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.