The Godfather

The Godfather is a portrayal of an Italian family caught up in the mobster lifestyle. With drugs, robberies, and murders taking place daily within the Corleone family, it comes as a big shock when the patriarch of the family hands off this deadly business to his son. What really interested me about this movie was the idea of family and respect.

Throughout this movie, the central idea always comes back to the idea of family as being the most important thing in your life. It was clear from the beginning that within this society, you were to put family over everything. We see this first through the character of the Godfather, Vito Corleone. He delivers one of the most famous lines in this movie "A man who doesn't spend time with his family can never be a real man." He says this to his son Sonny, whom he perceives is not being a real man because he doesn’t put his wife and children first. All of Vito’s motives throughout the movie are based on bettering his family, and providing for them the ideal lifestyle. This is also portrayed through his sons and their vengeance on those people who attempted to hurt their family. They will stop at no length to get the revenge they think is equivalent to the pain that they have felt. All the way up until the end of this movie when Michael kills his sister’s husband for betraying the family- we are shown over and over again the vital meaning of family and what we do for them.

Another strong theme in this movie is respect. From the very opening scene we are shown the importance of respect within the mobster community, but also within the Corleone family. Vito is meeting with a member of the Italian community who is requesting a service and Vito responds “What have I ever done to make you treat me so disrespectfully?” From this moment on, we are taken through a world where respect is everything. The kissing of the hands, and referring to people with names of respect and stature is a big sign of appreciation and gratefulness within the community. It is regarded as having a high prestige. Disrespect is the highest form of insult. Which is why the ending is so powerful when Michael is referred to as Don Corleone.

Overall the underlying themes of this movie seem to come back to the main idea that there is nothing above your family. And if someone disrespects them or you- then you must seek retribution.

- Paola Ogadzhanvoa

Bonnie and Clyde By: Allie Lonneman

Bonnie and Clyde was an iconic film in the sixties because of its pioneering presentation of sex and violence. Specifically, the ending was noted as one of the bloodiest death scenes in cinematic history. Whether it was Clyde shooting the bank manager or the blatant display of Buck being shot in the head, the audience reacted to the violence in a positive way. This violence peaked in the closing scene of Bonnie and Clyde. Bonnie and Clyde are located at C.W.’s father’s house by Hamer. Mr. Moss devises a scheme to get his son off the hook. After staging a flat tire on the side of the road, and summoning Bonnie and Clyde’s assistance, the duo is brutally murdered via open fire. How can such a cruel display of violent behavior be so popular among viewers? In a sense, was this ending the start to the gore and new age horror movies that have begun to almost demagnetize our generation?

            The film Bonnie and Clyde is forthright in its display of sexual and violent behavior. The setting of the film takes place during the Great Depression. It displays a desperate, cruel world. It allows for almost a connection between Bonnie and the viewers. Making minimum wage as a waitress, the opportunity arose when Clyde attempted to steal her mother’s car. Bonnie took him up on his offer, and accepted a position as his partner in crime. The connection was formed via sympathy from the viewer’s and Bonnie’s need to make a living. Their outings started out few and rapidly multiply once the duo came into contact with C.W. Moss, a local gas station attendant, Buck, Clyde’s older brother, and Blanche, Buck’s wife. Time progresses and the violence begins to pick up starting with bank robberies. These outings are the start of the battle versus the law enforcement officials. The battle ends upon the violent death of the duo. The comic relief instilled throughout the film by director Arthur Penn, allow for a mild dilution to some of the horrific and graphically violent scenes, such as the scene in the bank or the final scene of the film as previously mentioned. Bonnie and Clyde also allowed viewer’s to feel the character’s pain via fake blood. With each gun shot the viewer served as a witness to a murder. The shootings were displayed as gore and heartless bloodbaths, which directly differs from the majority of movies made at the time, portraying shootings as non-violent. Bonnie and Clyde made strides as one of the first films to depict graphic realism, particularly in the closing scene featuring the open fire bloodshed. Referring back to the initial post questions of: how can such a cruel display of violent behavior be so popular among viewers? Was this ending the start to the gore and new age horror movies that have begun to almost demagnetize our generation? The wheels for graphic realism, in regards to violence, were already in motion. The film Bonnie and Clyde definitely gave these wheels a major push to lead us to where we are today in the film industry.

Group 7

Seventh Seal

A forth wall is used to cancel out the audience in order to make it seem like you, the audience, is behind   a wall. It was originally used in theater to create a more real viewing of the action, as if the audience weren't there. An Invisible wall in film is the same as a forth wall, that is created not as a wall but as a character. It's like putting a mask and seeing through the eyes of the character being used as the forth wall.  You don't think like the character but you see through the camera, being characters eyes. In the seventh seal, the second to last scene there is great example of this, where the audience becomes the character death. It's interesting because the audience not only see's the characters through a forth wall but also as get's to see the characters true last moment before death takes them to their  last journey. It is said that people show there true colors before they know they are going to die. A quote from Batman the Dark Knight from Heath Ledger displays this well, 

             "You can't savor all the... little emotions. In... you see, in their last moments, people show you who they really are. So in a way, I know your friends better than you ever did. Would you like to know which of them were cowards?"

So in the Seventh Seal it's interesting that the forth wall is being used when the characters spill out there last words showing there true identity before their death. I think the directors take on this is fantastic, because of how death is able to become the audience. To the audience each character reacts differently to death coming. Some franticly pray and hope for forgiveness while others accept there fate and understand that it is there time. Ironically they are doing all of this directly to the audience, who they think, is death. 

It gives the audience not only something entertaining to watch but an interesting aspect on how people react to death.  The audience is unaware, but they are playing a key role in the plot. The knight who has gone to battle and seems to be the bravest of them all, cowards and turns to god as a last resort because death has not given him the answers. His sire accepts the fate, but seems to have no relation to any after life. The middle ground on these two different reactions is the silent girl who lets out her last words creating a great conclusion to all there fates. The forth wall as death is needed to get the true confession out to the audiences.

The forth wall has element of insight on the characters in the film which is an interesting aspect on how films have a creative style that are hidden to the audience sometimes. 

Philip Shutler 

Psycho

Though many out there may not find Alfred Hitchcock's Psycho to be as horrifying as some of the blood and gore we see in horror films today, in my opinion Psycho is one of the scariest movies of all time. The storyline is so twisted and suspenseful, it constantly leaves you guessing, and the brilliance behind the way Hitchcock uses lighting and camera angles to help tell his story is amazing.

To me, one of the scenes that really stuck out is the Parlor Scene. It appears that Bates is innocently inviting Marion into his parlor to be polite, but he has altering motives that the audience isn't sure of yet. The lighting in this scene is interesting. The room is small and crowded and the only light source is coming from a small lamp on the table. 

Marion is positioned sitting sort of behind the lamp so that it's light illuminates her face. It's interesting because the audience of course knows of her crime of embezzling money from her employer. But the light signifies that maybe there is still hope for redemption, and we know that she does intend to pay every cent of the money back. 

Norman in this scene however does not have the same lighting appear on his face as Marion does. Instead, the lighting is split, shadowing one side of his face. Was this Hitchcock's way of foreshadowing Normans split personality? I believe so. You might also notice that Hitchcock filmed Norman from a very low position in comparison to the way Marion is shot, and Hitchcock moved the camera a lot as well to only obscure the right side of his face. 

Another scene that really sticks out in Psycho is of course the very famous shower scene. Marion is innocently taking a shower as we see and she has no idea of the horror that is to come. All we see is a dark shadow forming from behind the shower curtain, slowly creeping in, and then all of a sudden the curtain is violently ripped open. But the horror is not in the blood and gore of Marion Crane being slaughtered, it's in the way the scenes are constantly going back and forth between the killer and Marion. 

All we can hear is the terrifying score in the background along with the bloodcurdling scream of Marion Crane. We never actually see the knife going into Marion's skin, there is one brief clip where we see the knife touching her stomach about to go in but that is it. I believe that is the horror of the film, us not seeing that, because we are left wondering what is happening to her. We see the shadow of the knife constantly going back and forth, and then we see the blood starting to mix with the water in the shower and go down the the drain. Marion slowly creeps out, and the killer escapes the room.

In my opinion, this film has done great things for the horror film genre as we know it today. I do not believe that there are many other films that can give you the same eery feeling of anxiety, fear, and suspense that Psycho gives you. I like this film because unlike others, it's not all about building a high body count or showing teens being slaughtered, it's a very psychological thriller that will leave you guessing and keep you on your toes. Alfred Hitchcock is a genius.

--CS

Nights of Cabiria and Post-War Italy

     Nights of Cabiria premiered in 1957, years after the end of the reign of Benito Mussolini and the reign of Italian fascism. The war left Italy in a post-war state. We see this during the movie, especially through the poor, who have taken a hard hit after the war due to the dictatorship of the Catholic Church and the corrupt Italian Government. However, there is hope for Italy now to revive and rebuild. We see this hope through the main character of the movie, Cabiria. She is the perfect example of Italy and what they are going through. Both Cabria and Italy have to hope that they can rise through any troubles that they may have to defeat in order to rise above. 

     For Cabiria, her struggles came from external sources. She was once an innocent, genuinely happy girl when she was young. However, since then, there were many negative influences in her life that jeopardized that. We are able to see the young, beautiful girl that Cabirira speaks of during the magic show when she is vulnerable, innocent, and in love while in a trance. During the scene that Cabiria and Oscar are eating dinner after they have agreed to be married, Cabiria speaks of the time that she first began to prostitute. Of course, she never actually tells Oscar what it is exactly that she was doing, but we (the audience) are aware of what she is referring to. She says that she was 15 with long dark hair down her back when her mother made her go work because they were so poor. I think this is the first instance that Cabiria is taken advantage of, in this case by her mother. 

     Later in life, we meet Cabiria as a happy, hopeful woman. In the first scene, however, we witness the first instance of a man taking advantage her. Her boyfriend catches her completely off guard and pushes her into water and steals her money and her purse. The next instance we see is when Cabiria runs into Alberto Lazzari, who is breaking up with his girlfriend. Afterwards, he tells Cabiria to get into his car. Even though it is clear to me that he is using her, she is ignorant and falls for his charm and goes with him. Later that night, at Alberto’s house, his girlfriend comes back and he instantly shoves Cabiria to hide into the bathroom for the rest of the night, obviously not caring about her. These examples show us how even though Cabiria is put down again and again by people she cares about, she is able to somehow rise above them and their tactics and shows us once again how hopeful she is through her beautiful smiles.

     Italy and their upcoming generation needed the hope of people like Cabiria to come out of their war-stricken times on top. We see other people like her throughout the movie like the little boys who fearlessly jump into the water to save her at the beginning of the film. Through Cabiria, we see how it is possible to stay positive and hopeful even during times of trouble. It is that specific idea that will help build Italy back up again post-war. 

---Maggie Schuh 

Ethan Edwards as a Heroic Figure? That'll be the Day.

Ethan Edwards as a Heroic Figure? That’ll be the Day.

            Usually, in film and literature, the protagonist is a heroic figure who, through the course of some sort of adventure, undergoes a change of heart, a change in his point of view.  While Ethan Edwards is the protagonist in the film The Searchers, he is neither wholly heroic, nor does his character change. He is, however, a catalyst for change in the world around him.

            His less than desirable personality can be seen in the way he treats Martin.  Ethan rescued Martin as a baby from certain death and this act appears noble on the surface. However, this cultivates no fondness for the boy in his heart, none that is visible at least.  When praised for this, he simply dismisses it as though the act, even with its clear purpose sitting alive and well before him, was meaningless. All of this indifference follows Ethan cruelly insulting Martin for being part Indian.  Ethan will not even allow him to refer to him as anything as endearing as “uncle.” Furthermore, Ethan disregards any claim Martin attempts to lay on the family who adopted him; he spurns Martin’s love for Debbie, acting as though it is unwarranted because Martin is no blood relation. 

Of course, Martin is not exactly the most respectable of characters.  It is not that he is dishonorable, but rather that he is often quick-tempered and foolish.  He rode his horse to death after being warned, accidentally bought an Indian wife, and only wrote Laurie once in five years. But he is determined to rescue Debbie, no matter what the cost, and makes conscious sacrifices- a relationship with the girl he loves, a respectable career, eight years of his life as a young man- to find her and bring her back home. While imperfect, the purity of his character seems to cast a light on Ethan’s motives.

But Ethan’s character flaws run deeper than just condescension and playful jest at Martin’s expense.  Ethan is filled with hate, most noticeably towards Indians, especially the Comanche.  And his vengeance cannot be sated.  He does not want to allow his enemy to collect their dead and injured.  When the rescue party finds the dead body of a Comanche warrior, he shoots out his eyes so that he cannot rest in the afterlife.  He kills buffalo just so they cannot feed any Indians over the winter.  While Martin is searching for Debbie, Ethan is searching for Scar.  Perhaps the largest reflection of his hate is that he would rather see the girl dead than accept the cultures of the Comanche.

            While Ethan Edwards may not be a hero, at the same time, he is not totally evil either.  Above all he is brave and dedicated; “a critter that just keeps coming on.”  It is just this kind of person that was needed to tame the wild frontiers of “the west” and make it safe for settlers (though at the Indians’ expense).  As Mrs. Jorgensen says, “A Texican is nothing but a human man way out on a limb.  This year and next, and maybe for a hundred more.  But I don’t think it’ll be forever.  Someday this country’s gonna be a fine, good place to be.  Maybe it needs our bones in the ground before that time can come.” Right or wrong, it is Ethan that allows this change to take place.

-Jacob Karnes: Group 7-

Singin' in the Rain. By: Allie Lonneman

Singin’ in the Rain gives viewers insight into a Hollywood silent film production company as it makes a difficult transition to talking films. This is the first film to give viewers that perspective, and also provide a backstage pass to the struggles the film industry faced throughout the process. Singin’ in the Rain brings into light all of the difficulties and complications that take part in the process of the transformation from producing a silent film to making a talking picture, mainly the need of the apparent voice over for Lina Lamont and the difficulties in the placement of the microphone.

The productions greatest difficulty and probably the most iconic part of Singin’ in the Rain is the grating voice of Lina. In making the transition to sound, the production company would not allow Lina to even speak with her fans. They keep her in the dark for the majority of the movie. The major issue is her failure to realize the actual jarring sound of her own voice. Even with the best efforts of a diction coach, the producers must overdub Lina’s voice. With Lina in the dark, the production company begins the hunt for a person to do a voice over for Lina. In order to compete with the release of the first talking film, the Lockwood and Lamont duo are expected to release a talking picture of their own. The film is to be called The Dueling Cavalier. Complications arise in filming. Difficulties include the complications in the placement of the microphones, the previously mentioned problem with Lina’s painful voice, and the love triangle. In dealing with the new concept of talking pictures, problems arose with the placement of the microphone. The producers had several failed attempts in hiding it behind a flower on Lina’s chest, in a bush and just about anywhere that was halfway logical. This gave us, as viewers, insight into problems that occur behind the scenes. In regards to the problem with Lina’s voice, the search for a voice over gets cut short upon the introduction of Kathy Seldon, an aspiring singer and actress, who happens to fall into Don Lockwood’s life. Kathy is the perfect person for the job and is hired instantly. Lina is furious when she finds out Kathy is dubbing her voice. Part of the reason lies in the fact that Lina has convinced herself the fake romance between her and Don is real, but Don has fallen in love with Kathy. As if Lina’s voice does not pose enough of a complication, she begins to do everything possible to sabotage the romance between Don and Kathy. Although, complications arose and Lina was out for both Don and Kathy, The Dueling Cavalier became an instant hit. Upon the recognition received from the movie, the audience clamors for Lina and Don to give live performance. In an unsuccessful attempt for Lina to lip-synch while Kathy stands behind a curtain with an additional microphone, Kathy’s true identity is revealed. In an instant, Lina flees the stage, and Kathy is introduced as the star of The Dueling Cavalier. The audience then clamors for Kathy and Don for a live performance, and they finally receive a performance from the true stars of the movie and on-and-off screen lovers, Don Lockwood and Kathy Seldon. This symbolizes the audiences’ desperate need for entertainment. This need continues to be satisfied, and it is a key reason movies play such an important role in today’s society.

Singin’ in the Rain gave insight into the real life troubles that Hollywood faced in the transformation from silent films to talking pictures. These troubles ranged from microphone complications, voice over difficulties, on and off screen love triangle dilemmas, along with other bumps in the road. Singin’ in the Rain was the first movie of its kind and for that reason it will always be a classic.

Sunset Boulevard

Billy Wilder’s, black and white classic Sunset Boulevard, takes the audience on a mysterious journey through the life of Hollywood’s fallen star- Norma Desmond. In what seems like the most public place on Earth, we are taken into the depths of a private estate, opening our eyes to the reality of what it is like to be famous, and then forgotten.

Wilder takes us on this incredible journey with Norma Desmond, and her new found love Joe Gillis, with his amazing use of cinematography. He used illumination in a way that created the essence of Norma’s character. Many times throughout the movie, Norma Desmond’s face is covered with a shadow of some sort. It really plays on the idea of Norma herself being a fallen shadow in Hollywood’s glamorous world. She was once at the top of Hollywood, and now she is just a mere shadow. We also see him use light to illuminate her face at the end of the movie- when she believes that she is once again a star in Hollywood. This use of lighting throughout the film created parallels to what was happening in Norma’s life and created for a dramatic feel, even though it was just a black and white movie.

Although volumes are spoken about the character of Norma Desmond throughout this film, it is also intriguing to look at the life of Joe Gillis. After the opening scenes, when we first meet Joe Gillis, we learn that he is currently a struggling writer. Much like Norma Desmond he was once on top, and he seems to slowly be falling in the cruel Hollywood world. As Joe tries to stay afloat he works with Betty Schaefer to create a screenplay worthy of putting him back on top, unfortunately his life ends before he can do so. The intriguing part of this is that he is the one who is telling us the story of his life, and his encounters with Norma Desmond herself. Here he has this wonderful story, one that has the audience captivated, and worthy of becoming a movie, and he is unable to write it all out.

Wilder not only captivates the lives of two struggling people in Hollywood, but he also takes us inside the realm of what being famous is really all about. We are only shown the glamour of Hollywood and a lot of the ups. However Wilder is not afraid to take us down a spiraling path. The long lasting effects of no longer being on top can create a sense of distortion for someone- almost as if they are not living in reality. We see this through the character of Norma Desmond. Her once glamorous and glitzy life has now been traded in for someone who is forgotten, and no longer regarded as the best. We also see that Max- her first husband, helps instill this fantasy in her world. By writing her fan letters that make her think she is still wanted. Through these kind of instances she loses herself in the world of what was and not the world of what is. She has created her own idea of what she is, and refuses to let go of that in fear of losing herself.

 

Sunset Boulevard is a juicy, entrancing movie taking us into the realms of Hollywood. As an audience we are taken on a whirlwind journey through the life of someone who was so passionate about something- that no longer being able to have that can cause a life to come crumbling down. Regarded as an American classic, Sunset Boulevard is a must see movie.

-Paola Ogadzhanova

Rashomon and Culture

             Culture is a precious use of uniqueness in this world of millions. Culture in movies is extremely hard to capture because of complexity it adds in the world. To capture it you not only need languages and architecture, you need to produce in an art form that represents that culture as well. History is another important element of culture, which shows how the people have progressed in their own society. Roshomon is able to show many of these cultural elements within the movie. Some of these elements are directly displayed, like clothing, language, scenery, and in some scenes the way the camera angles are set up.  The other elements are set up symbolically like the plot and its direct comparison to Japanese history. All of these elements of culture combined make a very well produced foreign movie that other world audiences can be understand and find enjoying to watch. Two things Roshomon do exceptionally well with, are its camera angles that in way capture culture and its symbolic plot that connects directly to Japanese history.  

Roshomon is able to produce different views from the camera for the audience to see some areas of culture. As an audience member you have to picture these scenes as almost still life because if you were to pause the movie they’d almost make a good Japanese picture. The court scene is set up so that camera captures the testimonies and still shows the judges behind them, sitting like Japanese Samaria. Its almost like a still picture is being painted of the court, so that audience may know that this is what the Japanese find appealing in art. It is bold with the two judges in the distance sitting very discipline, but the scene still is able to capture the voices of the testimonies and those actors unique sense of telling their side. Another way the culture is scene is from the flash backs to the characters sitting under the gate. The camera captures many angles of the gate, and the scene moves slowly so that the audience appreciates the gate and gets a sense of the damage that has been inflicted on it. Once again the the scene could be a very good still, but it is also able to capture the characters stories and emotions through action. Taking a camera and fixating it on an object with different angles creates culture, because different Countries cultures have certain angles that make their art unique.

My next element is history and how it is displayed in the movie. In the time the movie was being produced the Japanese were recovering from World War II and in particular the bombs that struck Hiroshima and Nagasaki. In the movie the war is represented in the first scene where the gate is damaged and a strong rain storm is upon them. Struggles continue through the movie like how it happened in the war until finally the last scene where all the men are exposed creating a climax, this being the bombs that were dropped. At this point in the movie it looks like there is no hope, but then the baby appears and slowly the storm begins to dies down. This represents the war coming to a close and the beginning of reconstruction. The priest hands the baby over symbolizing faith that Japanese people will need faith with one another, and that the world will have to give them faith and responsibility in creating a new, better nation.

      Philip Shutler

Citizen Kane (take 2)

Charlie Kane’s collecting character and major spending shows us that he is trying to fill an empty space inside himself with materialistic items. From early on in the film, we know that this empty space is a direct result of his abandonment as a child by his mother. When he was about 8 years old, his mother basically sold him to Mr. Thatcher in order to protect him from his abusive father. Although she meant well, she ultimately stunted his emotional growth. Kane is never again able to develop a normal emotional attachment to his parents as most children are. Because of his anger towards his mother, he refused any sort of parental guidance from his new guardian, Mr. Thatcher.

Mr. Thatcher tries to buy Charlie’s approval with money, wealth and power. Although Kane was generally uninterested in all of these things as a adolescence, it further impaired his ability to acquire normal feelings for friends or women because it taught him that people can be bought with money instead of with true feelings. Charlie had no incentive to follow any social norms such as obeying authority or treating people with respect because of the great deal of wealth that he grew up with.  Even when we think that Kane is genuine and normal, like when he begins to run The Inquirer, he is really only doing so for more power in the social and political world.

Towards the end of the film, Susan says to Charlie, “You’ve never given me anything. You’ve tried to buy me into giving you something.”  Although he desperately wanted someone to love him, he didn’t know how to properly show someone else love. Instead, Charlie often tried to buy love, especially from Susan.  Money was Kane’s substitute for the genuine feelings that he never developed as a child. Even when he was able to attract friends and women, they eventually grew and matured, which Kane was unable to do, so they would often leave him.

In spite of his gregarious character, Charlie Kane was a deeply lonesome person. He was constantly searching for approval from those around him even though people viewed him as powerful and thought that he had it all. Unfortunately, Kane’s loneliness was permanent because he refused to share his past or his hurt with anyone—even ones who loved him, like Susan. His main goal in his life was to find and secure the love that he lost with his mother. However, he was generally unsuccessful and tried to substitute those lost feelings with materialistic things such as fame and money.

To hide his hurt feelings from the public, he created a dominating and powerful personality that we see during most of the movie. We only find out things about him through fragmented memories of his friends. And often, these memories are not very reliable due to old age or alcoholism. Despite this, we as an audience understand that this is not Kane’s true personality. Kane was able to cling to this external persona right up to the time of his death, even after he lost his fortune, his wife, and his best friend.

 

-Maggie Schuh

The Maltese Falcon

In the Maltese Falcon, private detective Sam Spade is the main character, and he is supposed to be the protagonist of the story. He is the one the audience is rooting for, the good guy, but while watching the film I was constantly finding myself viewing him as one of the bad guys based on some of his actions.

There were many instances in the film when I myself found Spade to be very cold and heartless. When he discovered that his partner had been murdered, his reaction was strange. He didn't seem to be upset, and he wasted no time having his desk moved out of the office and his name taken off the windows and doors of their office. For someone who has just lost their partner, it seems that he would have been a bit more respectful. But, Spades character is that of someone who abides by his own terms, and be doesn't care what others think of him or how his actions are affecting the people around him.

We learned that Spade had been having an affair with his partner, Miles Archers wife. He knew that she would be mourning the loss of her husband along with the guilt she must be feeling over they affair and yet he sent his secretary to be with Iva and gave her specific instructions to keep Iva away from
him.

It is obvious that Spase develops feelings for Brigid as they spend more time together, but she is mysterious and will never fully explain what is going on to Spade. But still he agrees to investigate the situation. To me it seemed that Spade played all sides of the fence throughout the film. The police had strong suspicions about Spade and his involvement in the murders but Spade didn't sweat it. He played it cool, and would give them information to distract them from him.

When Spade meets The Fat Man he learns more about the falcon. When what he thinks is the falcon is given to him, he strikes a deal with the Fat Man that he can have it with a little compensation. Ten thousand dollars, as well as someone to turn in for the murders. He is willing to throw anyone else under the bus as long as its not him taking the heat. In the end it is decided that Wilmer is the best choice.

Fat Man and Cairo make the discovery that the falcon is a fake, and they decide to travel to Instanbull to continue their quest of the treasured falcon. It seems that all is well with Far Man and Spade when he leaves, but the second that they are gone he calls the police to turn them in. It seems that Brigid has gotten off easy but Spade must know the truth. It is revealed that Brigid killed Miles to implicate Thursby. Despite his strong feelings for Brigid, Spade turns her over to the police.

Was this the right thing to do, Turning against a woman that he loved? Did he do it for justice or what was his reasoning? These are the things I was left asking myself at the end of the film. Ideally, Spade is the protagonist of the movie, and I guess he really is. He solved the mystery, and justice would be served, but as a person Spade seems very crooked and cold. From watching this film I learned its not necessary for the good guy to always be so great, and there are probably many other times in other films where this situation stands.

-CS-

Gold Rush Blog (The Director's Cut)

Group 7

Charlie Chaplin’s Cold Cabin 2: Black Larson’s Revenge

Charlie Chaplin’s The Gold Rush is set in several locations, but a large portion of the film takes place in a single frozen log cabin. Charlie Chaplin’s choice of location is perfect for a comedy depicting the harsh circumstances of the gold rush with a tongue in cheek. Furthermore, The Lone Prospector is such an “Everyman” that the viewer can associate with his troubles.  We the movie-goer can picture being in these intense and absurd situations (or I do at least).

By setting much of the story in a single room, it makes for perfect cluster-phobic comedy.  After all, what is funnier: running from a bear in the woods or running from a bear in a tiny, one-room building? Running from a large stranger with starvation-driven-cannibalistic hunger in an open expanse or locked in a tiny shack? Is there a more inconvenient place to spend time with a creepy, murderous fugitive? Chaplin or perhaps more accurately The Lone Prospector, like most of us, is not an Olympic athlete. He’s just a regular man. So when the bear attacks, the viewer feels the terror as well. Of the three men (McKay, Larsen, and Prospector) notice how Chaplin’s character is the smallest and weakest. This mirrors the powerlessness we all often feel in our own lives.

One of the highlights of the movie was when Big Jim McKay and Black Larsen are fighting over a gun and The Lone Prospector cannot get out of the way of the barrel. He is literally climbing the walls in terror but there is simply nowhere to go. I laughed out loud during this scene. With all of the violence in the world, it does not take much imagination to picture the horror of having a gun pointed at you, so when the gun won’t stop following The Lone Prospector, how can we not laugh?

The story reaches its peak…when the cabin itself almost comes to life by sliding all over the mountaintop until it finally settles, teetering over the edge of a great chasm. The simple brilliance of the rocking floor being chalked up to a hangover…cannot be bested (as far as I know). And it is an excellent example of dramatic irony. It almost took my breath away watching the cabin rock back and forth as The Lone Prospector and Big Jim McKay pace the floor. Finally, Chaplin tumbles out and must hold on for dear life. Many people (myself included) have a natural fear of heights. I remember the vertigo from the first time I looked out across the New York skyline from a skyscraper.

In conclusion, the use of a small space within a wild, storming nowhere is the summit…of perfection for physical comedy. (And I’ll bet it saved money as well.)  Because of the character of the character of The Lone Prospector, we are able to put ourselves in his shoes (...well, we would have if he hadn’t eaten them).  As a result, we are not just laughing at Charlie Chaplin, but are actually laughing at ourselves.

-Jacob Karnes-

Group 7: The Gold Rush.

Group 7

Charlie Chaplin’s Cold Cabin

Charlie Chaplin’s The Gold Rush is set in several locations, but a large portion of the film takes place in a single frozen log cabin. Charlie Chaplin’s choice of location is perfect for a comedy depicting the harsh circumstances of the gold rush with a tongue in cheek.

By setting much of the story in a single room, it makes for perfect cluster-phobic comedy.  After all, what is funnier: running from a bear in the woods or running from a bear in a tiny, one-room building? Running from a large stranger with starvation-driven-cannibalistic hunger in an open expanse or locked in a tiny shack? Is there a more inconvenient place to spend time with a creepy, murderous fugitive?

One of the highlights of the movie was when Big Jim McKay and Black Larsen are fighting over a gun and The Lone Prospector cannot get out of the way of the barrel. He is literally climbing the walls in terror but there is simply nowhere to go.

The story reaches its peak…when the cabin itself almost comes to life by sliding all over the mountaintop until it finally settles, teetering over the edge of a great chasm. The simple brilliance of the rocking floor being chalked up to a hangover…cannot be bested.

In conclusion, the use of a small space within a wild, storming nowhere is the summit…of perfection for physical comedy. (And I’ll bet it saved money as well.)

Citizen Kane

In spite of his gregarious character, Charlie Kane was a deeply lonesome person. He was constantly searching for approval from those around him even though people viewed him as powerful and thought that he had it all. Unfortunately, Kane’s loneliness was permanent because he refused to share his past or his hurt with anyone—even Susan. His main goal in his life was to find and secure the love that he lost with his mother. However, he was generally unsuccessful and tried to substitute those lost feelings with materialistic things such as fame and money.

Towards the end of the film, she says to him “You’ve never given me anything. You’ve tried to buy me into giving you something.”  Although he desperately wanted someone to love him, he didn’t know how to properly show someone else love. Instead, Charlie often tried to buy love.  Money was Kane’s substitute for the genuine feelings that he never developed as a child. Even when he was able to attract friends and women, they eventually grew and matured, which Kane was unable to do, so they would often leave him.

To hide his hurt feelings from the public, he created a dominating and powerful personality that we see during most of the movie. Kane clung to this external persona right up to the time of his death, even after he lost his fortune, his wife, and his best friend.