The Godfather

The Godfather is a story of the divide between business and real life, dark and light, and high and low. Through out the great film, The Godfather, Coppola does a brilliant job at revealing and defining this divide. This divide is revealed mainly between Vito (dark) and Michael (light), but there are also a couple minor characters that support this. Just as Coppola makes known the divide, what is even more brilliant is how he shows the connection between the two and how they can come together. There are two major scenes during the movie that show this: the wedding scene, and the very last scene of the entire film. These three critical scenes define the movie and show Coppola’s inventiveness as they are not fully revealed, but are implied throughout the entire movie using different characters and different viewpoints.

The opening wedding scene shows many examples of the difference between real life and business. One example is the scene of the Corleone family picture. The first time they try to take this photo it is stopped because Michael is not present. This brief moment shows the divide and difference between Michael and the rest of the family, mainly his father, Vito. Michael even states how far he is from the rest of the family as he tells Kay about how Vito helped Johnny Fontane’s career and then Kay keeps questioning how. After Michael sees Kay’s reaction to the outcome of the story, he tells her, “That’s my family, Kay. That’s not me.” Just as the scene is coming to a close, the Corleone family gets together for a second try at the family picture and this time Michael is in it and then drags Kay into the photo. This simple scene is foreshadowing to the ending of the movie, as Michael closes the gap between the family business and the outside world while dragging Kay into it.

The final scene of The Godfather defines the entire movie, as Michael is standing in the office with a distance between Kay and him and then the door closes to end the film. The shot that shows Michael standing in the office at the end of the hall and the side close-up of Kay helps define how Michael has gone from one end of the spectrum to the other. He once described how he was not like his family and now he is the head of the family, transgressing from light to dark. Another important action in the scene is the door closing as Kay is staring into the office. This explains how closed out Kay is from Michael’s business or the difference between light and dark. Since Michael is now at the dark spectrum, Kay does not see or know what he does.

These two critical scenes define a major motif in the film. Not only does this theme happen in these two scenes, but also through out the majority of the film. Without these two prominent scenes that define this idea of business and life or dark and light, the viewer would not clearly see this. Coppola shows, mainly, through out the entire film with the, developing character, Michael whose views drastically change during the course of the movie.

Birds, Women, and Psycho

After watching Alfred Hitchcock’s Psycho, twice, I picked up on a motif that seems very unusual. Throughout my second viewing I tried to pay attention to the mostly visual bird motif and how it intertwined with the way women were portrayed. These two motifs, while subtle, create a sense of tension in Alfred Hitchcock’s suspenseful masterpiece.

From the beginning of the movie until the end, Psycho uses the bird motif in several ways. The opening shot shows a bird’s eye-view over the city until it slowly zooms in on a half open window. It is also important to mention that the city is Phoenix, Arizona. In the opening scene we also meet the protagonist of the film, Marion Crane. The fact that her last name is Crane, also refers to a bird.  According to Brigitte Peucker’s, The Material Image: Art And the Real in Film, “stuffed bird” is a British reference to a desirable woman, leading the audience to believe that Marion is the quintessential “stuffed bird/desirable woman.”

Marion is seen as desirable from the beginning of the film. Starting from the controversial opening scene of her in bed with her lover. One of the most iconic scenes that employ this is the infamous shower scene. Not only do the storm clouds foreshadow her early death, but also the death of Marion in the shower could be considered the most sensual yet terrifying scene in the film. Birds are used again at the end of this scene. When Norman sees the murder that happened in the bathroom, he looks in horror and knocks one of the photos of the birds off the wall. The photo hints that Norman is actually the killer in the film because of the previous representation of Marion as a little bird.

In the mind of Norman Bates, Marion is his ideal desirable woman. Norman’s strange way of thinking about women is first shown through in the relationship with his mother. The method of preservation that Norman uses for his mother is similar to his preservation of the stuffed birds we see in his office. The incidents that follow between Norman and his “mother” imply an incestuous sexual relationship with his mother. This is what explains to the audience why Norman murdered his mother when he discovered her in bed with her lover and killed them both.

Throughout the film, we see Mrs. Bates through reflections and shadows, which could be seen as foreshadowing her to be the killer. We see her shadowed silhouette in the window and as the figure that stabs Marion. The mother begins as something of a mystery: we first see her silhouetted against a window. Her image becomes that of a shadowy figure, in the house on the hill. Ultimately we see Norman carry his mother to the cellar, but we don’t see her face. Because we don’t see her face, suspense builds until the very end, when we realize that the mother is not living; she is merely a figment of Norman’s divided psyche. As the film is coming to an end, Hitchcock’s makes one final bird analogy through the mother personality of Norman, who says, “I am just as harmless as one of those stuffed birds.” Hitchcock was a twisted genius who used birds as one of his many motifs to create suspense in Psycho.

Group 2 - Link to the audio for the director's commentary for the short film, Citizen Different



http://www.youtube.com/watch?v=HEUUOuGzpIY&feature=plcp

Group 2 Short Film- Citizen Different

The Seventh Seal: Contrast and Conflict

Ingmar Bergman’s 1957 movie, The Seventh Seal, is a striking film that boldly brings some of life’s most basic question to center stage. Throughout the film, opposing details are at work to demonstrate the conflicting possibilities of reality. The juxtaposition of light and dark, black and white, sinister and comedic, holy and evil, joy and agony, and, most notably life and death, are major elements in the films development. The main character, Antonius Block, a knight who has return from 10 years of crusading, is tortured by his uncertainty about the divine powers and is plagued with the looming possibilities of an empty eternity. When death comes for him, he postpones his ultimate destiny by challenging death to a chess match. Meanwhile Antonius looks for answers to the torturing questions of life. His search for a black and white answer is reflected throughout the film with numerous images that illustrate this conflict.

In the opening images of the movie, contrast is introduced to the audience overtly. The opening shot captures only a shot of white clouds in the sky. With a fade, the audience is introduced to the strong image of a single black bird hovering up above. The black silhouette of the bird against the white clouds immediately introduces the struggle between white and black that will continue throughout the film.

Antonius’s conflict is also introduced early with revealing images that combining light and dark. The first close up we see of the conflicted protagonist on the beach, is marked by a contrast created with lighting. He kneels on the beech looking up to the heavens. While once side of his face is brightly lit, the other is plagued by a dark shadow. This further illustrates the struggle between the belief in God and the suspicion of his absence, which Antonius Block later accidently articulates to Death.

               

 The opposition of black and white is even noted verbally when death and Block begin their game of Chess. Death chances to use the black pieces and notes “Black is becoming for me.” The black at white chess pieces in a sense become a representation of life and death. As long as Antonius Block’s white pieces prevail, so does life. Should the black pieces defeated the white pieces, death will have his way.

               

 Because the film is in black and white, the lights and darks of the film become central to the theme of the story. Black and white are in constant opposition to each other; one representing life and light and the other representing death and darkness. The examples of the opposition are nearly endless.  Ingmar Bergman recognized the power of opposites and utilized the light and dark symbols to articulate Antonius Block’s struggle with the truth and destiny.

Nights of Cabiria Post

Fellini tells the story of a “hooker with a heart of gold” in Nights of Cabiria without the stereotypical happy ending. It begins with her being thrown in the river and ends with her almost meeting the same fate. Both incidents are at the hands of her would-be saviors from a life of prostitution, and in both incidents they prove to be cads out to steal her money. As an Italian film, the gestures of the actors and dialogue are emotion filled. Much of the story is shown through Cabiria’s expressive face in close-up shots of her emotional journey. One could almost follow the story-line even without subtitles. Guilietta Masina gives life to Cabiria through her face and her physicality. The viewer knows who and what she is without having to be explicit about it. She is approaching the end of her days as a party girl and wants nothing more than to find the man of her dreams and have a “normal” life and we are led to believe that it is going to happen for her; unfortunately, it is not to be and her pain is very visible in her face as she realizes that. At first glance the ending seems to be very sad but it can be said that it is a testament to Cabiria’s resilience that she gets up, dusts herself off, and begins to walk back to the world she left.

The story is told within the confines of one small area on the outskirts of Rome, as if to signify Cabiria’s small world.  Her days and nights are shown to consist of her small house, group of friends, and her profession is alluded to without being expressly shown. She only ventures out to attend the mass and when she meets the famous actor, both events end in disappointment so she returns to the little house she holds so dearly. It is a source of pride for her that she does in fact, own a home, and has not found herself living among the people of the caves. Though it is perhaps, foreshadowing that she happens upon the man taking supplies to those that are, as if to show that is where she is headed.  As viewers we want a happy ending to this type of story, we have become invested in her as she has shown her emotion so eloquently throughout the film. Sadly, Fellini does not allow her that, though it is telling that she does not die at the conclusion of the film.

Cabiria wants her life to end when she realizes Oscar is just another unscrupulous thief and as she gives him the sum total of her net worth she begs for him to end her misery. She cannot face going back to the life of street hustling, now homeless, and humiliated. Had Fellini ended the film that way though, I believe it would not have stood the test of time. Cabiria rising among the ashes of her dreams to face her future and looking at the young people celebrating with a wiser eye, reminds us that as long as there is life there is hope.

Jessica Davis, Group 2

The Searchers: Eathan Edwards Identity

The complexities of a human’s attitudes and behaviors can never be accurately explained or predicted.  In John Ford’s 1956 film, The Searcher’s, this reality is explored through the primary protagonist, Ethan Edwards, played by John Wayne.  Wayne’s character exemplifies the complexities of the human spirit. Ethan Edwards is a character that displays significant complexities that enable the audience to identify with his character. Edwards, like humanity, is caught in an intricate tangle between honesty and deceit, violence and compassion, and respect and rebellion.

Ethan Edwards, character from the start, raises question of his credibility. He refuses to disclose to his brother where he was the past few years, after the war. Additionally when Ethan pays is brother in “fresh from the mint” coinage. The audience is asked to question his reliability and honesty.  After finding Lucy dead in the canyon, Ethan hides the fact from the boys. Despite his tendency to hide the truth, he displays admirable habits of honesty and forthrightness. As the film begins, his decision to honor his oaths to the Confederate army shows his honesty.  Edwards told Marty that he would search for Debbie longer than the Indians would run and that they would get Debbie back. He did just this. Though Ethan conceals much of the truth from the audience and other characters, he maintains a respectable honesty that the audience can admire.

 The inconsistencies between Ethan’s respect for authority and his rebellion are another complexity explored. Many times thought the film Ethan is speaks against the Reverend and refuses to be commanded.  Upon being given an order by the Reverend, Ethan says: “Ok, but if you’re wrong, don’t you ever give me another [order].”He also outright refuses to take an oath for the reverend when he confronts him. As the film nears the climax, the reverend asks Ethan to hand in his gun, and he does. Ethan also shows respect for his promises. As previously discussed. Ethan respects his oaths to the Confederate Army and his promise to bring Debbie home.

Finally Ethan Edwards, simultaneously, shows incredible displays of compassion and violence. Edwards shoots irrationally into a herd of bison just out of spite for the Indians who would eat them later. He shoots the eyes out of a dead Indians head to keep his spirit wandering in the spirit world. Eventually he scalps Scare, the Chief who kidnapped Debbie. However, Edwards is an extremely compassionate man. We see his tender love for his brother’s wife and daughters. He gently places a Kiss on Martha’s head and later gives his jacket to bury Lucy in the canyon. He holds the rescued Debbie in his arms and says: “Let’s go home, Debbie.” Eventually we see his compassion for the family friend, Marty, who he seemed at first to despise. His violence and compassion are exemplary of his complex character.

Ethan Edwards’s character cannot be defined by any one characteristic. He is honest and dishonest, violent and compassionate, defiant and respectful. His complexities make him an appealing character. The audience can not only admire Ethan Edwards, but can empathize with him as well.