately I don't know very much about the techincal aspects of film other than what we have just learned in class. Honestly, I think I know more about the acting aspect than anything else - but I look forward to learning how to be an "active film watcher." I hope this is sufficient!