Final Paper: Film Terms In Connection With Desperately Seeking Susan

John Winkler

Film Theory

12/13/11

Point of view shot: A shot where the camera gives a precise angle and view from the perspective of a specific character. This is done in order to give the audience the same exact view a certain character has.

An example of this is the shot in “Desperately Seeking Susan” where Susan (Madonna) is lying down on the bed waiting for Gary Glass to come back home. She is lying upside down on the bed, and we get to see an upside down view of Gary as he yells, “What are you doing here?!”

Medium long shot: A shot where we can see the full body of the characters on screen in order to see their actions and surroundings completely. However, we get the feeling that we are not to far from them like we would with a long shot.

An example of this is when Roberta is on stage with the magician just before the end of the film. We see her getting ready to lay down in the box as the magician prepares to “cut her in half.” We get the view of the audience in the bar as we see the stage and both people on it performing the trick.

Match cut: Is a cut done in editing so that a seamless transition can be made between shots that switch views through camera placement and angle. This is so that the audience’s eye can logically follow what is happening in the scene.

An example of this is when at the magician bar/club the murderer jumps on stage and pulls of Roberta’s wig while she is in the magicians box. We see Gary Glass get out of his seat and run towards the camera, and in the next shot we see him running away from the camera and up stage. There is a seamless match cut that keeps our eye following on a logical path.

Framing: Is a term used to explain why certain shots use a specific device as for view or frame in order to give a certain interpretation.

An example of this is the framing device used to show that Roberta is spying on Susan and Jim through a lens. We see them zoomed in and surrounded by a dark circle, as we understand that Roberta is looking through the lens at them. She does this at the docks towards the beginning of the film.

Close-up: A shot focuses on a specific subject/object that fills up the entire screen. This is done to bring attention to something that is important to the film, and to better view something that may be miniscule.

An example of this is in the various instances where we see the “Desperately Seeking” advertisements in the newspaper. The camera closes up on the ad and brings it to the attention of the audience.

Beauty and The Beast

John Winkler

12/12/11

Title: Beauty and the Beast

Language/Country: French/ France

Runtime: 93 min

Release Date: 1946 (France), 1947 (US)

Awards Won: N/A

Beauty and the Beast

“Beauty and the Beast” is a French film written and directed by Jean Cocteau. It was first released in France in 1946 and then in the United States in 1947. This is a romantic fantasy film, adapted from “Beauty and the Beast” a fairy tale of the same name written by Jeanne-Marie Le Prince de Beaumont. It is considered one of the greatest fantasy films of all-time. Cocteau took the fantasy film genre to a whole new level.

Richard Scheib’s article “Beauty and the Beast: La Belle et la Bete,” explains how Cocteau was able to transform “Beauty and the Beast” into one of the great fantasy films. This film was not the first adaptation of the “Beauty and the Beast” story, however it is what made it so popular. “As an artist/filmmaker, Jean Cocteau’s work is caught between French pseudo-intellectualism and a fascination with fantasy.” (Scheib) Cocteau was know for his passion for fantasy but with the past failures of “Beauty and the Beast” no one would of guessed this film to gain the acclaim it has. “The least that one expected to find was what is perhaps the greatest of all fantasy films. Given a straightforward storyline, Cocteau forgets about intellectual pseudo-profundities and simply allows visual poetry alone to carry the film. Unfettered by anything else, he creates perhaps the most extraordinary evocation of the fairy-tale ever put on film.” (Scheib) The films use of many different effects such as stop-motion and extremely well done make up give the film it’s real enchanting feel. Scheib explained it best when he said “Cocteau evokes a pure cinematic magic.”(Scheib)

“Though there were several early “Beauty and the Beast” films…it was not until Jean Cocteau conceived and produced his famous, if not classical, La Belle et La Bete in 1964. That “Beauty and the Beast” began making it’s mark in the fairytale filmic discourse.”(Zipes, 228) Jack Zipes book “The enchanted screen: the unknown history of fairy-tale films” explains, once again, the importance Cocteau had in making this film such a great fantasy film. Zipes explained that the film was not always critically acclaimed but eventually became recognized as great. “Gradually (the film) became such an important cult film that it influenced numerous directors…and has received more attention from scholars and researchers in the fields of literature and film then any other fairy-tale film.”(Zipes, 232) It was Cocteau’s take on the fantasy genre that transformed this film from ordinary to extraordinary. People began to realize how different this film was compared to other’s of it’s genre. The more awareness to the uniqueness of this film led to further research which revealed the true genius Cocteau put into this magical fantasy. “What is significant about Cocteau’s approach is that he has created a fairy-tale film that questions itself and questions the artificial fairy-tale thinking that had begun to promulgate in the 1930’s.”(Zipes)

 

The film opens with a written dedication from Cocteau: “Children believe in stories they are told. They have complete faith. They believe a plucked rose may bring tragic consequences to a family. They believe in the smoking hands of a man-beast who kills in the shame he feels before the maiden who is his guest. They believe in countless other artless things. It is a little of that artlessness that I ask of you. So that the omens may smile upon all, let me pronounce that magic word, that veritable Open Sesame: ‘Once Upon a Time’.” “It is this patient, almost overly polite, asking of our permission to suspend our disbelief for him.” (Scheib) This film is considered to be one of the greatest fantasy films ever, mainly because it calls to the audience to get lost in the magic of the movie just as children get lost in fairy tales, while still keeping the edge of being adult. The film takes the fairy-tale/fantasy theme and gives it a deeper meaning. It shows themes of despair and hardship and loss of hope, while still giving the happy ending. Even Disney borrowed many of the things Cocteau used in his film for their version of “Beauty and the Beast.” Although Cocteau would probably not be happy about this because of his desire to separate himself from the common fantasies like those produced by Disney; it was down out of homage and because his ideas were so great.

Overall, this film will go down as one of the greatest fantasy films of all time, and it’s all because of the brilliance Cocteau put into it. Cocteau strayed away fro the typical fairy-tale/ fantasy film and gave his film more depth. His use of different techniques such as stop motion and elaborate design and makeup gave his film and enchanting feel that few can match.

Sources

Scheib, Richard. "Beauty and the Beast (1946) (La Belle et la Bete). Director - Jean Cocteau. Stars: Jean Marais, Josette Day. Fairy-Tale. Moria - The Science-Fiction, Horror and Fantasy Film Review.." Most Recent Additions. Moria - The Science-Fiction, Horror and Fantasy Film Review.. N.p., n.d. Web. 12 Dec. 2011. <http://www.moria.co.nz/fantasy/beauty-and-the-beast-1946-la-belle-et-la-bete.htm>.

Zipes, Jack. The enchanted screen: the unknown history of fairy-tale films. New York: Routledge, 2011. Print.

Structure of The Film

John Winkler

Film Theory

Midterm question 2

11/8/11

The Structure of The Film

In this chapter Eisenstein explains the importance of structure in films.

·      The structure faces the problem of portraying an attitude toward the thing portrayed.

·      Composition is what gives the active means of portraying this.

·      Little has been written on the role of composition in cinema.

In a film there must be a base of human emotions interplaying with human experience, that structural approaches and compositional construction’s can be built off of.

·      Explains how character and emotion/mood of film coincide.

·      Ex: If character is feeling joy, then the mood must be joyous. Fast paced and up-tempo music, with bright lighting and colors, etc.

·      Ex: If character is feeling depressed, the mood must be depressive. Low music, dark lighting, dark/dull colors, etc.

The emotion of the film will coincide with the emotion of the spectator.     

·      "The event, as it is unfolded on the screen according to a timetable of the running of this or that passion, thrown back from the screen involves, the emotions of the spectator according to the same timetable."

·      Which means, the passion or emotion that manifesting as the story is unfolding is going to affect the spectator with the same build of emotion at the same appropriate times.

·      Eisenstein claimed "this is the secret of genuinely emotional effect on real composition."

·       

Features, like music and lighting are used to portray human emotion. Human emotion is a key part to the structure of a film, or any work of art in general.

Genuine organic-ness of the ideas and emotions expressed in the fil

Rashomon

John Winkler

10/18/11

Title: Rashomon

Language: Japanese

Runtime: 88min

Release Date: 1950

Awards/ Nominations: Academy Award: Best Foreign Film

Rashomon

         “Rashomon” is a Japanese language film directed and written by Akira Kurosawa. It was released in Japan in 1950 and then in the United States in 1951. Although this film has not won many awards, it has been highly influential for both films and television made after it.

         The film begins with two men, one younger and one older, hiding out under shelter trying to stay dry in a downpour. A third man joins them and notices that the two men look very upset. They tell him that they've witnessed something horrible, and begin recounting the story to him. One man, the older one, claims he found the body of a murdered man in the woods. The other, younger man said that he witnessed the murdered man and his wife walking together just before he was found dead. Both men were summoned to testify in court, where they heard the stories of multiple people who encountered the murder, including the spirit of the murdered man himself. Every single story is told from a different viewpoint, and in turn is a completely different story all together.

         Eisenstein said, “I regard the inception of new concepts and view points…as dynamic.” He claimed that different perspectives and inputs that caused conflict is what made gave a film or story “Dynamism.” Rashomon’s use of many different perspectives from the murder witnesses is a great example of what Eisenstein was referring to. This use of different perspectives to tell the same story is the reason this film is as influential and dynamic as it is. “The quantity of interval determines the pressure of the tension.”(Eisenstein, 47)

         One article by Roger Ebert I read that referenced this film both explained the premise of the film and gave a backstory to its creation. The main point this article touched upon that was important is “When it was released… nobody had ever seen anything like it. It was the first use of flashbacks that disagreed about the action they were flashing back to. It supplied first-person eyewitness accounts that differed radically--one of them coming from beyond the grave. It ended with three self-confessed killers and no solution.” This is important because Eisenstein stated that the interaction of these different bases, “the logic of organic form vs. the logic of rational form” (Eisenstein, 46) produce conflict which causes “Dynamism.”

         The other article I read by Braingle.com, gives a synopsis of what is called the “Rashomon Effect.” It is explained as “the phenomenon by which observers of an event can produce very different but entirely plausible accounts of what happened.” This article gives a great example of how influential this film is. Also, it gives a good explanation as to why the stories were different, maybe not because they were lies but because “every person has a unique set of life experiences that cause him to pay attention to things in his own way. Physical position and personal relationship to the event, as well as psychological makeup, determine how a person will perceive it. This is one reason why eyewitness testimony can be so unreliable.”

         When I first began to watch the film I became disinterested and thought poorly of it. Honestly, by the end of the movie my perception didn’t change much from when it began. This reason I believe is because this use of multiple perspectives to tell the same story is nothing new to me. Pulp Fiction, Reservoir Dogs, Crash, and Talk To Her are just some of the many films today that have used this technique. However, after reading about this technique and this film’s importance in an influential sense I have gained a certain kind of respect and liking for this film.

http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20020526/REVIEWS08/205260301/1023

http://www.braingle.com/mind/515.html

      

Rear Window

John Winkler

12/8/11

Title: Rear Window

Language/Country: English/United States

Runtime: 112 min

Release Date: 1954

Awards/Nominations: The film received four Academy Award nominations: Best Director for Alfred Hitchcock, Best Screenplay for John Michael Hayes, Best Cinematography Color for Robert Burks, Best Sound Recording for Loren L. Ryder, John Michael Hayes won a 1955 Edgar Award for best motion picture.

Rear Window

         “Rear Window” is an American film directed by Albert Hitchcock, starring James Stewart. It was released in the United States in 1954. It is a classic “Hitchcockian” thriller including all the genius that Hitchcock puts into making his films. There are many different ways to analyze a Hitchcock film, however the most interesting analysis for this film is the use of the film as a “metaphor for cinema.”

         The concept of Hitchcock’s film as a metaphor for cinema is seen in many of his films, but the prime example is “Rear Window.” The techniques used by Hitchcock suggests that “the patterning principle chosen…becomes autonomous from the film, in the process communicating a metaphor for cinema in general, which allows the spectator to identify with the point of view of the director.”(Sloan, 22) In general, this means that the film uses different techniques such as different shots, characters, looks, etc. to make the audience feel like they are watching the film through the director’s eyes. The best way to explain how the metaphor is being used is to analyze Stewart’s character, Jeff. To begin with, the audiences view is strictly limited to Jeff’s view, and often we see directly through his lenses. We are subliminally tempted to identify with Jeff, and this is because Jeff like us is the audience. “Jeff’s specific position in his apartment looking out on the different windows/screens is reminiscent of a viewer in a film theatre.”(Guypetersreviews.com)

         We the audience of the film, are made to feel like we are seeing through the direct vision of Jeff, who is in fact the audience of his own film. However, just how we are limited in vision to what goes on in the film by the director, so is Jeff. “The spectator is allowed to see only what the director wants him to see. The spectator’s vision is thus reduced both by Jeff’s lens and by Hitchcock’s camera.”(Guypetersreviews.com) Hitchcock’s camera is our director, and Jeff’s camera is his. “Rear Window is a lesson in cinema for the audience.”(Sloan, 23)

         In conclusion, Rear Window is a typical Hitchcock film featuring all the “Hitchcockian” ideals. However, this film’s use to “metaphor cinema,” is what one of the most interesting things to analyze. The film is very well-made, and if analyzed you can see the genius that is a “Hitchcockian” film.

        

        

        

        

                                                        Sources

·   "Misc.: Film and Psychoanalysis: Rear Window." Guy's Music Reviews!. N.p., n.d. Web. 8 Dec. 2011. <http://www.guypetersreviews.com/rearwin.php>.

·  Sloan, Jane. Alfred Hitchcock: a filmography and bibliography. Berkeley: University of California Press, 1995. Print.

      

Chinatown

John Winkler

11/30/11

Title: Chinatown

Language/Country: English/United States

Runtime: 131min

Release Date: 1974

Awards Won: Academy Awards: Best Original Screenplay, Golden Globes: Best Motion Picture, Best Actor, Best Director, Best Screenplay

Chinatown

         “Chinatown” is an American film directed by Roman Polanski, starring Jack Nicholson. It was released in the United States in 1974. This Film has been nominated and won many award, and has been recognized as one of the greatest films ever made.  It’s reached such acclaim mainly due to its fantastic screenplay written by Robert Towne. The screenplay uses the “Historical Fiction” genre to perfection.

         The Genre of historical fiction uses a fictional story drawn from factual events in history. This film is set in 1937 Los Angeles, featuring Jack Nicholson as the main character, a detective named J.J. “Jake” Gites. The film centers on a historical water scandal that took place in 1920’s, California. Gites investigates a murder which winds up being directly related to the water scandal. “Writers of stories in this genre, while penning fiction, attempt to capture the manners and social conditions of the persons or time(s) presented in the story, with due attention paid to period detail and fidelity.”(Wikipedia, Historical Fiction) Robert Towne understood this concept and intern decided to make his script about something that he felt really passionate about. “With Chinatown, I originally thought I'd do a detective movie. That was all, initially. But then, I didn't want to do just any detective movie.” “I don't want to do a crime movie about the kind of things that don't anger me. I wanted to do something that really infuriated me. The destruction of the land and that community was something that I thought was really hideous. It was doubly significant because it was the way Los Angeles was formed, really.” Robert Towne (Fathom)

         In this film, as in most of this genre, use characters and events that were present in this time period and implement them in the story. In this case, Towne made characters that symbolized historical figures, by giving them names that were anagrams for the real people. For example, the characters Hollis Mulwray and Noah Cross are both references to the chief engineer for the Los Angeles Department of Water and Power, William Mulholland. Hollis Mulwray’s name is a direct anagram for William Mullholand, and the name Noah is a reference to a flood, “to suggest the conflict between good and evil in Mulholland.” (Wikipedia, Chinatown)

         Although this film was not factual, it’s use of a real historical event gave it a great effect which left a huge impact on audiences. “For LA and national audiences who knew little of the history or background, Chinatown became the LA water story.” (Shiel, Fitzmaurice, pg 49) Historical fiction films make the audience intrigued and aware of a historical event that they may have previously no interest in. Chinatown helped people in the 70’s desire further insight into the “LA water story.” The film became urban history in the effective realm of pop culture. Though it’s story was largely false.” (Sheil, Fitzmaurice, pg 49)

         Overall, “Chinatown” is highly acclaimed as one of the greatest films of all time, and its historical fiction genre is what made it so powerful. I think this is a great film for so many different reasons, but it’s play on a historical event is what I found so interesting. “Chinatown and its role in historical development of LA offers a more positive account of the impact of one film’s reputation of the city.” (Shiel, Fitzmaurice, pg 21) This film made a whole generation in a city interested and aware of it’s own history, and that’s pretty remarkable.

        

                                                        Sources

"Chinatown (1974 film) - Wikipedia, the free encyclopedia." Wikipedia, the free encyclopedia. N.p., n.d. Web. 30 Nov. 2011. <http://en.wikipedia.org/wiki/Chinatown_(1974_film)#Characters_and_casting>.

"Historical fiction - Wikipedia, the free encyclopedia." Wikipedia, the free encyclopedia. N.p., n.d. Web. 30 Nov. 2011. <http://en.wikipedia.org/wiki/Historical_fiction>.

"On Refining Story: A Conversation with Robert Towne." Fathom :: The Source for Online Learning. Fathom Knowledge Network , n.d. Web. 30 Nov. 2011. <http://www.fathom.com/feature/122390/

Shiel, Mark, and Tony Fitzmaurice. Cinema and the city: film and urban societies in a global context. Oxford: Blackwell, 2001. Print.

Cool Video of The Searchers and music

The Searchers

John Winkler

11/1/11

Title: The Searchers

Language/Country: English/United States

Runtime: 119min

Release Date: 1956

Awards: Nominated for several (including 1956’s Best Director from the Directors Guild of America), but won none.

The Searchers

         “The Searchers” is an American film directed by John Ford, starring John Wayne. It was released in the United States in 1956. Although this film has not won many awards, it has been highly influential for some major films and directors.

         The film is set in 1868 Texas, featuring John Wayne as the main character Ethan Edwards. Ethan returns from the American Civil War, to the home of his brother Aaron and his family. When Aaron’s youngest daughter, Debbie is kidnapped by Native Americans, Ethan ventures off with Martin, her adopted older brother, to catch the natives tribe and get her back. We follow Ethan and Martin as they vigorously search for years to find Debbie and bring her back to them.

         Besides this film seeming like one giant montage to begin with, due to it’s storyline going quickly through several years, it also represented something Eisenstein claimed to be one of the vital tools for montage. Eisenstein talked about using conflict in order to produce a montage. One of the things he talked about used in this film is called “conflicts of depths.” “Conflict of depths” can be used in several different ways, however the one way it was used most powerful in this film was its use of close shots and long shots.

         “The long shots give the film a poetic, formal quality,” wrote Ken Dancyger in his book “‪The technique of film and video editing: history, theory, and practice.” Ken explained how “shots are dramatically very important to the evolution of the scene.” He talked about Ford’s use of long shots and mid shots and used them as reference to explain the importance of shot selection. This shot selection chosen by Ford definitely created the conflict he claimed was needed.

         This film has influenced many films and directors. One of the great influences this film had was on that of David Lean. David Lean directed the critically proclaimed “Lawrence of Arabia,” which had direct influences from “The Searchers.” Wikipedia, claims that Lean “watched the film repeatedly while preparing for Lawrence of Arabia to help him get a sense of how to shoot a landscape.” Turner Classic Movie, notes " Steven Speilberg, Martin Scorsese, John Milius, Paul Schrader, Wim Wenders, Jean-Luc Goddard and George Lucas have all been influenced and paid some form of homage to The Searchers in their work.”    

         When I first began to watch the film I was immediately disinterested due to the fact that I despise western films. However, before I knew it this movie quickly won me over. The film featured such a good story, and really intriguing character played by John Wayne. He wasn’t like the usual hero/ lovable character you find in westerns. He was rough and tough and walked around with a chip on his shoulder. Also the shots and scenery worked really well together. The film really appealed to me and made me want to watch it again.

                                                        Sources

“The technique of film and video editing: history, theory, and practice” By Ken Dancyger

http://www.tcm.com/tcmdb/title/16113/The-Searchers/

http://en.wikipedia.org/wiki/The_Searchers_(film)#Influence

400 Blows

John Winkler

10/11/11

Title: 400 Blows

Language: Film

Runtime: 99 min

Release Date: 1959

Awards/ Nominations: Best Director Award at the 1959 Cannes Film Festival, the Critics Award of the 1959 New York Film Critics' Circle, and the Best European Film Award at 1960's Bodil Awards. It was nominated for Best Original Screenplay at the 32^nd Academy Awards.

400 Blows

         “400 Blows” is a French language film directed, produced, and written by François Truffaut. It was released in France and the United States in 1959.The film is highly acclaimed and has won and been nominated for numerous awards.

         The film begins with a montage of France and revolves around a young boy dealing with adolescence in France. This film conveys “the new concept of film language born,” according to Sergei Eisenstein a new concept of film in his time was “an expression of cinema thinking, when cinema called upon to embody the philosophy and ideology of the victorious proletariat.” The boy in this film, Antoine Doinel, is a direct reflection of a young mind influenced by society, culture, curiosity and rebelliousness. However, his role of individuality is what make categorizes this film as a “wonder.” According to Eisenstein, “a “wonder” must promote cultural progress, feeding and stimulating the intellectual questions of our day,” and “individuality” leads to a deeper meaning that is demanded in good cinema. The theory on wonder is a reflection from Eisenstein based on Kabuki Theatre. In addition to the Japanese theatre of Kabuki; Japanese film Karakui-musume, has a direct reflection to 400 Blows. Karakui-musume is “a melodramatic farce. Beginning in the manner of Monty Banks and ending in incredible gloom.” 400 Blows, beginning as a childish humorous story of a kids life and ending with a gloomy story of hardship and loneliness.

         Two articles about 400 Blows are, The New York Times, “A Troublemaker Who Led a Revolution,” by Terrence Rafferty ; and an article on the movie by Roger Fristoe from Turner Classic Movies. Rafferty’s article is mainly about Truffaut and his influences in his own life that influenced the film. It explains that Truffant made this film so different from films at that time, in order to show his distaste for the “ideal” film and film criticism accepted at that time. Also, the article shows the direct relation between the troublemaking Antoine Doinel, and the troublemaking Truffant.  Fristoe’s article is similar to Rafferty’s; it briefly explains the connection between Truffant and Doinel, as well as explains the influences Truffant had. It also briefly looks into the style of the film.

Both of these articles do a great job of explaining some of the underlying influences that formed this film. Touching upon how the rebelliousness, curiosity, and individuality showed the main character Antoine, is in fact a direct reflection of Truffant’s own rebelliousness, curiosity, and individuality. We further get a better understanding of why this film seemed so unusual; “The film was so fluid, so graceful, so apparently natural, that it seemed not to have any agenda at all.” (Rafferty) The uniqueness of the film is explained as well as credited to Truffant’s experienced cinematographer, Henri Decae. “Decae, who worked very fast and liked to use natural light. The exteriors, with Decae's fluid tracking shots, reflect the freedom and spontaneity with which Antoine and his friend Rene roam Parisian streets.” (Fristoe)

         Overall, this film supports Eisenstein’s theories in several different ways. However, Eisenstein’s one quote “down with the story and the plot” sums up this film perfectly. As explained in the two articles, this film was made to be different and that’s exactly what it is.  The film was not elaborate, but instead natural as films generally weren’t at that time. The different feel of the film is made it so intriguing. As I am not a huge old film buff, I can definitely say I like the uniqueness of this film. It wasn’t your basic “Hollywood” piece of garbage. It was a film that really grabbed your attention and made you wonder. As Eisenstein said “It was important that the seen be first penetrated by the general image,” and this could definitely represent this film. For it’s emphasized importance on the visual aspects of the film, leaving no definition to the meaning of the film but rather just a sense of wonder, the film is simply best explained with “down with the story and the plot.”

Article References

Rafferty, Terrence. "A trouble maker who led a revolution." NY Times . N.p., 23 Sept. 2007. Web. 10 Oct. 2011. <http://www.nytimes.com/2007/09/23/movies/23raff.html>.

Fristoe, Roger. "The 400 Blows." TCM Turner Classic Movies. N.p., n.d. Web. 10 Oct. 2011. <http://www.tcm.com/this-month/article/88149%7C0/The-400-Blows.html>.

400 Blows

John Winkler

10/11/11

Title: 400 Blows

Language: Film

Runtime: 99 min

Release Date: 1959

Awards/ Nominations: Best Director Award at the 1959 Cannes Film Festival, the Critics Award of the 1959 New York Film Critics' Circle, and the Best European Film Award at 1960's Bodil Awards. It was nominated for Best Original Screenplay at the 32^nd Academy Awards.

400 Blows

         “400 Blows” is a French language film directed, produced, and written by François Truffaut. It was released in France and the United States in 1959.The film is highly acclaimed and has won and been nominated for numerous awards.

         The film begins with a montage of France and revolves around a young boy dealing with adolescence in France. This film conveys “the new concept of film language born,” according to Sergei Eisenstein a new concept of film in his time was “an expression of cinema thinking, when cinema called upon to embody the philosophy and ideology of the victorious proletariat.” The boy in this film, Antoine Doinel, is a direct reflection of a young mind influenced by society, culture, curiosity and rebelliousness. However, his role of individuality is what make categorizes this film as a “wonder.” According to Eisenstein, “a “wonder” must promote cultural progress, feeding and stimulating the intellectual questions of our day,” and “individuality” leads to a deeper meaning that is demanded in good cinema. The theory on wonder is a reflection from Eisenstein based on Kabuki Theatre. In addition to the Japanese theatre of Kabuki; Japanese film Karakui-musume, has a direct reflection to 400 Blows. Karakui-musume is “a melodramatic farce. Beginning in the manner of Monty Banks and ending in incredible gloom.” 400 Blows, beginning as a childish humorous story of a kids life and ending with a gloomy story of hardship and loneliness.

         Two articles about 400 Blows are, The New York Times, “A Troublemaker Who Led a Revolution,” by Terrence Rafferty ; and an article on the movie by Roger Fristoe from Turner Classic Movies. Rafferty’s article is mainly about Truffaut and his influences in his own life that influenced the film. It explains that Truffant made this film so different from films at that time, in order to show his distaste for the “ideal” film and film criticism accepted at that time. Also, the article shows the direct relation between the troublemaking Antoine Doinel, and the troublemaking Truffant.  Fristoe’s article is similar to Rafferty’s; it briefly explains the connection between Truffant and Doinel, as well as explains the influences Truffant had. It also briefly looks into the style of the film.

Both of these articles do a great job of explaining some of the underlying influences that formed this film. Touching upon how the rebelliousness, curiosity, and individuality showed the main character Antoine, is in fact a direct reflection of Truffant’s own rebelliousness, curiosity, and individuality. We further get a better understanding of why this film seemed so unusual; “The film was so fluid, so graceful, so apparently natural, that it seemed not to have any agenda at all.” (Rafferty) The uniqueness of the film is explained as well as credited to Truffant’s experienced cinematographer, Henri Decae. “Decae, who worked very fast and liked to use natural light. The exteriors, with Decae's fluid tracking shots, reflect the freedom and spontaneity with which Antoine and his friend Rene roam Parisian streets.” (Fristoe)

         Overall, this film supports Eisenstein’s theories in several different ways. However, Eisenstein’s one quote “down with the story and the plot” sums up this film perfectly. As explained in the two articles, this film was made to be different and that’s exactly what it is.  The film was not elaborate, but instead natural as films generally weren’t at that time. The different feel of the film is made it so intriguing. As I am not a huge old film buff, I can definitely say I like the uniqueness of this film. It wasn’t your basic “Hollywood” piece of garbage. It was a film that really grabbed your attention and made you wonder. As Eisenstein said “It was important that the seen be first penetrated by the general image,” and this could definitely represent this film. For it’s emphasized importance on the visual aspects of the film, leaving no definition to the meaning of the film but rather just a sense of wonder, the film is simply best explained with “down with the story and the plot.”

Article References

Rafferty, Terrence. "A trouble maker who led a revolution." NY Times . N.p., 23 Sept. 2007. Web. 10 Oct. 2011. <http://www.nytimes.com/2007/09/23/movies/23raff.html>.

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